'The Studio’s' Playbook For Dressing For the Job You Want
Fashion
Costume designer Kameron Lennox breaks down Chase Sui Wonder’s pivotal Emmy Award-winning looks for the show’s finale.
Chase Sui Wonders and Ike Barinholtz in "The Studio." Courtesy of Apple TV+.
In the penultimate episode of “The Studio,” Seth Rogen’s spoofy love letter to Hollywood, the Continental Studios executive team — led by his character, the well-meaning, but deeply insecure Matt Remick — heads to Las Vegas to unveil their upcoming blockbuster slate. On the company private jet, his former assistant Quinn (Chase Sui-Wonders) announces a career milestone to her senior level colleagues.
“I got my first movie greenlit: a Coralie Fargeat body horror,” she says, beaming in her signature ensemble: a 1970s rust-hued button-up by Clochard, a matching vintage paisley-print tie, and a Dries Van Noten houndstooth blazer. Except, for the first time this season, the ambitious young creative executive isn’t clad in her usual no-nonsense trousers. Instead, she’s sporting an adorable white Gucci pleated miniskirt. “It's a big step for her,” says costume designer Kameron Lennox, who received her second Emmy win for “The Studio,” following her first nod for Rogen’s “Pam & Tommy” in 2022.
In the series premiere, newly-appointed studio boss Matt finally elevates Quinn to a creative executive title. She’s been dressing for the next promotion she wants in her version of a power suit: wide ties, crisp shirts, collegiate knit vests, and high-waisted trousers harking to the golden days of Hollywood.
“She was always trying to prove herself. She didn't want to be seen as ‘a secretary.’ She wanted to be seen as one of the executives, and as someone who has a lot to say,” says Lennox. “ [Sui-Wonders and I] talked about always showing that Quinn was ‘one of the boys,’ so, she wouldn't wear skirts in the office.’”
Fittingly for such a meta show, Lennox referenced cinematic classics for Quinn’s professional wardrobe to telegraph her determination and drive. Quinn’s refined neckerchiefs speak to Cybill Shepherd’s campaign worker, Betsy, from Martin Scorsese's 1976 film, “Taxi Driver.” Late-‘60s Catherine Deneuve, clad in elegantly glam Yves Saint Laurent, populated her inspiration mood board. For Quinn’s mix of vintage with contemporary designer pieces, Lennox nodded toward the ethos of John Hughes’ 1986 movie, “Pretty in Pink.”. The costume designer also took inspiration from the menswear-referential style and bold spirit of ‘70s feminist icon Shere Hite, as well as her own grandmother, Stevie (née Rose), an independent-thinking, ‘50s-era pantsuit pioneer.
By the time Quinn hits CinemaCon in Vegas, she’s officially in the club. The cinephile — who scoffed at “Mannequin” and ‘80s movies in Matt’s “childhood VHS collection” — happily shares that she has actually seen the definitive 1996 bro flick, “Swingers.” “You’re so money, you don’t even know it Quinn!” exclaims her former rival, the slick, but lovable studio exec, Sal Saperstein (Ike Barinholtz).
“She's starting to feel like herself. She's like, ‘I've got this film greenlit. I'm finally in with them,” says Lennox. “She's stepping into who she is [with the skirt debut], and feeling confident in herself.”
As Quinn assuredly enters the opulent Venetian casino alongside her bosses, she mirrors Matt through the rust and brown tones of her outfit and overall vintage vibe.“She does mimic him in a lot of ways. She sees strength in it, so I wanted her to be the younger, female version of Matt,” says Lennox, who also connected Matt with his predecessor and mentor, Patty (Catherine O’Hara), gleaming in a lustrous gold outfit by Zimmerman. “I wanted them to feel like they were in this family hierarchy.”
Later, Quinn changes into a more playful, but still polished ensemble: a Miu Miu Prince of Wales-check dress, with pleats and a half-zip, layered over a white shirt and tie. She joins the Continental top execs to host a celebrity-filled, CinemaCon pre-game bash that inevitably goes awry — thanks to Matt and his “old school Hollywood buffet” of psychedelics-packed sweets. “Everyone's gonna dress up,” says Lennox. “And what happens in Vegas stays in Vegas.”
In another multi-layered wink to Hollywood for Quinn, Lennox referenced Robert De Niro’s mobbed-up casino head, Sam “Ace” Rothstein, in the 1996 movie “Casino” — directed by Emmy-nominated “The Studio” guest star, Martin Scorsese.
“All the little Easter eggs. I just love that film. [De Niro] always wore the monochromatic shirt and tie,” says Lennox, who custom-built Quinn’s stark white button-up, with exaggerated collar, French cuffs, and matching tie. “We put it together, and it felt very business, but fun, and added these stacked-heel gold Gucci loafers to go with it.”
Quinn’s jaunty dress outfit takes her into the triumphant finale and marks a satisfying and successful endpoint for her professional journey — for now, that is, as we await season two. What will the creative exec wear to the Oscars after “The Substance” — the film she had greenlit at the top of episode nine — earns five nominations?! “I don't have any hints,” says Lennox. “But when people start from the bottom and move up so quickly, I can only imagine what's going to happen next.”
