Brad Pitt – who made fashion headlines during the High-speed train press tour with her colorful, casual outfits and for wearing a brown linen skirt designed by Haans Nicholas Mott – is decidedly practical when it comes to her style choices.
For starters, the actor doesn’t work with a stylist. As a manager, Cynthia Pett-Dante tells The Hollywood Reporter“He’s not working with a stylist at the moment. He worked directly with Haans to create looks for the entire publicity tour, because he’s a fan of Haans’ work.
High-speed train costume designer Sarah Evelyn Bram also details THR how closely Pitt was involved in helping create her on-screen appearance as Ladybug in the film, which premiered Aug. 5.
“Brad was very involved, in all the best ways, from the start,” Bram says, adding that his team made almost all of the costumes except for Pitt’s t-shirt and a few props. “He has such artistic sensibility and has been making films for so long. It’s so generous that he brings this deep intellectual and empirical knowledge to the process, because it only imbues the costume with more meaning.
Since almost the entire film (except for the flashbacks) takes place during a train ride from Tokyo to Kyoto, Pitt is seen mostly in a single suit in shades of green. He’s wearing a pea coat and a work jacket, both of which come off along the way until the actor ends up in a tattered t-shirt and pants. Her accessories include a custom bucket hat, Italian-branded Police eyewear and All Saints low-top sneakers.
Here are the details of his High-speed train see.
Known for personally favoring bucket hats (from brands like Kangol in the ’80s to SSAM at the US Open in 2021), Pitt brought the idea for this top hat to the first meeting with Bram and director David Leitch. “He said, ‘I feel like I retired and I was sitting on a dock fishing,'” Bram says, referencing a story Pitt created off-screen for his character. . “It got me so excited, because I’m obsessed with work clothes. It was such a cool and original idea. The fact that it was unexpected was so great and the fact that he wanted to take these kind of risks , I love.
Bram says she and Pitt “scoured through a bunch of bucket hat silhouettes until we found two that we liked and combined to create a custom bucket hat.”
The peacoat, the jacket, the pants and the t-shirt
Pitt’s dock-sitting concept inspired a slightly nautical feel to both the pea coat design and the choice of a white Wittmore x Velva Sheen t-shirt with a “Master Baiter Ozark Mo.” logo on the back, a custom graphic created by production designer David Scheunemann that the team printed on the T-shirt.
The actor dove deep into styling details. “What the cuts were and the feel of the fabrics was really important to him,” says Bram. “Not in vain, but with respect for a true heritage of workwear and a real respect for fashion. Exactly how baggy the pants were and how long it mattered. You could see, as he put those things on, he kind of became the character.
A session was dedicated to selecting a perfect design for all three pieces – no small feat. “We went through a series of jacket silhouettes until we found one with the exact simplicity and the fabric fell just right,” she says. “It was, ‘I really like the body of this, but I like the collar of that. OK, what fabric are we going to use? This one’s fine; let’s see how it washes. Then we wash it with different things and say, “OK, we like number three the best.” We found a pair of pants that we liked in length, with a leg that we liked, and mixed it with another pair of pants that had a waistband which we liked.
Fabrics for the jackets and pants were cotton twill, “true workwear fabrics,” Bram notes, while they opted for super-soft narrow corduroy for the bucket hat and waxed cotton for the peacoat. “We had to dye the jacket the right green, which was another whole process, because dyeing can be really tricky, especially when you’re doing multiples.”
Pulling a look for months, amidst all the blood-splattered fighting and action, required multiples with similar aging. Pitt’s duplicate wardrobe included 20 of the t-shirts, 14 pairs of pants, and 12 copies of the work jacket.
“Brad also has a shrewd eye for aging,” adds Bram. “Getting older is a real job, especially when you’re washing clothes. These things get very worn and very textured and look a lot like characters.
Spontaneous costume changes as the action progressed made it impossible to plan for the aging of pieces (and duplicates). “At one point, Brad came on set in costume and said, ‘Okay, put your hand in some ‘blood,’ take your hand and put a handprint on my shirt,” Bram explains. “You better hope it sounds amazing, because we were about to go on camera. And David is actually the king of aging. Having worked with him many times, I know that every time we go have a great stunt scene, you have to be ready for him to turn around and say, “Give me a bottle of ‘blood.’ Let me take a brush. Can I have some dirt and a rag? He’s right in the middle, aging the whole thing in the moment.
A flashback scene with Pitt was a “last minute thing,” Bram says. The clothes seen there, she explains, were versions of the work jacket and trousers, as well as a mustard-colored bucket hat. All were “part of the R&D we did originally before landing on which colors would look best on the train with the rest of the cast,” Bram says.
His other accessories
Pitt’s bold black ’90s-inspired Origins Bullet 1 Man glasses are from Italian label Police, while his cream retro low-top trainers are from All Saints.
The stacked bracelets, rings and necklaces worn by Pitt in the film are his own pieces, alongside a Breitling watch. (The actor is an ambassador for the Swiss watchmaker.) “We ended up copying some of his personal jewelry for stunts,” Bram says. “I felt it was a cool touchstone, like a thread that connected him to the character.”
In the mix are pieces of Amrit by Sat Hari by jewelry designer/holistic healer Sat Hari Khalsa, who partners with Pitt on his unisex God’s True Cashmere line. (Launched last year at Just One Eye and recently picked up by ex-fiancée Gwyneth Paltrow’s Goop site, the brand’s cashmere shirts, starting at $1,990, feature seven snaps representing the seven chakras. in stones such as emerald, rose quartz, moonstone and tiger’s eye. Earlier this year, the label added joggers and sweatshirts. Just One Eye also offers the furniture collection Pitt-Pollaro, in collaboration with New Jersey furniture maker Frank Pollaro, which debuted in November 2012.)
As for Pitt’s favorite styles from the film, he kept pants and a pea coat, which were made during the R&D phase. “A waxed cotton peacoat we made was so waxy that if it had been a Rick Owens peacoat it would have been amazing!” Bram said. “I was like, ‘Oh my God, you can’t wear that. It’s so heavy and it’s too much for the character. It’s like a couture piece. But he said, ‘It’ is awesome. Can I have it?’ So he kept this wild, crazy, overly waxed pea coat in. He really appreciates all that fabric can do.
In summary, Bram says, “When I think about my impressions of Brad Pitt and designing his character’s clothing, I find it quite amazing that someone who pays so much attention to him is so open. Usually the instinct can be to shut down, and yet it’s so tactile and so open in its own life, trying to connect with the energy, with the aura, with the color, with the art.
Mott – whose relaxed silhouette designs for Pitt on the High-speed train press tower were sewn entirely by hand — describes a similar experience of working with the actor. Says Mott, via email, “We do sequences of pieces around his thinking/feeling about color/cut/garment which he can then combine however he wishes, working both broadly ( i.e. discussing color relationships and then running pieces around that idea) and specifically (he wants a skirt to go with the espresso worker’s jacket). High-speed train [tour] look, he has such a unique and wonderful point of view when designing outfits.
Mott’s collaboration with Pitt went far beyond that famous skirt worn in Berlin, which the actor paired with a matching single-breasted jacket and mauve button-down, worn untucked, also by the designer. (Pitt’s comment to Variety on the skirt look was simply, “We’re all gonna die, so let’s mess it up.”)
Also in Berlin, the actor donned purple linen pants by Mott with a dusty pink zip top. In Paris, Pitt opted for a cantaloupe-hued single-breasted linen blazer and drawstring trousers with a burnt orange henley-style top, as well as the same ensemble in tonal gray-blue. In London, he replicated the look in hunter greens, then browns with a chocolate velvet suit. The grand finale, in Los Angeles on August 1, consisted of a grass green linen suit, a teal polo shirt and yellow and brown Adidas x Gucci sneakers to coordinate with Mott’s signature, colorful contrast stitching.