Today: 10 universally flattering white T-shirts

Whitney was interviewed on about the best white tees currently available in stores.


It was amazing. Our costume designer, Whitney Adams is just the best human being in the world. She has incredible style and she put me in things that I was like ‘can I just take this home?’ It was also really fun because not only are we exploring Tree’s wardrobe in a new way, we’re also exploring alternate Tree’s wardrobe. That’s one of the incredible things about what we do: every single person, whether it’s the costume designer, the lighting designer or the set deck, influences the choices that we make
— Jessica Rothe

Happy Death Day 2U Premiere Screening in Los Angeles

I made my own outfit for the event out of Liberty of London french terry fleece!

Visual Hollywood: HAPPY DEATH DAY 2U (2019) Production Notes

Excerpts from the press release blow:

For costume designer Whitney Anne Adams, who is new to the franchise, there was no way that a sequel to Happy Death Day would go into production without her participation. "I saw the first film in the theater and absolutely loved it," she says. "It combined three of my favorite films: Groundhog Day, Clueless and Scream. I'm a sucker for anything having to do with time travel and/or horror, so I jumped at the chance to interview when my agent gave me the script. It's an incredible part two and takes the story in directions I never could have guessed."

From the start, the designer felt fortunate that she and her director were on the same page, finding Landon's "impeccable taste and style" complemented his ability to "make hard decisions quickly." She says: "Chris was an absolute dream. Every time I would present fitting or research photos, we would both end up picking the same one as our favorite."

Rothe was in almost every scene of the first film, but now that Landon has expanded Tree's universe, other actors were able to do some heavy lifting. That said, Rothe worked just as exhaustingly as she did in Happy Death Day. For the designer, the collaboration with the film's lead was an exciting time. "Jess is now one of my favorite people in the whole world," Adams says. "Not only is she an incredibly talented actor, she's so fun and kind; it was a joy getting to spend hours together trying to pick out her many outfits and discuss how Tree would put each outfit together. Everything looks good on her, so it was a challenge to whittle down the choices to our favorites. We get to peek into her closet more this time, and her clothes help show how she is evolving as a person from the beginning of the first film."

A former competitive player, Adams went back to her roots as she designed the competing basketball teams' jerseys. "I came up with a long list of names for the opposing team, and I am so glad Chris chose the Tritons-as that is the mascot for my alma mater, UC San Diego. As a little surprise, I snuck in the last names of many of the crew members on to the backs of the jerseys. I gave Chris No. 1 as our fearless leader and Jason lucky number 13, in honor of Blumhouse's horror background. I also gave the player with my last name on his jersey the number 22, which was both my dad's and my number when we each played in high school.

Not only human performers found themselves the subject of Adams' painstaking attention to detail. "I brought my cat, Xander, with me to New Orleans while we were filming, and I am happy to report that he makes his feature film debut in Happy Death Day 2U in a small moment." She ends: "Keep your eye out for his cameo."


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We recently spoke to costume designer Whitney Anne Adams about Happy Death Day 2U and during that conversation she discussed her work as Brian Tyree Henry’s stylist. For the Emmys, she found Victorian vintage cufflinks bearing his initials, while at the Oscars it was a spiderweb design as a nod to Spider-Man: Into the Spider-Verse. Also on the hardware front, she delivered on the spider theme pin, which goes perfectly with his black velvet Giorgio Armani tux jacket.
— Emma Fraser, SyFy Wire

During this weekend’s 91st annual Oscars ceremony, it wasn’t all about the ladies and their festive red carpet gowns, Hollywood’s best male celebrities –including Stephan James, Billy Porter, Brian Tyree Henry and Jordan Peele— brought the fashion heat, too.
— Avon Dorsey, Essence




Exultant on the red carpet, the actor Brian Tyree Henry remarked a historic first: “Thirty-six black people nominated this year!” Mr. Henry was one of the few male performers to stray from a black-and-white uniform by wearing a colored and figured jacket that looked punishingly to be made of velvet, no picnic on a day when the temperatures in Hollywood topped 80 degrees.
— Guy Trebay, NY Times

***WAA Edit: the jacket was made out of cotton not velvet! Very breathable ;)

The future of this jacket is so bright, the star of Atlanta had to wear shades.
— Marry Sollosi & Seija Rankin, EW



Genre fiends will applaud at the loving close-up of black leather gloves — the ultimate giallo killer signifier — and be tipped off that there may be a few hiccups in Reed’s plan when they realize it’s Jackie who’s wearing them. (Also kudos to costume designer Whitney Adams, who dresses Wasikowska in a elegantly ratty-fur-coat ensemble that’s 100-percent uncut vintage grindhouse chic.)
— David Fear, Rolling Stone

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Collider: Nicolas Pesce on His High-Fashion Horror Romance ‘Piercing’ & Why He Loves the Ambiguous Ending

One of the other elements I love in this movie is that the clothes are incredible. I know it’s kind of a superficial thing… 

PESCE: No, I love the clothes. 

I love fashion and the costume design, and I really like the way you combine fashion and costuming in this. What was the motivation to make that element a part of the film? It’s so damn gorgeous. 

PESCE: My dad is a fashion designer so I grew up with that and he … I always went to work with him and watched him make … he did women’s formal wear, so I was raised in a house with a fashion designer, cared a lot about fashion. As someone who doesn’t like to put that much effort into what I look like, I see movies as an opportunity to get to kind of flex a little bit. Something that I love about so much of Italian cinema is that no matter the story, actors look fucking amazing. So trying to find what would be authentic for these characters but is high fashion and is gonna be iconic. You know, I always think about Richard Gere in American Gigolo, in that suit, and Christian Bale in American Psycho, and that suit. It’s like we need one of those suits for Reed. 

So, the guy who made … Jordan Belfort, who is the real life guy in Wolf of Wall Street, his real life suits, made Reed’s suit.…Then I was in a really big Claude Montana phase and I wanted a Claude Montana dress for Jackie but they are tens of thousands of dollars. 

Bit of a budget breaker. 

PESCE:   Yeah. On an Indie movie you don’t really have the ability to do that, but our costume designer, Whitney Adams, who did the costumes on Eyes of My Mother as well, designed a Claude Montana-esque outfit for Jackie, and then even though I don’t know much about them. So, yeah, so I think that it was a lot about having to do with the artifice but also just like, I like fashion and I wanted to play with it. 

Pesce, along with production designer Alan Lampert, creates a gorgeous tactile world of rich, evocative colours and anonymous spaces (generic hotel rooms, abandoned hallways, uniform city skylines and a large, mostly empty apartment). Whitney Anne Adams’ costumes tie into the mise-en-scene, particularly Jackie’s fluffy fur coat which makes an immediate impression when she arrives at Reed’s cramped hotel room, as does the strategic use of split screens during key sequences to tie the film’s anti-heroes together in different locales.
— Joe Lipsett, Queer. Horror. Movies.

One of the most notable aspects of “Piercing” is its look, which Pesce has obviously taken great pains to construct. Working with production designer Alan Lampert, costumer Whitney Adams and cinematographer Zachary Galler, he’s created a deliberately artificial ambience that extends to the closing credits, where the buildings are obviously decorative models.
— One Guy's Opinion

Of course, life — and death — don’t follow a script, and call girl Jackie (Mia Wasikowska), a disturbed blonde with a Dutch Boy bob, tramples over his plans, and adds a few to-dos of her own. The film is expertly crafted with jewel-toned cinematography, terrifically sleazy saxophone music, and performances by Abbott and Wasikowska that take turns seizing command.
— Amy Nicholson, Variety

The film balances revulsion with allure... Stars Christopher Abbott and Mia Wasikowska go a long way toward keeping this tricky pic balanced, though Pesce’s knowing use of sleazy-seventies vibe (following the distinctive black-and-white spareness of The Eyes of My Mother, his only previous feature) creates the perfect world for them to do it in. ... By the third act we’re in another deliciously art-directed interior (the skyscrapers housing these rooms are miniatures, adding to the pic’s careful unreality), whose luxury furnishings are pointed out to us at every turn.
— John DeFore, The Hollywood Reporter

Magenta hues bathe the opening scene as Reed contemplates infanticide; Jackie’s lipstick runs as red as her flat’s walls. There are the wardrobes, too, Reed’s sharp suits and impeccable hair, Jackie’s blonde bob, slick black dresses, and the fur coat she warehouses herself in—bright colors that mirror the keystones of the giallo aesthetic.
— Andy Crump,

Strikingly styled and playfully retro in its references...the arresting design probably works best on a big screen
— Wendy Ide, Screen Daily

This is a film with its own sense of style and personality right from the outset. Writer/director Nicolas Pesce might be adapting Ryū Murakami’s 1994 novel, but the same distinctive flair that served his first effort, The Eyes of My Mother, so well is also evident here — just in a vastly different manner. Wasikowska particularly shines in a complex role, while the film’s colourful visuals and intoxicating score add to its irresistible allure.
— Sarah Ward, Concrete Playground

What begins as a potentially grisly serial killer film becomes an increasingly demented macabre screwball comedy. With a mix of genres and tones, it takes very assured hands from the cast and crew to walk the tightrope with perfect balance and thankfully, they all pull it off with aplomb.

As expected, director Nicolas Pesce brings his stylistic aesthetic to the film and it brings an enjoyably surreal and dream-like atmosphere, reaching towards a neo-retro sensibility.
— Harris Dang, The Iris

I fell in love with this director’s style in The Eyes of My Mother, which now carries over to Piercing. It’s an awesome looking movie and worth seeing for the visuals alone ... Sexy, brutal, disturbing, Piercing is not one to be missed.
— Adam Patterson, Film Pulse

The film braids horror elements with dark humor, trippy visuals (cinematographer Zachary Galler’s work here is stunning and inventive), a twisted romance, and an inversion of the traditional and tired stalker/victim motif....Decorative aspects of the film instead ... glimpses into the characters through lavish costume and set design.
— Steven Prokopy, Slash Film



Netflix’s newest movie, Irreplaceable You, won’t just pull at your heartstrings because of the plot. You’ll also probably love it considering that it’s a film with a behind-the-scenes crew made up of almost all women — and the director’s reasoning is both simple and majorly important.

Along with director Stephanie Laing, there’s plenty of other women behind the camera: cinematographer Magdalena Górka, composer Lesley Barber, costume designer Whitney Anne Adams, production designer Dara Wishingrad, screenwriter Bess Wohl, art designer Patrice Andrew Davidson, and a number of others.

Stephanie felt that to be able to tell the protagonist’s story authentically, the film had to be produced by those who could truly empathize and relate. “I think there are certain stories that need to be told by women, as there are certain stories that need to be told by men,” she told Bustle. “I think if you’re a filmmaker and a storyteller, if you dive into the material you can tell it authentically, but I do find that for this time right now, in my life I prefer working with women.”
— Teen Vogue

How was the experience of shooting in New York and showing another side of the city that audiences might not be as familiar with?

LAING: I’m so glad you asked that question because that is exactly what we wanted to do. We wanted to showcase that part of New York that’s not the tourist part and that people don’t know. We wanted to show Sam and Abbie’s New York. We filmed mostly in Bushwick and we shot over 19 days, which is insane. It was also really important to me that New York made up the color pallette. New York in the winter is beautiful, so we just went with those colors. That’s why Abbie is wearing that blue coat. There’s Abbie Blue in every frame of the movie, so much so that the props people were like, “How about this in Abbie Blue?” New York definitely created a color pallette for us.



New York Times Critics Pick: A Woman’s Horrific Unraveling in ‘The Eyes of My Mother’
— Jeannette Catsoulis, New York Times

Impeccable art direction by Caroline Keenan Russell and costume design by Whitney Anne Adams, both of these create a cohesive look and give the film a somewhat timeless or period less style as they are from a not clearly identified period yet feel familiar and comfortable.
— Emilie Black, Cinema Crazed

An exquisite waking nightmare, its meticulous monochrome imagery caressing the eye even as the filmmaker brandishes a scalpel before it
— Guy Lodge, Variety

Nicolas Pesce’s stunning, sick-as-fuck debut that quickly establishes itself as a high point of modern art-horror nightmare fodder.
— David Fear, Rolling Stone

This is a film that claws into your subconscious and lingers there. A sick, simmering nightmare of a movie
— Bilge Ebiri, New York Magazine

There’s no denying that Pesce delivers ugliness with uncommon elegance. Movies designed to make audiences feel really bad rarely look so good.
— A. A. Dowd, The A.V. Club

Fusing classic horror ingredients with haunting gothic imagery and expressionistic dread, “The Eyes of My Mother” mashes its gorgeous components into a shockingly original tone poem...when all the cards are on the table, it’s a spectacular view
— Eric Kohn, IndieWire

To describe it all as beautiful may sound odd, but it’s right. The black and white imagery (Zach Kuperstein is the director of photography), the music (with a score by Ariel Loh), the sparseness of the dialogue, the stilted nature of the relationships, and more combine to make a movie which feels beautiful while remaining horrifying.
— Josh Lasser, IGN

And because it’s shot in serene, carefully graded monochrome, the story seems like it could be set anywhere and any time, existing equally in the past, present, and future.
— Alissa Wilkinson, Vox

The film creates extreme beauty out of ugliness
— Tasha Robinson, The Verge

Despite this being Pesce’s film debut, his direction is that of a veteran behind the camera, crafting one of the most visually appealing and haunting films I’ve seen this year. Shot by cinematographer Zach Kuperstein in stark black and white, the film’s lonely forest backdrop only adds to the sheer beauty of nearly every frame of every shot, even those that are more difficult to endure
— Adam Patterson, The Film Pulse

A visual and aural nightmarish feast for those brave enough to partake in it. The Eyes of My Mother is a beautiful nightmare from start to finish.
— Justin Gerber, Consequence of Sound

Shot in black and white, the film is a work or art. Experimental when it needs to be, textbook when called upon, there’s solid direction throughout. Pieces’ gives so much strong composition you could open a successful art house hanging just half the shots
— Joey Click, Fansided

Visually, the film is a masterpiece. Shot entirely in black and white, with carefully composed shots – almost feeling like a total arthouse picture
— Michael Klug, Horror Freak News

The A.V. Club: The Eyes Of My Mother’s Nicolas Pesce on how his family shaped his gruesome debut   

AVC: the film is set in an ambiguous time period. What were you going for with that?

NP: I think that I wanted to be ambiguous, and the only clue as to when it takes place is the cars that are in the parking lot of the bar, and the way that Kimiko is dressed.

AVC: Her jean jacket did make me go, “Ohhh.” I thought the story was set in the ’50s until I saw that jacket.

NP: I’d say that sequence is 1988, and then you can backtrack from there.

AVC: It does span decades.

NP: Yeah. In my opinion, it goes from late ’60s to early ’90s. And the cues are really just the bars. That’s the only thing that gives you a sense of when and where you are. I liked that, in this movie, where [an audience member] is like, “This is the ’50s or ’60s,” and all of a sudden there’s this girl who looks like she watches Beverly Hills, 90210. And it’s like, “Whoa, wait a second, where are we?” This isn’t as far off as you thought it was.


The Eyes of My Mother gets B&W treatment (Post Magazine)

The film was digitally captured by Kuperstein in color and converted to black & white during post production processing at Technicolor PostWorks. Kuperstein notes that planning for that conversion began early on and involved nearly every aspect of production. “A lot of our work with production designer, Sam Hensen, and costume designer, Whitney Adams, was focused on creating color contrast in the design elements so they could be easily separated when we got to the DI,” he recalls. “We captured all of the color information on set, viewing the image with a simple black and white LUT, with the intention of grabbing those distinct colors and adjusting their brightness values in post.”

“Sam was able to isolate the unusually saturated colors, such as a bright orange couch or the green line's in Francisca's dress, and make them stand apart,” adds Kuperstein.  “This added a kind of texture and contrast that would not have otherwise been possible.  The approach is akin to using a yellow filter on B&W negative to darken a sky.”



Whitney Adams’ costumes hit the mark. The opening scenes bring dancers dressed in black, white and gray, with a current-day mélange of sports jerseys, sweatshirts and legwarmers. The journey to 1984 is replete with acid washed jeans, sweatbands and blue jean vests.
— Lynn Trenning, Charlotte Observer

Other moments were simply sweet, like the snow waltz with the group of youths, now all in white, tumbling and churning as the coolest snowflakes ever.
— Wendy Liberatore, The Daily Gazette

There is a Drosselmeyer (Taeko Koji), a magician with a cape, a plume of black and hot-pink hair and a gift for telekinesis... the ensemble climaxes, with everyone windmilling on their backs, are as exciting as their balletic equivalents, and the hip-hop vocabulary, robot staccato or bravura with Russian borrowings, works even better for toys, the battle and several of the national divertissements ... there are touches of poetry, as when the Snowflakes slide on their backs to suggest a surface of ice ... it’s a gift to Upper Manhattan
— Brian Seibert, The New York Times

With a fresh look at a beloved classic, the Hip Hop Nutcracker is sure to become a tradition of its own for many in the years to come.
— Katie Fraser, CBS Minnesota



The felicitous costumes by Judith Dolan and Whitney Anne Adams add to the expert impersonations
— Aileen Jacobson, The New York Times

Clothes do play a part in the olio of a script, for Carr is ever the fop, lovingly describing in detail even what he wore in the Great War before he was sidelined with injuries. And the costumes, designed by Judith Dolan and Whitney Anne Adams, are rich and fabulous, even when they are splitting apart. And yes, some do.
— Lorraine Dusky, 27 East

The feel of the time period was aided by the historical costuming of Judith Dolan and Whitney Adams
— Kristen Weyer, NY Theatre Guide



With lovely costumes by Whitney Anne Adams
— Aileen Jacobson, The New York Times

Vibrant costumes by Whitney Anne Adams and clever sets by Heather Wolensky also add a unique flair to the show.
— Emily Toy, The Independent

Even the scene changes are beautifully done, with stagehands dressed as English maids and servants. All these small details help to make the evening such a winning one ... and the costumes, designed by Whitney Anne Adams, capture the period perfectly as well.
— T. E. McMorrow, The Independent



Lenz’s design team has the difficult task of creating new work while still paying homage to the iconic original designs which have been seen by millions of theatergoers around the world, and they all succeed tremendously. The costumes by Whitney Adams appropriately run the gamut from drab and shabby to tailored and luxurious
— Jeff Davis, Broadway World Austin

A production as strong as this one obviously owes so much to Matt Lenz for his vision and direction, as well as the talented team that supported this production: Allen Robertson (musical director), Greg Graham (choreography), Cliff Simon (scenic design), and Whitney Adams (costumes).
— Joan Baker, Austin Entertainment Weekly