Queen & Slim: How Black Panthers, Diahann Carroll Inspired the Film’s Designer Costumes
Costume designer Shiona L. Turini walks us through the film’s sleek sartorial choices, from Slim’s custom red tracksuit to Queen’s Brother Vellies boots.
BY YOHANA DESTA
costume designer Shiona Turini on the set of Queen & Slim.
BY LELANIE FOSTER/UNIVERSAL.
In Queen & Slim, the sweeping road movie thriller directed by Melina Matsoukas and written by Lena Waithe, the costumes are culled from a world of rich cultural sources. The revolutionary Black Panthers, blaxploitation movies, and Diahann Carroll were all used as reference points by designers like Kerby Jean-Raymond of Pyer Moss, Dapper Dan,and Aurora James of Brother Vellies, all of whom contributed looks to the film about a young black couple (Daniel Kaluuya and Jodie Turner-Smith) who go on the run after killing a racist, jumpy police officer. The end result is a film that is equal parts thought-provoking and impossibly stylish, a sartorial vision funneled through the eye of one specific person: costume designer Shiona L. Turini.
Queen & Slim is a first feature for many involved: It’s Matsoukas’s debut as a feature director (she rose to fame after helming sleek music videos for the likes of Beyoncé and Snoop Dogg); it’s Waithe’s first feature screenplay; it’s Turner-Smith’s first time carrying a film. It’s also Turini’s first time costuming a movie. The designer, a former editorial stylist and director who worked at magazines like Cosmopolitan and W, first turned to the screen after a chance meeting with Matsoukas.
“We met on a camping trip in Joshua Tree for one New Year’s Eve and we really just hit it off,” Turini tells Vanity Fair. “We work very similarly, we’re the same age. It was a very instant connection.”
By that point, Matsoukas was already an established music video director (she first worked with Beyoncé in 2007), but Turini had no clue about her friend’s status in the industry. She only realized later when she was making a professional website and asked to see Matsoukas’s site; the director didn’t have one, but pointed her in the direction of her management team, who had catalogued her work thus far.