Styling a Professor in Need: Meet the Designer of Julia Roberts’ Looks in Luca Guadagnino’s Latest Film

In Luca Guadagnino’s latest psychological thriller, *After the Hunt*, Julia Roberts portrays a Yale professor who faces a moral dilemma when a talented student accuses a faculty member of sexual assault.

Each scene is layered with tension, as Roberts shares the screen with Ayo Edebiri and Andrew Garfield, who depict the accuser and accused, respectively. The film’s dialogue is as sharp as the characters’ wardrobes, which play an essential role in highlighting complex power dynamics.

*After the Hunt* marks a new chapter for Guadagnino, venturing into more challenging territory while retaining his signature emphasis on the aesthetics of costume design. Costume designer Giulia Piersanti crafts garments that delve into the characters’ complexities, transforming attire into a narrative device.

Playing the role of Alma, academic professor Julia Roberts has a smart, cream-colored wardrobe, while her husband (played by Michael Stuhlbarg) and colleague (Chloë Sevigny) wear more relaxed clothing.

Roberts’ character, Alma Imhoff, showcases a sophisticated wardrobe filled with tailored cream-colored pieces from luxury brands like The Row, Celine, and Lemaire, along with occasional vintage finds from Ralph Lauren and L.L. Bean. This aesthetic is echoed in Edebiri’s character, Maggie Price, who dons outfits by emerging designer Grace Wales Bonner. The choice of attire subtly underscores Maggie’s desire for Alma’s approval.

Star pupil Maggie (played by Ayo Edebiri) often mimics Alma’s style, hinting at her underlying intentions.

In a recent interview at the Venice Film Festival, Piersanti discussed her design approach, emphasizing the importance of distinct styling for different characters. “If you notice the women in the film, they all wear similar items: blazers, button-downs; it’s very academic. But Alma is the chicer contemporary version, while Maggie’s looks are younger,” she explained.

Paris Runways vs. the Big Screen

Piersanti, who grew up between Rome and Paris, moved to Los Angeles and then New York to study at Parsons’ Design School of Fashion. At 20, she joined Miu Miu, setting the stage for a career that would see her collaborate with high-profile brands and filmmakers.

Now the head of knitwear for Celine, Piersanti also embraces costume design, blending her experiences in both realms. “Fashion and film require thoughtful consideration and empathetic observation of how people express themselves through clothing,” she noted.

Alma and fellow faculty member Hank (played by Andrew Garfield) display a complex dynamic throughout the film.

Piersanti’s collaboration with Guadagnino dates back to 2015, beginning with *A Bigger Splash*. Initially apprehensive about the responsibilities of costume design for film, she quickly ramped up her efforts to match the project’s demands.

The film ‘A Bigger Splash,’ featuring Tilda Swinton, marked the start of Giulia Piersanti’s collaboration with Guadagnino.

The success of *A Bigger Splash* not only solidified Piersanti’s role in costume design but also paved the way for her contributions to Guadagnino’s other notable films, including *Call Me by Your Name* and *Suspiria*.

Maggie and Alma’s interactions become increasingly confrontational as the story progresses.

As Guadagnino’s latest film navigates the complexities of the post-#MeToo landscape, Piersanti’s designs serve to enhance the narrative without overshadowing it. “Creating looks for movies and designing for fashion are two very different things,” she remarked, noting the balance between historical context and forward-looking aesthetics.

Piersanti’s nuanced approach ensures that the clothing choices resonate with the characters’ psychology, elevating the film’s themes of power and accountability. Each wardrobe decision reflects deeper meanings and character dynamics, making fashion an integral part of storytelling.

Subtle Choices That Speak Volumes

Set against the backdrop of social justice debates, *After the Hunt* diverges from Guadagnino’s previous explorations of intimacy and romance, focusing instead on power dynamics and societal optics.

Alma’s psychologist husband serves as her confidante throughout the film.

Piersanti emphasized her creative process by using the script as a foundation, together with insights from Guadagnino about the characters. She engages in extensive visual research that informs her costume designs, allowing actors to embody their roles effectively.

For *After the Hunt,* Piersanti drew visual inspiration from the past, including the film *Another Woman,* to establish an “upper-class chic” aesthetic for the characters, avoiding soft fabrics to create a sense of angularity.

The result? A wardrobe filled with blazers, trousers, and loafers, encapsulating the characters’ complexities while allowing for subtler expressions of personality through fashion.

Piersanti believes that fashion decisions reflect unconscious human choices, enhancing her designs for both cinematic characters and real-world consumers. “Everyone makes choices, whether consciously or subconsciously,” she stated. Understanding this is key to creating costumes that resonate with both the audience and the storyline.