In the neon-drenched world of ‘I Love Boosters,’ fashion is for the people
In the neon-drenched world of ‘I Love Boosters,’ fashion is for the people
A kaleidoscope of rebellion and reinvention
In the neon drenched world of I – Boots Riley’s satirical comedy *I Love Boosters* immerses viewers in a vibrant, chaotic world where clothing isn’t just an accessory—it’s a revolutionary statement. The film’s bold use of color and texture becomes a narrative device, reflecting the energy of its characters and the themes of consumerism and self-expression. At the heart of this visual spectacle is the Velvet Gang, a trio of girlfriends who navigate a life of theft and resale, blurring the lines between necessity and style. The ensemble’s outfits, ranging from edgy streetwear to avant-garde heist gear, are crafted by Oscar-nominated costume designer Shirley Kurata, whose work breathes life into the film’s aesthetic.
The retail empire as a backdrop for subversion
The story unfolds in a quintessential American setting: a metropolitan strip mall. Here, the towering presence of Christie Smith’s empire—dubbed “Metro Designer”—dominates the scene. Each outlet embodies the cyclical nature of fashion trends and the fleeting desires of consumers, with its color schemes constantly evolving. The store’s monochromatic displays contrast sharply with the characters’ riotous wardrobes, creating a visual tension that underscores the film’s critique of fast fashion. Kurata’s designs, she explained, were a labor of love. “It was kind of my dream script to be asked to work on. I could really do all the fun fashion that I’ve always wanted to do but haven’t had the chance,” she said.
Kurata’s creative process was shaped by the film’s timeline. Shooting during the fall and winter months, she faced the challenge of keeping the palette lively in a season typically dominated by muted tones. “Stores tend to have fewer yellows and bright greens during this time, so I had to find ways to inject vibrancy,” she noted. The lack of preparation also fueled spontaneity. “A lot was done last minute—sometimes that works well because you’re not overthinking things,” Kurata added, highlighting the balance between planned artistry and organic creativity.
The Velvet Gang’s characters—Corvette, Sade, and Mariah—each embody distinct styles that reflect their personalities. Corvette, an aspiring designer, wears outfits that blend practicality with flair. Kurata’s approach to her character’s wardrobe was meticulous. “There also had to be a resourceful element,” she said. “One of the tops she wears is made from athletic tube socks, and in the opening scene, you don’t get to see much of her bottom half, but she’s wearing a skirt constructed from men’s ties.” This mix of thrifted items and custom creations mirrors the group’s ethos of repurposing and reinventing.
Other members of the gang, like Sade and Mariah, draw from different influences. Sade’s style leans into streetwear, while Mariah channels the punk energy of Oakland’s art scene. Kurata described how the designs had to serve multiple purposes. “I had to consider all of the varying character personalities and from there create this closet for them,” she said. The challenge was to make each character’s look both authentic and adaptable. “For some, it was about their real-world attire, but for others, it was about their disguises,” she elaborated.
Antagonist as a fashion statement
Christie Smith, the film’s ruthless retail mogul, is a masterclass in visual symbolism. Kurata’s designs for Moore’s character blend classic villain tropes with modern minimalism. “I studied a lot of prominent female fashion designers and how they dressed,” Kurata explained. “Like Jenna Lyons, for instance—statement glasses, but also a uniform and utilitarian approach.” Smith’s platinum bob, aviator glasses, and oversized power suits reflect her calculated dominance. “There’s something off-kilter about her, so I wanted her attire to be a little bit off-kilter too,” Kurata said, emphasizing the antagonist’s duality: a figure of authority who thrives on monotony.
Moore’s involvement in shaping Smith’s look was a key part of the process. “She got some pieces that she thought were very Christie,” Kurata recalled. The contrast between the villain’s pristine ensembles and the gang’s eclectic choices highlights the film’s central conflict. While the Velvet Gang embraces chaos and individuality, Smith represents the oppressive uniformity of the fashion industry. This duality is further amplified by the setting—a retail space that thrives on trends but leaves its employees in the shadows.
Thrifted ambition and student ingenuity
To fill the film’s frames with clothing, Kurata relied on a mix of thrift stores and loans from young designers at The Savannah College of Art and Design in Georgia. This collaboration brought a sense of grassroots energy to the production. “It was about sourcing a lot of the material from places you might not expect,” she said. The use of secondhand items and student creations not only kept costs manageable but also underscored the theme of reusing and reimagining.
The result is a wardrobe that feels both familiar and fresh. “The bold designs supported the dynamic characters within the Velvet Gang, who often switched up their personas as they slipped into heist-ready attire,” Kurata remarked. Each piece tells a story—whether it’s a thrifted jacket repurposed for a crime or a power suit that symbolizes control. This approach aligns with the film’s broader message: that fashion is a tool for empowerment, even in a system that often exploits it.
Reinventing the retail landscape
The film’s setting—a strip mall that doubles as a fashion empire—serves as a metaphor for the industry’s dual nature. While the stores dazzle with their curated collections, the employees behind them struggle with underpayment and dissatisfaction. Kurata’s work on the store’s staff, including the glam goth sales associate Violeta and the humorously uptight manager Grayson, further enriches this contrast. “Their outfits were a reflection of their roles in the system,” she said. “Violeta’s look was more about defiance, while Grayson’s was about authority.”
Kurata’s ability to balance these elements showcases her versatility as a designer. Her previous credits, such as *Everything Everywhere All At Once* and *The Debut: Dream Academy*, demonstrate a range of styles—from hyper-stylized chaos to polished reality. In *I Love Boosters*, she brings that same creative daring to the screen. “I almost had to create separate closets for each of the characters,” she admitted. This level of detail ensures that every outfit feels purposeful, whether it’s a statement piece or a subtle nod to character.
The film’s focus on thrift and transformation resonates with broader conversations about sustainability in fashion. Kurata’s use of recycled materials and student designs not only adds authenticity but also challenges the notion of what’s considered “high fashion.” In an industry often criticized for its environmental impact, *I Love Boosters* offers a refreshing perspective: that style can be both a personal expression and a collective act of resistance.
As the Velvet Gang navigates their world of fashion, the film invites viewers to question the systems that shape our wardrobes. Kurata’s work is a testament to the power of design to reflect, critique, and reimagine the culture around us. “It was about making sure the clothing spoke to the characters’ journeys,” she said. The final product is a riot of color and creativity, proving that fashion, in the right hands, can be a force for the people.
