Laura Mulleavy: Creating costumes for Sing 2 was an 'emotional and uphill battle'

·2-min read
Laura Mulleavy and Kate Mulleavy on designing costumes for Sing 2 credit:Bang Showbiz
Laura Mulleavy and Kate Mulleavy on designing costumes for Sing 2 credit:Bang Showbiz

Laura Mulleavy has said that creating costumes for 'Sing 2' was an "emotional and uphill battle.

The 41-year-old fashion designer - who along with her sister Kate, 42, founded the fashion label Rodarte in 2005 - before turning to filmmaking - designed the costumes for the musical animation and has explained their approach to taking on cartoon fashion.

She said: "I think we approach designing for animation in the same way we approach designing (for our label). Similar to how we worked on' Black Swan' and even our own film 'Woodshock', we took the script and the narrative of the story and said this is how you shape the emotional journey of the character with clothing and to support the performances.

"There’s an emotional uphill battle for all of them, individually and collectively, and what we wanted to do was take their individual stories and personalities and reflect that within the clothes they are wearing for their final performances."

'Sing 2' is set to be released in the UK early next year and sees a cast of animals voiced by the likes of Reese Witherspoon and Scarlett Johansson lend their voices to hits made famous by stars such as Elton John and Billie Eilish.

In a joint interview, Laura's sister Kate went on to compare their work on 'Sing 2' to their designs for Natalie Portman film 'Black Swan', claiming that they both felt "more free" with this movie.

She told The AU Review: "If I compare our work on Black Swan to this, there’s a difference in the physical tangibility of an actor or a dancer having to get into a tutu to perform. There were some interesting things that we did on that (Black Swan) that were more about privileging the viewers eyes. I think in this instance (for Sing 2) we felt a little more free, in the sense that we were trying to make things as real as possible. You’re really aware of the movement. In that sense the costumes have to feel real, but I don’t think you’re limited in the same way. You want them to move correctly."

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