Law Roach on the Evocative and Modern Costumes of Malcolm and Marie

Given that the film takes place during a single evening, Law had to convey multiple moods through a succinct wardrobe. Washington stays chic in his Prada suiting while Zendaya moves from a slinky, metallic, halter-necked dress from Aliétte to a tank top and her undies, commanding her scenes in both. “Marie is a grown woman; she’s been through some things,” says Roach of the character’s personality. “She knows how to control her sex appeal, and she’s in control of her sensuality. She’s done a few things and has lived an entirely different life than Zendaya, so I did want to reflect that in the dress and the other things that she wears.” 

To achieve this, Roach enlisted Aliétte designer Jason Rembert’s talents, whose self-assured designs have been worn by Issa Rae, Ciara, and Uzo Aduba. Rembert was Roach’s first and only choice, but the pandemic’s constraints meant everything had to happen virtually. “There was a lot of back and forth and a lot of shipping things,” explains Roach. “It was Jason and me on FaceTime at the fabric store and him making prototypes that were then sent to Sam for lighting tests, then those would have to be shipped back for alterations.” Communication with the team on set also took place online. “Did I miss the normalcy of being on set every day? Of course, but they were sending me dailies and sharing the process with me,” says Roach. “It was gratifying to be a part of everything.” 

The jump to the big screen meant considering new things: namely, Marcell Rév’s moody cinematography, which utilized 16mm, black and white film to pay homage to the past while capturing the isolation of the couple’s secluded home. “The most important thing Sam kept reiterating was that the dress had to have movement,” says Roach. “That isn’t moving in the sense that it has to be flowy and chiffon; it’s about moving under the lights and coming alive in a way.” Levinson’s second request? Keep things classic. “Sam tasked me with creating a dress that was timeless and could stand with the other iconic dresses that we’ve seen in movies,” says Roach. “He said, ‘Law, when people see this 20 years from now, I want it to be still relevant.’ That was a tall order for someone who had never done costumes for a film before, but I think the Aliétte dress is exactly that.”  

With his first film under his belt, Roach is already itching to try his hand at more costuming opportunities, or even give performance a try. “I’ve caught the acting bug,” he says with a laugh. “Maybe someone will want to put me in a movie. I definitely want to do more costumes though, I loved the research and just creating something original that [contributes] to a character’s development and telling a great story.”