“Killers of the Flower Moon” represents Martin Scorsese’s closest venture into the Western genre, albeit set in 1920s Oklahoma, where the final frontier for contention is oil wealth. The characters, portrayed by Leonard DiCaprio (Ernest Burkhart) and Robert De Niro (William “King” Hale), are far from traditional heroes. In fact, they are part of a long-standing scheme to exploit oil claims held by Osage community members, including Burkhart’s wife, Molly (Lily Gladstone). Costume designer Jacqueline West drew inspiration from classic Western stars to craft Burkhart’s evolving fashion as he amasses more wealth.
West, while forming the costume team for “Killers of the Flower Moon,” collaborated with Diana Foster of United American Costume. Foster’s father, Luster Bayless, a Cowboy Hall of Fame inductee, had been responsible for dressing John Wayne throughout his career. Foster provided a secret collection of suits from that era, including suit patterns used in Wayne’s collaborations with director John Ford.
The contrast in attire between Tom White (Jesse Plemons) and Burkhart is evident. White’s broad and boxy suits exude the authority of the emerging FBI, while Burkhart transitions from three-piece suits to rumpled jackets. King Hale, an imperious character, is maintained in timeless, affluent elegance, emphasizing his enduring power throughout the film.
The storytelling conveyed through costumes extends to the film’s central female characters. West aimed to give each of the sisters — Molly, Reta (Janae Collins), Minnie (Jillian Dion), and Anna (Cara Jade Myers) — a distinct sense of fashion. Collaborating with Osage wardrobe consultant Julie Okeefe solidified the importance of clothing in reflecting the sisters’ personalities and life experiences.
Okeefe and West embraced the fusion of traditional and 1920s contemporary dress, emphasizing the dual identities each sister possesses. They navigated the complex reality of young women who, like contemporary immigrants, returned to their native lands as English speakers after government-mandated time at a Catholic school. The sisters’ clothing choices conveyed their struggle to reconcile their cultural heritage with the world imposed upon them.
Throughout the film, these different clothing styles mirror the sisters’ ongoing internal conflicts, questioning their place and safety in a world of shifting norms. The narrative power of the costumes brings to life the human struggle faced by these characters.
“Killers of the Flower Moon” is currently playing in theaters.