Chatter Box Film

One of our guest writers, Daniel Mazz has interviewed Luciano Capozzi; the costume designer for Juliet & Romeo, an upcoming film which is due to be released in UK cinemas on June 11.

Juliet & Romeo – directed by Timothy Scott Bogart, is a musical reimagining of the classic romance story by William Shakespeare titled Romeo & Juliet.

The film stars Clara Rugaard as Juliet and Jamie Ward as Romeo, also including Rebel Wilson and Jason Isaacs in roles in the Capulet and Montague families.

Interview with Luciano Capozzi

Daniel Mazz: Hi Luciano, thank you so much for chatting with me I really enjoyed Juilet and Romeo and have some questions I would love for you to answer.

How did you get into costume design?

After finishing my higher level studies at an Institute of Art in Rome, I participated in a selection to join the first course for costume designers directed by Giulia Mafai, a famous Italian costume designer.

There were more than 3000 requests and after a series of exams I was one of the 15 students admitted. Once I finished my studies I started my apprenticeship first as a volunteer, then as assistant and finally in the 2000s I started to sign off my first film works.

How did you get involved with creating costumes for Juliet and Romeo?

One of the executive producers and the line producer, with whom I had already worked previously, introduced me to Timothy Scott Bogart, the director and producer of the film who was considering various candidates. We talked about the project and immediately a good feeling was created, I gave him sketches and photos of my other previous works, and after a few days I had an answer that I was on board! Needless to say, I was thrilled.

How was it working with the directors and crew for this film, and did they give you a guideline of what they wanted?

Tim wanted to tell the story with a totally different twist than other versions. This was the first indication, the costumes had to help him in this regard. He wanted there to be a fresh, courageous and non-academic approach. It was an absolutely electrifying challenge, and the relationship with both Tim and the cast was one of continuous and fruitful collaboration. The film was not easy: It was all shot at night, mostly outdoors and in winter, but the enthusiasm we all had helped us a lot.

What is the process like for designing costumes for this film, and how long did it take?

I started working on the film with two assistants, studying the script in mid-July 2022, We listened to the musical pieces and started looking for references to develop the first moodboards, to submit to Tim, with the first indications of the directions, I wanted to follow once these were defined, I began to draw up the first sketches of the characters. Very important in this initial phase, was also the concept on the color palette that immediately allowed me to collaborate with the Dop Byron Werner. The preparation in total took three months.

Did you see the cast first before creating the costumes, or did you design the costumes without meeting them?

At the beginning of the preparation, I asked to see the shortlist of candidates for the main roles that were not yet assigned. I was thus able to get an idea of the physicality of all of them. Then the final auditions were made in Rome. On that occasion I provided each actor with the costumes that although not definitive, helped them to enter the part and to me to understand their physical and expressive peculiarities.

It is always very important to understand how much an actor is able to ‘use’ a costume. Once the roles were defined, I began to work out their own changes for each one. For some of the supporting actors, who were to arrive close to filming , however, I had to start working on costumes that I then completed and defined only once in rehearsal.

What was your favourite costume to create, and which one was the most challenging?

There is not just one costume… I fell in love with the project for the opportunity it gave me to reconstruct a period in a stylized way, it is no coincidence that I chose as references to many Pre-Raphaelites who in the their paintings were based on a more dreamed, romantic end of the Middle Ages.

I also loved using the patchwork of fabrics for all costumes in general. A personal tribute to the works of Enanuele Luzzati, an artist I have always loved and wanted ‘to mention‘ as well as Danilo Donati, whose art of inventing innovative solutions, always of great aesthetic magic, has always influenced my work.

How was it getting to design jewellery and accessories for this film?

I was ‘Born’ as a goldsmith. In my studies at the art institute, before graduating from high school, I obtained the diploma of master of art with a specialization in goldsmithing. Jewellery in the first place, but all accessories in general have always been important in my costumes. These are details that help complete a character. In this case, then, I really had the opportunity to indulge myself. With Tim we wanted to recreate an entire world and the accessories were all extremely important.

Did you get more creative freedom to make more elaborate costumes compared to working on a non-musical period piece?

Absolutely yes! A musical requires a conscious approach, if only because of the fact that you have to take into account the numbers with choreography. Even the use of color in a Musical, regardless of the palettes used, plays a particular role to underline, point out specific moments of the story. The combination with music allows stylistic licenses that a traditional film hardly allows.

Did you get to help design the shoes for the characters?

Thanks to the collaboration with some important suppliers in the sector, I was able to create, not only for the actors but also for the extras, specific shoes that were beautiful in design, but also comfortable in dance and safe to walk and run, on often wet and steep terrain (I remember that we shot in winter and almost always at night). On the set, each actor often had the same model of shoes but at least in 3 different versions in terms of weight, inner lining and sole.

When designing the costumes, how did you decide which colours to use?

With Timothy and the director of photography, we immediately talked about how to color the film and how to immediately distinguish the two families that are at the center of the story. We therefore thought of a palette of bright reds in all the various shades for the Capulets, more blatantly opulent. while a colder blue palette for the Montagues.

The surrounding world obviously moved on a quieter palette, while Veronica and the other ‘girls’ were conceived as a real explosion of color. I was pleased that many reviewers have positively noted the importance of color in the costumes.

For the girls’ dresses, did you have to consider whether you wanted wavy, twirly skirts that looked good during dance spins, or was that not a factor?

Absolutely yes! As I already mentioned, we chose to tell this classic with a decidedly fresher touch. Both for this reason, but also for the right choreographic needs, fabrics such as ‘panne’ velvets or silks were chosen, but also “fine wool” all extremely light, but at the same time dynamic, not static. So that they followed the movements of each actor/actress.

Since it’s a musical, how did you adjust the boys’ outfits to make them easier to dance in?

Fortunately, both my team and I have all had experience with both classic and modern ballet. Therefore we have adopted technical tricks aimed at supporting each element of the costume even in the face of repeated turns.

What was it like meeting the cast, and did you spend much time with them on set?

It was really pleasant, there was a nice energy, even if the work was long and somewhat tiring. I also followed them on the set, of course, where I also had my fantastic assistants always attentive and stimulating; a particular thanks I owe them.

Did the cast do any of the singing live?

It was all “live capture”, the vocals were then blended in to the rest of the music production. All of the actors sang, and they are all real voices!

What was your favourite set, and did they film at any real locations or castles?

Everything was real! We all had the honor and privilege of working with a Master of the caliber of Dante Ferretti! Every location was breathtakingly beautiful. In particular, filming on the Verona bridge at night, while the city was sleeping, was truly magical. It is well known that Italy holds more than 75% of the artistic heritage of the entire planet, having had the opportunity to film in such precious locations is certainly an added value to the film.

How big were the sets, and did you ever get lost or get a chance to explore?

One of the fortunes of our work is to be able to turn to fantastic places, it’s a bit like being Alice in Wonderland. In this case, particularly exciting, was to pass through the alleys of Castel Arquato, a truly atmospheric place.

Did you get to see any of the fight scenes being filmed? If so, can you share more about that experience?

Practically all! The decidedly most spectacular one, I believe,is that of Mercuzio’s death on the Verona bridge. Very dynamic in the action but above all dramatic and touching as regards the acting.

Were there ever times when the cast got the costumes dirty, stepped on them, or broke them while dancing? If that happened, what did you do?

We promptly intervened ‘Don’t panic we are professionals’ this is my motto!

What materials did you use to create the costumes and shoes – For the jewellery, were any of the pieces made with real diamonds or gold?

The jewels were all in hypoallergenic metals, often gold plated. On many costumes we used “gold leaf’ to emphasize some decorations, especially for the masked ball, where the same material was also used for make-up. We knew about any allergies to materials each actor might have and therefore we organized ourselves in this sense.

Do you have a favourite or funny memory from set?

A funny thing, now to remember are all the self-heating patches that my assistants used in the soles of the actors’ shoes, to try to relieve, a little, the cold that on some days was really intense.

What is the most challenging part of designing costumes—and what is your favourite part?

In designing costumes for a movie, there are various phases. Certainly preparation is very important, It is the moment when you study the script and start looking for those references that will be used to develop your costumes. Perhaps, however, the phase that satisfies me the most is that of costume fittings with the actors. It’s that in fact, the moment in which you can understand how much the work done, really works and how much must be corrected for an optimal result.

What did you and the cast and crew do when not filming or working on set?

Generally we rested… visits to museums of the various cities in which we were [in], great compulsive shopping, relaxation in the closest spas.

The costume department is perhaps the one that works the most on a set, our schedules are really the heaviest. So it often happened to me, that I would return to the hotel about two hours after the last scene, and find the actors around a grand white piano singing and partying: there were very few free moments to spend together but these were all very pleasant.

Are you still friends with the cast and crew of this film or still in touch?

Yes, with some of them I continue to be in contact also thanks to the socials.

Were you allowed to keep any of the costumes, props, or shoes you designed?

No, all [of] the costumes and accessories remained for the production, except for some, which returned to the suppliers who had made them specifically for us.

Can you share what you’re working on next or what type of costumes you’re currently designing?

A dramatic film “Stolen Girl “will be released shortly, directed by James Kent with Kate Bakinsale and Scott Eastwood. It’s a film set between 1990 and 2000 in America and Lebanon. While at the moment I am reading a screenplay for a very interesting costume TV series.

Daniel Mazz: Thank you Luciano, the costumes were really beautiful and you did a wonderful job. Congratulations on the film and good luck with your future projects! I’m excited to see what your next costumes and designs will be.

Check out more of Luciano Capozzi’s projects on the artist’s official website.

In addition to this film releasing in UK cinemas on June 11, Juliet and Romeo is currently in US cinemas, as well as on streaming and due to get a cinema release in Canada soon.

Read our Chatter Box Film review here for Juliet and Romeo.