Home / FASHION / Reimagining The Look Of She's Gotta Have It — 31 Years Later

Reimagining The Look Of She's Gotta Have It — 31 Years Later

(Last Updated On: December 4, 2017)

On Thanksgiving Day, Netflix launched She’s Gotta Have It, Spike Lee’s 10-episode sequence reboot of the 1986 black-and-white movie; the one which without end modified the mildew on how Black ladies and their sexuality have been explored on movie. As John Michael Reefer, the costume designer for the unique manufacturing, tells Refinery29, on the time, “Nola [Darling’s] character was an example of the male gaze fully realized and eroticized. With few other examples of Black women or women of color at the time of its release, this portrayal was characterized as groundbreaking. Her character set a tone for the objectification of Black women and women of color and has given the broader market of content creators a license to marginalize Black women and women of color up to this day.”

Fast-forward 31 years later, and Lee is bringing the story of Darling’s a number of romantic pursuits again to the highlight — and he is tasked costume designer Marci Rodgers with modernizing its authentic appear and feel for a contemporary technology. “I used to be younger after I first noticed She’s Gotta Have It, so after I was supplied the chance, I went again to [revisit] the unique film,” Rodgers says. “That is the foundation.”

She continues: “Nola is very powerful in the sense that she’s an example of fierceness and the tenacity of freedom.” So how does one dress Lee’s latest character amidst Brooklyn’s gentrified backdrop? Hit every vintage shop in the borough, she notes, which has “any and everything. You just have to have the eye” to identify all of it. “I actually had the mindset of if I have been Nola and grew up within the space, what can I buy to develop into part of my closet?” One retailer that stands out to her is Worship.

But the Maryland-native makes it clear that Nola “dresses on a spectrum.” There was one scene, particularly, that Rodgers recollects, the place Nola is ready for Mars, one in all her dates, to reach so he can transport her items to her artwork present. Ms. Darling is wearing a black and white studded leather-based jacket, quick denim deconstructed shorts, patterned tights, and grey Chanel booties. “The devil is in the details with this character,” Rodgers notes.

On the topic of Nola’s lovers and what they wore, Rodgers rattles off an inventory of Black designers: Defend Brooklyn, Very Black, Ozwald Boateng, and designer Kerby Jean-Raymond of Pyer Moss, who Rodgers says “was so keen and down for the trigger.” She pulled Mars’ spectacular sneaker assortment from Stadium Goods, and Ms. Nola wears quite a lot of William Okpo. But if there’s one piece Nola’s gotta have, it might be the “Brooklyn” necklace Rodgers discovered at a pop-up store contained in the Williamsburg mall.

That’s so New York, proper?

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