This is Chris Peterson.

Hi, this is Sandy Powell and wear the costume designers for the Irish.

We want to spend some time taking you through the Irishman decade by decade.

This is notes on the scene during a film like this.

It was so huge.

There were so many costumes to actually do.

There wasn't time doing drawings and you do a drawing if you're trying to work something out that's being made.

But in this particular case on this film, we worked out what they were wearing by trying things on.

You're actually working three d really to get it done.

It's crazy, but I never understood how they just keep digging their own graves, you know, Let me stop.

So this is Robert DeNiro as Frank Sheeran at his youngest in the film, The rial guy.

Frank Sheeran was with much bigger than Robert Niro.

But there was no way we were gonna make Robert De Niro actually six foot four.

And so to help Bob, you know, he had some lifts in his shoes sometimes and then also the sort of build up his shoulders a little bit to make it broader than he actually is especially in the in the youngest scenes yet.

Yeah, just writing that squared shoulders.

He looks slim and taller, but he's not necessarily going to look like your average 25 years.

He's been at war for several years, and he's been through all kinds of trauma.

You know, he was at this point.

It was like a fighting machine.

He spent something like 412 days on the battlefield of Anzio, so he was not to be messed with, which sort of sets up what's to come in.

The film 19 fifties are really where the story takes off was a problem, kid.

I know it's funny that stops and starts loses power.

I think this is a really typical look for the fifties with Russell Bufalino wearing this gabardine jacket.

Usually he's very smartly dressed, his casual, but it's still really smart and very typical of the period on dhe.

It's the first appearance really over old tie that we used a lot on this character, and the boldest ties are sort of most typical of the forties into the 50 and later on you'll see that the Thai silhouette start narrowing anything.

No tithe, fifties that shoulders broadened out and you got a little bit box here a little bit longer than the forties.

Because all of the the forties suits and silhouettes on men they were much more abbreviated because of the war and fabric rationing and just the style of the time.

But when some everybody came home, there's a bit more money, and everyone went a bit more adventurous with how much they spend on clothing To the look for Frank here is his very sort of typical teams.

To look is a leather jacket that a young man of his age in this period would be wearing, especially somebody who does a job driving around all day on the cap.

Also, it was very typical of a sort of team.

You should instagram that people don't appreciate what you did.

Families, kids, living those jobs.

This is the first time that Frank comes to the Village aroma the first time he's introduced to these other characters that are around on.

What's what's important here is the Harvey Keitel character, Angela Bruno, who really is of everybody in the room, the sharpest dresser really think he's kind of the oldest.

He's been around and he knows how to dress.

Then the skinny razor was always sort of very Nathalie dressed.

This is sort of the earlier end of the fifties, and as we go through the fifties, you see how the silhouette changes as it heads towards the sixties.

So although the 50 starts out with a wide lapel for the guys in a wider tire, and as it gets through the decade for that, for the younger characters, the lapels go more narrow and so do the ties to sort of fit with the proportions of the suit.

It's like the women, which echoes all of that.

The skirts are wider, there's just there's more volume in them, and it's scary.

And I guess you get smaller.

Everything gets smaller.

Andi, Meter towards the end of 50 says.

We go into the sixties.

Just wanna draw hearts because the bottom of the morning bone, huh?

Santana developed this capital collar, which is a long spear point called very typical of these men from the fifties.

And it's a memory from my Marty's childhood.

This caller was sort of an exaggerated thing that kind of made men war, and you saw this collar, and you understood that he was somebody not to be messed with because it was a slight exaggeration.

And it appears in other films.

Except the cholera is even more exaggerated in other films that Marty is known for, such as Goodfellas and Casino.

But in this particular case, Marty wanted these guys to be less obvious and less dandified as the others.

This is Frank in a suit, not at his sort of finest just yet.

His jacket is a regular fifties jacket that would have been off the peg at this point.

That was his best suit, but he would have wanted to go to meet Russell Buff Alina.

His collar here is not as exaggerated as a cz Russell, because he hasn't actually graduated that level yet.

The show it's not just a plain white shirt is a kind of like a jacket.

It's a pale gray, isn't it?

With with a jack are printed.

Little time, the tie pins.

I mean, we had a lot of typing to deal with.

This was our only way of really providing embellishment or decoration on these guys were sort of tie pins, clips and cufflinks.

Dover this'll one is right at the beginning of the sixties in 1961.

All these guys that absurd, Great.

It was such a uniform.

There are younger guys, but again, they're not fashionable now.

There would have been some very fashionable young men around during this time who had had longer hair, which these guys don't have it the moment.

And they're all wearing these pleated trousers, which really starts to disappear on men of this age in the 19 sixties.

Flat front, these guys are still wearing a fairly sort of full there pleated pants and then all of these.

These camp shirts, all of this shape is quite voluminous, which was echo from the fifties.

You know that shape that what's nice about this scene is that it's set in Miami in the summer.

So it was R really only opportunity to get a bit lighter in tone and color.

Things like Collins, R R.

Was indicative of a period by the mustard yellows like here, I think, is you know, this guy here is pretty sixties.

There was an awful lot of research material available to us of actual events that really happened, including documentary footage of Coffer in particular.

Not so much fracture, and we just had a sort of family photographs.

But we have many folk across the groups of men like these.

In the thing that we can see, there's nothing necessarily summing up archetypal sixes.

But none of these guys are particularly fashionable.

They're just ordinary guys.

So they're in pretty ordinary clothes that they may well have had for several years.

They all kind of like to do the same thing.

And this whole the whole reason they're holding this convention in Miami at the jovial hotel.

I mean, it was a reason to take their wives on vacation, living in the best of health.

We love you.

He's not being protected bythe Bruno family, and he has become Hoffa's body guards that he's sort of a made man.

And then we've moved now into, you know, this this very skinny tie.

Look at that.

Come on.

Yeah, pretty good time.

I think he exudes more of a sort of a confidence here that might not have been before.

Kind of like good clothes do to you.

Don't you know?

You're wearing something fabulous and you feel good.

So you you kind of have a different aura.

People treat me differently as well.

Here.

Russell is still sort of wearing his fifties look a little bit with a large pattern, along with his brother Bold Christmas cardigan, and it's another good example of his character for ties.

Accept.

His tie is still a little bit fifties.

It's a wider tie than Frank's wearing because Frank's, a younger man, said He's got a more contemporary now.

Time I heard you like to escape.

What do you say?

I kind of got the feeling in this scene that Russell's wearing his Christmas look under duress.

Think so?

Klaus left you a little something extra.

We're back in Miami again, although this time 10 years later than we were before, Papa is having a meeting with Tony Pro was late.

Very importantly, tonally again were much lighter tones, softer colors like the last time you were in Miami, which is nice.

It was just always a relief to have a change from the dark, somber looking suit.

The only time you do is when, when you want to say so.

I know when you want to see you.

It's the only game Stephen Graham, Miss Fearless he will wear anything.

Okay, so this is Stephen Graham and probably the most talked about in the film.

He's allegedly So many people have asked me if this outfit was in the script or if it's something that we just dreamed up, So should we wait?

Obviously, it was written in the script that Tony Pro is wearing shorts because obviously, as we see half against very upset about that, but it didn't describe what kind of shorts and then the script was written before we knew who was gonna be paying to Road Road.

So then we get Stephen Graham, who's fantastic on, and what we did was we just got about 100 pairs of shorts, 100 different shirts on DDE had a session where we tried on lots of different short lots of pictures in various combinations.

On we hit this one sort of fairly early on, actually on kind of knew that it was right.

It was just the two.

The shirt went with with it with the pants, and then a later point, we found the fabulous white Gucci shoes.

It came together, and of course, once we tried on all of this thing.

We really mean.

We chose the boldest, I think.

Yeah, right.

Yeah.

Leave this weather, Frank, huh?

25 degrees outside.

Harper is wearing off, you know?

Always wears a suit.

He's pretty well turned out all the time, But this is that this is sort of a more of a casual looking super him, Even though he's wearing a suit, it's a meeting.

It's hard, but he's still wearing a suit and he's actually still wearing a tie.

But it's just a lighter tone for him.

At this point, we've, you know, we're in the middle of the 70 so we've moved into, you know, that polyester fabric in the suit and the much waiting time, much wider lapel like this.

It was before we had a, you know, a narrow repel like that.

And then, you know, to go with the wider lapel on the jacket we get.

The tie gets much wider as well.

Yeah, what?

This summer people are freezing to death in New York.

It's summer.

We found the perfect shirt that was a vintage shirt, but because immediately after this moment there is a scuffle, a fight on the floor.

We had tea make more than one because we had to do one for stunt double even though we didn't use a standard way.

He did his own stunts.

Yeah, he wouldn't way had to.

Do we have to make multiples?

So we have to re create this show.

So we had to copy the print of the shirt, did digital prints to replicate exactly and then made multiples on the same with the shorts.

I think it's quite funny that he's wearing it like open right down to here so we can see his chest.

So it's kind of even more disrespectful and anything that is decided like this.

The actor has to feel comfortable.

I might've been his idea.

We would have to agree, and then equally Marty would have something to say.

Think if he disagreed, But I think this was one of the looks he really loved.

Some classes are fabulous again.

It's another sort of sign of his disrespect that he's not even taken his sunglasses off in the rooms.

Where is looking?

See on the table?

Wonderful cause until he leans into the light, you can't quite see what's going on with his eyes.

I'm just quite nice, really, And it was traffic traffic, I think.

Frank Sharon Appreciation Night was dinner that actually happened at the Latin Casino in Philadelphia to honor Frank, because at this point he was a Teamster leader, president of the local.

We're right in the middle of it.

There were hundreds of extras in this scene was all sat down for the dinner on.

This is the only opportunity to do an evening with.

So in a way, it's kind of the most glamorous scene.

It's the most dressed up done up.

So we had women without hairdos and sparkly dresses on men, all dressed up rather smartly.

This'll was our one moment a glamour in the entire film, really, and glitter and glitter.

This and sparkles is actual spark going on here.

They were meant to be the gold diggers because the gold diggers were there at the actual Frank Sheeran Appreciation night, backing up Jerry Vale, a very popular singer.

From the time again, there was a lot of research about what these women wore on DSO.

Sandy and I did an amalgam of a bunch of different outfits and came up with the lovely white cat suits We wanted to have something with movement that we have.

You know, fringing would be great on this fringing.

Actually, that sparkles.

And it's sort of like crystal.

But plastic is actually made from those sort of fringe curtain things that get you put in doorways, cut up into strips and then and then attached to the brows of the girls.

There was one point in our work room where there were, I think, about 12 people sitting around to different table hand individually, putting each one of these crystals in the center of the daisies.

This is just all bare skin here, but it looks sometimes, like maybe there's a fabric that, but it's just the fringing dropping off the edge of the bra seventies wherever there were a lot of secrets, a lot of sparkle, but I think you know, for evening wear in particular I mean, I think you get a bit of glitter, whatever period you're in.