What we put on our bodies can shape our mood as our day progresses. Sometimes we dress to impress, but, for some of us, we use clothing to hide. Think about the many times we’ve see a con artist grab a jacket off of a chair to evade the authorities chasing him. Do criminals like to think of clothing as another skin they place on top to hide their treachery? Ripley costume designers Gianni Casalnuovo and Maurizio Millenotti not only had to give Tom Ripley an entirely different look for Steven Zaillion’s latest series, but they had to get into the mind of the trickster to stay one step ahead of the police.
The closest comparison this version of Patricia Highsmith’s novel is the 1999 Anthony Minghella film where Ripley sneaks around colorful Italy. The passionate reds, golds, and blacks illuminate the ultimate vacation hotspot. Cinematographer Robert Elswit’s stunning cinematography gives the show an entirely different feeling, as if we are in Ripley’s mind. Casalnuovo and Millenotti did not feel limited by this.
“While the initial concept of black and white costumes presented a challenge, it ultimately proved to be a perfect canvas for portraying Tom Ripley’s complexities,” they say. “Black and white wasn’t a limitation, but an opportunity. By focusing on textures and silhouettes, we were able to portray Tom’s moral ambiguity and the complexities that fuel his conniving nature. The costumes became shades of gray, reflecting the character himself.”
I couldn’t help but think of Tom’s coats as snakeskin. He wears a beat-up leather coat on his travels to Italy, but then he wears lighter outerwear as the season progresses. We see this first jacket pop back up in key scenes like when he is on the telephone about the boat or when he meets up with Marge at the café. Do sociopaths find comfort in the clothes that they wear?
“That’s a great observation,” says the duo. “Tom’s jackets worn leather one feels like a security blanket, reappearing when he’s unsure. While he adopts Dickie’s lighter outerwear, the old jacket hints at his incomplete
transformation. It likely brings comfort and familiarity in uncertain moments. This use of clothing
adds depth to Tom’s character!”
Marge’s clothes have some delicacy like in the white dress when Dickie fails to meet her for dinner or the long-sleeved black dress with white polka dots. Since no one else in the main cast dresses like her, Casalnuovo and Millenotti wanted to hit home a more feminine side.
“Marge’s outfits in Ripley are a masterclass in understated elegance,” they say. “The dresses you mentioned, with their delicate florals or polka dots, showcase her feminine side. But here’s the twist: they’re paired with clean lines and sharp tailoring. This suggests she’s not all about outward appearances. There’s a quiet strength and independence that goes beyond the clothes. Marge often opts for separates – think tailored trousers with crisp blouses. This combination telegraphs both comfort in her own skin and confidence in her abilities. The 1960s were a time of social change, and Marge’s wardrobe choices might hint at a subtle rebellious spirit. Marge’s clothes paint a picture of a woman who’s both feminine and strong, comfortable in her own skin, and perhaps a touch unconventional. The delicate patterns add a touch of personality without overshadowing her confident and independent nature.”
A character like Freddie would peacock around or show his wealth in his clothing. I love that Freddie always accessorizes with different scarves–there’s an effortlessness to how he dresses himself.
“Freddie’s scarves might be crafted from luxurious materials like silk or cashmere, hinting at his wealth through quality, not ostentation,” Casalnuovo and Millenotti say. “The way he wears them projects an air of confidence and ease. It suggests wealth that allows him to prioritize comfort and style over trying too hard. Freddie’s use of scarves subtly hints at his wealth without being overly flashy. It’s about quality, confidence, and a signature style that speaks volumes without needing to shout. He prioritizes comfort and effortless elegance, showcasing his wealth through his appreciation for the finer things in life.”
When Tom is being questioned by Ravini, he is wearing shirts made from a lighter material. I couldn’t help but think of how those shirts breathe, especially with their v-neck design, and we begin to see a stark difference from how Tom Ripley dresses himself versus how he thinks Dickie Greenleaf would.
The lighter fabric of Tom’s shirt during questioning is a great catch,” they say. “It could be practical for the warm Italian climate, but also symbolic of him trying to project calmness under pressure. Tom definitely gets some aspects of Dickie’s style right. He adopts lighter fabrics and looser fits, but the costume design goes deeper than simple imitation. While wearing Dickie’s clothes might be a starting point, Tom’s transformation is about becoming someone new. Later in the series, his wardrobe evolves to reflect his own emerging identity, not just Dickie’s. The clothes become a tool for Tom to create a new persona.”
I am in love with the burgundy robe that Tom selects. I love the pattern, and even though it wasn’t shot in color, I feel like I can see it come through. I needed to know if that was a purchased item or if it was something that was made. With Tom Ripley hiding in dark leather and Dickie Greenleaf in crisp white shirts, the patterns of the robe stick out–even if we can’t see the color in the black-and-white photography.
“We’re thrilled you love Tom’s robe,” Casalnuovo and Millenotti say. “The design choice was indeed deliberate. Creating a feeling of color in a black-and-white world was a challenge. We collaborated closely with the director to ensure the audience felt the same sense of richness you describe. Finding the perfect pattern involved a lot of work! We went through many prototypes, experimenting with different fabrics and color variations. Finally, we settled on a custom-made fabric with a paisley design that translated well into black and white. Camera tests were crucial to ensure the desired effect on screen. It’s incredibly rewarding that you noticed and appreciate the detail! The process of selecting the right robe, particularly for a black and white production, was a collaborative effort, and we’re happy it resonated with you.”
Other than Tom’s robe, I was surprised by how much of Ripley’s costuming that I wanted to snag for myself (mainly because everyone has wonderful style and I have next to none). When Tom buys a bathing suit, I love the pattern and cut–even if Tom is too shy to come out of the dressing room. Dickie’s sunglasses are stylish, and Ravini’s heavy, dark coat would warm up many chilly nights. What does this duo want to snag for themselves?
“[With] Dickie’s effortless comfort and style: relaxed trousers, classic white linen shirt and blazer for timeless cool. A touch of Freddie’s sophistication [with the] Cachemire and silk scarfs and a pair of timeless Ferragamo loafers. Ravini’s coat might be a bit much, but a tailored black coat is a powerful statement piece. The costumes in Ripley reflect the characters’ journeys, but the inspiration can be used to build your own unique wardrobe!”
Ripley is streaming now on Netflix. Check out The World of Ripley below.
