Since Insecure premiered in 2016, it’s been praised for it’s cool and mostly accessible clothing, showcasing a prominent black design aesthetic throughout its costumes and styling. For Insecure creator and star Issa Rae it’s been essential to tap black design talent to reflect said blackness through the power of fashion. Last season, the show enlisted stylist Shiona Turini (who has worked closely with Rae in the past) as costume designer, and she’s back at it again for season four.
Coming off the heels of Queen and Slim (which earned her a Costume Designer’s Guild Award nomination), Turini’s process for creating wardrobes for characters on film and television are similar in the way that they both require collaboration from directors and actors alike. “Shiona is a genius,” Yvonne Orji, who plays Molly on Insecure proclaimed to me over email. “You see the changes in all of our characters' wardrobe as we go through different evolutions. It’s always great when you can work with someone who has a very specific point of view and is also looking to the performer or the artist to make sure that their points of view are in alignment. She’s dope.”
Turini has seized a unique opportunity: tapping into the style zeitgeist of Black Millenials on-screen and developing it amid various stages of the character’s professional, and emotional worlds. Though the show features an almost all-Black cast most of the themes and situations are universal, lending the opportunity to appease and reflect all audiences. On the other hand, Turini methodically situated smaller, more nuanced aspects of Black culture within certain wardrobe decisions. “Tiffany’s baby wears a ‘Future AKA’ hat which anyone who went to a black college will immediately spot,” she says. “For those who do not get the reference, it ushers in the opportunity for the audience to explore so much more beyond the show.”
In episode 2 of this season Issa, Molly (Yvonne Orji), Kelli (Natasha Rothwell), and Tiffany (Amanda Seales) celebrate Halloween dressed as characters from cult Black films. In true Kelli fashion, she opts for the campiest, most adventurous costume of them all--Nisi from the 1997 film B.A.P.S.. “ When I saw myself fully decked out for the first time, I was gobsmacked by the accuracy and overwhelmed by how friggin' hot I felt. That's what I love about Shiona–– she always takes great care to ensure that I feel good and look good. As a plus-size actor, that level of time and attention isn't always given to us. That's one of the many reasons Shiona is so special,” says Rothwell.
Teen Vogue spoke with Shiona Turini about costume design, Black designers, and her favorite season four looks
Teen Vogue: How does your process in styling for television differ from how you approach styling for a film?
Shiona Turini: My process for styling for TV and film are very similar. Through both mediums, I am working adjacent to dialogue and a character’s background to tell each character's stories sartorially. In film, however, I have the opportunity to see the character's entire journey and evolution from the beginning to the end because you are working off of one complete script. I can plan costumes and costume changes for the entire project from the very beginning.
For an ongoing series, that journey can happen a lot more subtly, and the characters can change from season to season. There is more time and space to communicate who each character is, so in a way it’s a different type of complexity. From a scheduling standpoint, though, a series is a lot more hectic. We are shooting a new episode every few days, and while we do large pulls and shopping sessions at the start of the season, we still have to shop and fit actors almost daily. There is a new script to work on every week, and a new director to collaborate with so the pace and process is nonstop.
TV: Sartorially speaking, how does character development happen?
ST: We have a cast of black women with buying power growing into themselves and their careers. So their wardrobes are changing to fit their needs and reflect their personal evolution. I've tried to illustrate this by refining the silhouettes and, for Issa, especially, working with more audacious prints. Just as we dress with our personal and professional goals in mind, so do they. We see a big transformation in Issa's goals this season, and with that comes a much more tailored, intentional wardrobe. She is ‘leveling up,’ starting her own business and making new friends, so she wants to reflect this new chapter of her life with more “grown-up” clothing.
For Molly, color is a crucial indicator of her ambition. She is very keen to stand out in the workplace so I reflect that in her wardrobe by using a lot of bold colors in monochromatic looks that we may not typically see in law offices/ For her off hours, I slip an intentional label in to demonstrate that she can dabble in luxury, as many black women do. This season Molly has a new relationship so we got to play around with a lot of date night options for her, and thinking about how this character would dress when she is trying to impress a man.
TV: Compared to the other characters, Issa has a quirky, more eclectic sense of dress, but it fits in harmoniously with the other characters. What are some ways that you create harmony on screen?
ST: I honestly didn’t realize how important and challenging it is to achieve harmony on-screen until I started working in costume design. The color palette is vital in creating cohesive ensemble looks. For example, Issa's character is compatible with rusts and neutrals, so anyone adjacent in a scene wears complementary colors. When it’s just Issa and Molly it’s a bit easier. Issa typically has a print, Molly has a solid, Issa embraces earth tones and Molly in bold brights. With the introduction of Condola I had to think about how she would differ from all of the other girls, but still have a style that Issa would relate to or aspire towards. I keep Condola in black and white and inject prints that I think Issa’s character may admire--a graphic print or a polka dot. I'm also always conscious of the story that a silhouette can tell—a mix is more compelling.
TV: Do you collaborate with Issa for any of her looks on the show? How involved is she (or any of the main cast) in that process?
ST: Issa and the team have developed each character so thoroughly that working off of the script itself is a detailed collaboration. I am largely entrusted with the costume decisions for the show, but there is an approval process for each look, which Issa leads. Sometimes there are about eight people weighing in, and I’m not going to lie, it can get pretty intense. Sometimes I’ll think I’ve created a great “lewk,” and Issa or one of the EP’s [executive producers] just isn’t feeling it. To quote Erykah Badu “I’m an artist and I’m sensitive about my shit” [laughs]. But like everything in life, you gotta pick your battles. So I have to decide what’s worth fighting for, what I can compromise on, and also where I need to make sacrifices in the name of what’s best for the character and story.
TV: How important is it for you to source black designers and brands for a show like Insecure, that depicts modern black life?
ST: Not only is it important to me to buy from and support the network of black and, often, independent designers in the industry, but it's also equally important to our characters. They're 'just like us'—diligent, mindful shoppers who are knowledgeable about the importance of supporting black-owned businesses. The show is a reflection of how young, black people move through the world—including thinking critically about ethical consumption.
TV: Issa's graphic tees are definitely a standout on the show--they center black culture, pride, and humor. How did those become a staple for her character? What are some of your favorite t-shirt brands to feature?
ST: Issa's graphic tees are an indispensable part of her character. That element of her personality was established prior to my tenure as costume designer, so I can’t fully take credit, but what I love about her tees is that without any verbal cues, we can align Issa with social, cultural and political movements of the past and present. She knows and is willing to be a mouthpiece for Black history. Plus, we can infer a lot about her life from them—that she's pulling up at meaningful marches, concerts, and town hall meetings to support what’s important to her, and grabbing that free merch becomes part of her ritual. The selection process for these are always super special, and I prefer to source vintage tees with a context. They serve as an ode to the community.
TV: What are some of your favorite t-shirt brands to feature?
TV: Blk Market Vintage, especially, is an amazing resource. Kiyanna Stewart and Jannah Hand started their business sourcing black cultural artifacts across the nation in 2014. They always have a great find that will make Issa's tee moments impactful. In episode 3, Issa wears a truly iconic t-shirt from No Sesso. I can’t wait to see it on camera.
TV: Why do you think Issa's tees resonate so much with the viewers?
ST: Issa's tees resonate with our viewers because they place her in a socio-political context, and the sentiments displayed often align her with the viewership ideals. They serve as another layer of authenticity for her character. Utilizing timely slang and kiki-ing about the correct topics are indicators of how in-touch she is with the culture, but to see that she is aware of historical touch-points and, sometimes, niche cultural topics makes her believable. The first look we see on Issa in Episode 1 is a ‘Slauson’ t-shirt from The Marathon Clothing store. We wanted to pay tribute to Nipsey Hussle, an icon globally but especially in LA, who did so much for the culture and was a leader in our community. I think small touches like this remind our viewers that we are truly creating content that is for us, by us.
TV: How does it feel to know that audiences are enthusiastic about the work that you're putting out? Fans of the show are always in discussion about how great the styling is and are even figuring out where they can purchase different pieces.
ST: I feel a great deal of responsibility being a part of this show. It's a cultural fixture that I know this generation will be referencing for years, so every placement, color, and shape is carefully considered. Overall, I'm really excited that our viewers are engaging with the clothing and connecting with the characters on multiple levels.
