January 23, 2023 • 18 mins
John Dutton's cowboy hat, Rip's wedding ring, and Beth's wedding dress are just some of the iconic pieces of Yellowstone fashion that were curated by costume designer Johnetta Boone. Today Show Lifestyle Contributor Jill Martin sits down with Boone to take you inside the Yellowstone closet and break down all the character looks from the series.
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Speaker 1 (00:08):
Hello, listeners, It's me Jefferson White, Jimmy Hrdstrom on Yellowstone.
While we are waiting with baited breath for Yellowstone to return,
we want to share some special behind the scenes access
to the show with you. Someone you don't see on screen,
but who is crucial to the look of everything Yellowstone
is our incredible costume designer Janetta Boone. Janetta's vision has
(00:30):
an impact well beyond the screen. I don't think that
any of us anticipated that the Yellowstone style would become
a worldwide fashion trend. So get ready for an incredible
conversation about why the characters look exactly the way they do.
If you're anything like me, you've been googling how to
get various Western style jackets for five seasons. Now it
(00:53):
turns out there's a lot of significance to each piece
of clothing. They're all chosen for a very specific reason,
and they're all a very important part of the creative process.
You're going to hear more about that right after this break. So,
(01:14):
as promised, we are going to share a fascinating chat
with Yellowstone costume designer Janetta Boone. She recently sat down
with Today's show Lifestyle contributor Jill Martin.
Speaker 2 (01:24):
Hey everyone, I'm so excited to bring you this special
conversation with Janetta Boon, the costume designer on Yellowstone. But
before we go there, I want to share some exciting
news about a new initiative I've had the pleasure of
working alongside Janetta on called Shop the Scenes. Shop the
Scenes is the official way to shop for authentic items
from across your favorite TV shows, movies, and more. You
(01:44):
can find everything ranging from Beth Sutton's dresses, codes accessories,
to Rip's wedding ring and yes, even John Dutton's signature
cowboy hat. So I hope you'll visit schoptscenes dot com.
See it, love it, by it. And now as onto
my fabulous conversation with Janetta.
Speaker 3 (02:03):
Oh my gosh, thank you so much, Jill. What in honor?
Speaker 2 (02:07):
So, Janetta, one thing that's been really interesting to watch,
and you know you talked about it. I mean, you
pick things, but then sometimes some of the characters or
the actress actors will say, I'm feeling genes or I'm
feeling a dress. So how does the process work? Like
where does it start with the script? Like walk me
through it?
Speaker 3 (02:26):
So what generally happens is I'll start reading the scripts,
whether I get them in advance or it just it's
we're all on pendentitas waiting for the scripts to land,
so we're envisioning what could possibly be happening, which is
really funny. Right, So we'll get the script, I'll read
it once or twice, and then I'll start to really
dive in and sort of dissect each scene. Because Taylor
(02:47):
is so descriptive with his writing that he will write
in what the environment is in terms of costumes and
set and production design and everything.
Speaker 2 (02:58):
Oh he does, I didn't realize that. So he'll say,
what will it say Beth should be in jenes A.
Speaker 3 (03:05):
Woke or or he may say, well, maybe not so
much with Beth, but he may say John Dunnan wearing
a suit, right, so any when he since he's in
his governatorial visually stimulating look it is at tire, he
would say JD's wearing a suit, or Casey is wearing
(03:30):
a sport coat because he's, you know, the livestock commissioner.
So it just depends. It's not always the case, and
when it is, it's great. With Beth and where she's concerned,
he may he leaves it up to us, which is
really a beautiful world. So once I read the whole script,
then I'll start to build or pull from the closets
(03:51):
that already exist for the characters. We all have closets
in our own life. So I'll go to the closets
and look and see what pieces are there, and what
piece since brought in, and what pieces will come together
beautifully to make up that particular look for that particular sequence,
that scene. And I go back to real life a
lot of times and pull on if Rainwater is in
(04:15):
the office with Moe and JD walks in, what would
that look like? Where is he coming from? Where is
he going? And so a lot of times what the
audience doesn't realize is that they're not seeing the backstory.
They don't know where Rainwater has come from previously, if
it's not actually in the script or in the show.
(04:36):
But we have to create a backstory around it that
makes sense. So, for instance, I had one of the
viewers send me send Rainwater, send Gila DM and say,
you know, when they were out looking searching for the
young missing women Indigenous women, why were you in a suit?
Why weren't you in jeans, and I looked at him
(04:56):
and I said, because you are the director, you're the
Mission of affairs from Native Affairs. You had business before.
You didn't know that this is what you were going
to be going to.
Speaker 2 (05:07):
So interesting, right, right, right, So you have to so
you're like, Okay, this person got called yes in an emergency,
but he didn't know he was going to have an emergency. Wow,
that's very interesting. I wouldn't have ever thought of that.
Speaker 3 (05:20):
So where Beth is concerned, she and I collaboratively look
at things together, and it's amazing because she has such
a great keen eye of course for what fits her
and her body. And then together Kelly and I look
at what fits Beth the best and what will work
for her in these particular environments. So like her wedding dress,
(05:43):
for instance, which was a huge spin off of what
we've ever seen her in. That was an incredible opportunity
because before she got married, she was going to do
a conjugal a conjugal conjugou visit at the at the jail, right,
she was going to entice he's the guy looking like
she's offering herself up for a sexual moment. And then
(06:06):
when she leaves, she has this epiphany thought that she's
going to get married because she doesn't know how long
she's gonna live after that moment. I don't know how
many people really realize that. So while we're designing her
look for her wedding, we also have to consider that
we're designing the look for this visit in front of
a prisoner that she really wants to kill. How challenging
(06:30):
that was, right, So that.
Speaker 2 (06:32):
Jacket tell me about what went. And so you have
this sexy dress that we don't normally see Bevin when
she's going to entice the prisoner a very normal conversation,
and then you wanted something white? Was that where that
came from?
Speaker 3 (06:47):
Well, we wanted to do first, going back to her dress,
I wanted to do gold because it's opulent, it speaks,
it's regal, it speaks, you know, richness, and not overtly.
So silver would have been you know, it's almost synonymous
with being white platinum, but it doesn't feel the same.
And also because her hair is so gold and gold
(07:09):
worked better with her overall look. Then to find a
coat that was not snow white like a polar bear white,
but also had some of that richness of the gold
in it, which is what the snow leopard has. There
were all these things that went into it, and then
we found the coat and of course it's in Europe
(07:30):
and we were pins and needles hoping that it was
going to get here in time. Then we needed more
than one. It's always a scenario when it comes to
pulling pieces together.
Speaker 2 (07:41):
It's fascinating. So and I know, you know, one of
the most famous items and it continues to sell and
sell and everybody asks for it, and it's been replicated
and copied. But the Lindsay Thornburgh that blue coat, the
cloak that she wore, and that actually was not that
was actually a Kelly's suggestion, right, you had another outfit
and she said, I feel like this might fit.
Speaker 3 (08:03):
Well, it wasn't so much that she had another outfit
and she thought that that might fit. It was we
were filming and that particular day it was freezing. The
temperature dropped suddenly and we didn't have the coat available
for the scene.
Speaker 2 (08:23):
Did you know that cloak was going to be such
a big hit when like, are you able to envision
to yourself, Wow, people are gonna want this?
Speaker 3 (08:30):
Oh, I knew it immediately when she brought the cloak out,
she says, Okay, I just grabbed this. I literally just
grabbed this and threwat in my car. What do you think?
She always says, what do you think? And I and
most often I say, oh my gosh, that's amazing. And
so I said that, and when I looked at it,
I said, this is going to be one of those
coats that everyone's going to want to wear because the
color is fantastic. It's also exciting. It's exciting, and it
(08:55):
speaks to the planes. You know, it's very Montana with
the colors. Lindsay's in Montana. She builds all of her pieces,
she has a studio in Montana. She's from Montana, or
she lives in Montana. So you know, it's the sky,
it's the sunset, it's the mountain range, it's the land.
All of that is encompassing. So that speaks to of
course the people in Montana, and then the people outside
(09:17):
of Montana Street where or in New Yorker where have you.
They have no idea why they love it so much
because of the colors. They don't realize that it's the
sunset and the sky and all the happy feeling in
places that we all want to go to right now.
It just makes you happy.
Speaker 2 (09:31):
No, it's so true, And so I know that are
a lot of the actors collaborative as collaborative as hard
like I guess it's a show that's so interesting because
somebody like Rep he wears the same outfit almost all
the time.
Speaker 3 (09:45):
Right, Well, funny you used to say that, because what
he wears all the time is all black. It's not
exactly the same. I was having this conversation earlier. His
jacket is the same, his hat's the same, his jeans
aren't even the same. He has four pairs of genes
that are different colors of blue and different degrees of
(10:07):
what we call aging. It's how much they've been worn
in and worked in. His shirts. He has six different
black shirts, and I've dyed them all different colors of undertones.
So one black shirt may have a navy blue undertone,
one black which is very cold. So and I do
(10:29):
that because I like colors to have some warmth. Well,
black comes because it's the combination of all colors.
Speaker 2 (10:36):
So when he's with Beth, what is the colorway of
the black to show his warmth towards her?
Speaker 3 (10:43):
So if he's only with Beth and he hasn't been
any place else, because we have to remember that Rip
comes in from work, or he comes in from killing people,
or he comes taking me to the treason. But if
he's just with Beth, then I would then I generally
choose a warmer black which has a brown undercoat, maybe
even a deep forest green undercoat, because her eyes are green,
(11:05):
so it picks up on those little tiny nuances ever
so slightly.
Speaker 2 (11:09):
That's really unbelievable. That is I was like, oh, he
wears the same outfit. No, and I'm wrong. It must
have been so interesting for you having to conceptualize the
(11:30):
younger Beth, the younger and dress. I mean it was
the younger Rip and seeing them what they would look like.
I mean as a as a viewer, it was so
exciting to see what Beth looked like. And you really
showed us a glimpse of sort of how it evolved.
(11:50):
You know, it's like how it started, where it's going,
you know that Instagram phenomenal.
Speaker 3 (11:55):
Yes, yes, the flashbacks are really pretty special. He did
an eighteen eighty three flashback too, which segued into the
series and just showed the whole family where it all
began with Beth and Rip because he has such, you know,
such a challenging, dark, heavy past. I wanted to make
(12:18):
sure that that translated in his look he ac says
to Beth on a somewhat regular basis, at least he
said it, I know, at least twice. He said, once
very clearly, Beth, I'm nowhere. I'm on no one's record.
I don't exist, you know, right before they got married.
And so I constantly draw on those moments that Taylor
writes in because he's a shadow, he's a ninja. He
(12:42):
doesn't exist, so he has to remain in black. And
when he was younger, when young j D found him
in the barn, or actually yet where was he. He
was on the property. He was on the ranch when
he found him, and he was so broken and so
just a desperate and without life because of what happened
(13:05):
to his mom and then what had to happen to
his dad. When you're without life and void of any
form or being at all, that's where you get black.
And it's important for the costumes to translate the communications
from Taylor in his writing as well in the world
that he's building. With young Beth. All of her pieces
(13:28):
are vintage and we've altered every last one of them.
Speaker 2 (13:32):
And what about Kevin Costner And how is he too?
Is he more of a this is what I want
to wear? Or is he open to I mean, I'm
sure is Taylor very the most specific with him?
Speaker 3 (13:47):
Taylor has really provided me with an incredible license to do.
Speaker 2 (13:54):
That's awesome.
Speaker 3 (13:56):
It is so incredible. It's beyond awesome. It's extraordinary. And
only so often does he chime in with a note
for something to be slightly different, and it's quite it's yes,
it's hacking. Sometimes it's very rare. So with jd becoming governor,
(14:17):
the governor of Montana, wiars jeans and a sport code
and a shirt. They almost never wear neck tyes. They
wear their cowboy hat. So for John Dutton and Kevin
also gives me license to do what I do. In
the beginning, he may have he may have had a
thought when I came on in season two, but now
he literally looks at me and says, well, well, what
(14:39):
do you think I think season three, he wanted a
few options. He said, well, let me see what else
you have, But then he always goes back to my
original outfit that I presented and recommended. And so now
he just says, well, which gut, and I'll just and
I'll present him with the outfit and it's fullness head
(15:01):
to toe. And he may say, well, let's try another
color hat, whether because he has navy blue, he has brown,
he has gray, he has black hats. And I'll say, sure,
let's try these hats. But if I set a hat
with it, maybe the navy hat, He'll look at me
and he'll go, You'll say, you're right, it's the navy hat,
and that'll be it, and wow, It's yeah, wow, is
(15:24):
exactly right.
Speaker 2 (15:24):
This is just so fascinating. So just tell us what
to picture, like, what does the Yellowstone closet look like?
Speaker 3 (15:30):
So our young the costume house at the for Yellowstone
is actually two buildings now we poured over into another
building last season. It's two buildings that are thirty five
hundred square feet each. We keep every single thing, mainly
because I don't know if Taylor's ever going to do
a flashback, and he did a flashback in season four
(15:53):
with Lee who was killed in season one. And if
I got rid of the clothes that he was wearing,
I really would have been in a bad way. So
I keep everything. Everything is logged and cataloged per character,
and if we don't see a need for it immediately,
we put it aside in a container where it's you know,
(16:14):
where it's held with high regard with moth repellents and
things of that nature, because that does exist. We are
in a ranch land. There's moths everywhere, so we you know,
so we make sure that we keep the integrity of
the garments and as well as catalog everything so we
know what we have and where it is.
Speaker 2 (16:34):
Do you just love your job.
Speaker 3 (16:35):
I love my job. I do. I'm so passionate about
what it is that I do, and that's what keeps
me going every moment of the day when I'm doing
my job, and it's never really a job. I you know,
when I'm doing my research. My research is the people
that I'm engaging with in the community. It's the sheriff's
(16:58):
de I go to the sheriffs all the time. I say, guys,
I'm the costume designer for Yellowstone. I just wanted to
check out your uniform because I noticed that there's some
things that are new and I have to get it right.
Every time, and they said, we appreciate you because not
always is it done right. We thank you so much
for taking the time to do that. And then the
(17:19):
people in the grocery store or in the casino or
what have you, I just and I want And that
is also an opportunity for me to engage the community
because it's no mystery. There's no diversity in Montana. So
when I walk around, people wonder who I am. Now
people know sort of, well, they're part of the Yellowstone crew,
(17:40):
but I want to invite them into our world. They
can't come to center anything, but if I include them
in what it is that I'm doing, they're so welcoming
and appreciative. So that even adds more to why I
love my job so much.
Speaker 2 (17:54):
Janetta, thank you for your talent and your passion and
for bringing us the most incredible looks and forgetting all
of the world into country Catore.
Speaker 3 (18:04):
Oh my gosh, Jill, thank you so much for having.
Speaker 1 (18:06):
Me our Thanks to Jill and Janetta for sharing the
secrets to dressing for success on Yellowstone. Don't forget to
subscribe to the official Yellowstone podcast, and you can find
us on Apple Podcasts, Spotify, or wherever you get your podcasts.
The Official Yellowstone Podcast is a production of one oh
one Studios and Paramount. This episode was produced by Scott Stone.
(18:29):
Brandon Getchis is the head of Audio for one oh
one Studios. Steve Rasis is the executive vice president of
the Paramount Global Podcast Group. Special thanks to Megan Marcus,
Jeremy Westfall, Ainsley Rosito, Andrew Sarnow, Jason Red and Whitney
Baxter from Paramount, and of course David Glasser, David Huckin,
and Michelle Newman from one oh one Studios.
Hello, listeners, It's me Jefferson White, Jimmy Hrdstrom on Yellowstone.
While we are waiting with baited breath for Yellowstone to return,
we want to share some special behind the scenes access
to the show with you. Someone you don't see on screen,
but who is crucial to the look of everything Yellowstone
is our incredible costume designer Janetta Boone. Janetta's vision has
(00:30):
an impact well beyond the screen. I don't think that
any of us anticipated that the Yellowstone style would become
a worldwide fashion trend. So get ready for an incredible
conversation about why the characters look exactly the way they do.
If you're anything like me, you've been googling how to
get various Western style jackets for five seasons. Now it
(00:53):
turns out there's a lot of significance to each piece
of clothing. They're all chosen for a very specific reason,
and they're all a very important part of the creative process.
You're going to hear more about that right after this break. So,
(01:14):
as promised, we are going to share a fascinating chat
with Yellowstone costume designer Janetta Boone. She recently sat down
with Today's show Lifestyle contributor Jill Martin.
Speaker 2 (01:24):
Hey everyone, I'm so excited to bring you this special
conversation with Janetta Boon, the costume designer on Yellowstone. But
before we go there, I want to share some exciting
news about a new initiative I've had the pleasure of
working alongside Janetta on called Shop the Scenes. Shop the
Scenes is the official way to shop for authentic items
from across your favorite TV shows, movies, and more. You
(01:44):
can find everything ranging from Beth Sutton's dresses, codes accessories,
to Rip's wedding ring and yes, even John Dutton's signature
cowboy hat. So I hope you'll visit schoptscenes dot com.
See it, love it, by it. And now as onto
my fabulous conversation with Janetta.
Speaker 3 (02:03):
Oh my gosh, thank you so much, Jill. What in honor?
Speaker 2 (02:07):
So, Janetta, one thing that's been really interesting to watch,
and you know you talked about it. I mean, you
pick things, but then sometimes some of the characters or
the actress actors will say, I'm feeling genes or I'm
feeling a dress. So how does the process work? Like
where does it start with the script? Like walk me
through it?
Speaker 3 (02:26):
So what generally happens is I'll start reading the scripts,
whether I get them in advance or it just it's
we're all on pendentitas waiting for the scripts to land,
so we're envisioning what could possibly be happening, which is
really funny. Right, So we'll get the script, I'll read
it once or twice, and then I'll start to really
dive in and sort of dissect each scene. Because Taylor
(02:47):
is so descriptive with his writing that he will write
in what the environment is in terms of costumes and
set and production design and everything.
Speaker 2 (02:58):
Oh he does, I didn't realize that. So he'll say,
what will it say Beth should be in jenes A.
Speaker 3 (03:05):
Woke or or he may say, well, maybe not so
much with Beth, but he may say John Dunnan wearing
a suit, right, so any when he since he's in
his governatorial visually stimulating look it is at tire, he
would say JD's wearing a suit, or Casey is wearing
(03:30):
a sport coat because he's, you know, the livestock commissioner.
So it just depends. It's not always the case, and
when it is, it's great. With Beth and where she's concerned,
he may he leaves it up to us, which is
really a beautiful world. So once I read the whole script,
then I'll start to build or pull from the closets
(03:51):
that already exist for the characters. We all have closets
in our own life. So I'll go to the closets
and look and see what pieces are there, and what
piece since brought in, and what pieces will come together
beautifully to make up that particular look for that particular sequence,
that scene. And I go back to real life a
lot of times and pull on if Rainwater is in
(04:15):
the office with Moe and JD walks in, what would
that look like? Where is he coming from? Where is
he going? And so a lot of times what the
audience doesn't realize is that they're not seeing the backstory.
They don't know where Rainwater has come from previously, if
it's not actually in the script or in the show.
(04:36):
But we have to create a backstory around it that
makes sense. So, for instance, I had one of the
viewers send me send Rainwater, send Gila DM and say,
you know, when they were out looking searching for the
young missing women Indigenous women, why were you in a suit?
Why weren't you in jeans, and I looked at him
(04:56):
and I said, because you are the director, you're the
Mission of affairs from Native Affairs. You had business before.
You didn't know that this is what you were going
to be going to.
Speaker 2 (05:07):
So interesting, right, right, right, So you have to so
you're like, Okay, this person got called yes in an emergency,
but he didn't know he was going to have an emergency. Wow,
that's very interesting. I wouldn't have ever thought of that.
Speaker 3 (05:20):
So where Beth is concerned, she and I collaboratively look
at things together, and it's amazing because she has such
a great keen eye of course for what fits her
and her body. And then together Kelly and I look
at what fits Beth the best and what will work
for her in these particular environments. So like her wedding dress,
(05:43):
for instance, which was a huge spin off of what
we've ever seen her in. That was an incredible opportunity
because before she got married, she was going to do
a conjugal a conjugal conjugou visit at the at the jail, right,
she was going to entice he's the guy looking like
she's offering herself up for a sexual moment. And then
(06:06):
when she leaves, she has this epiphany thought that she's
going to get married because she doesn't know how long
she's gonna live after that moment. I don't know how
many people really realize that. So while we're designing her
look for her wedding, we also have to consider that
we're designing the look for this visit in front of
a prisoner that she really wants to kill. How challenging
(06:30):
that was, right, So that.
Speaker 2 (06:32):
Jacket tell me about what went. And so you have
this sexy dress that we don't normally see Bevin when
she's going to entice the prisoner a very normal conversation,
and then you wanted something white? Was that where that
came from?
Speaker 3 (06:47):
Well, we wanted to do first, going back to her dress,
I wanted to do gold because it's opulent, it speaks,
it's regal, it speaks, you know, richness, and not overtly.
So silver would have been you know, it's almost synonymous
with being white platinum, but it doesn't feel the same.
And also because her hair is so gold and gold
(07:09):
worked better with her overall look. Then to find a
coat that was not snow white like a polar bear white,
but also had some of that richness of the gold
in it, which is what the snow leopard has. There
were all these things that went into it, and then
we found the coat and of course it's in Europe
(07:30):
and we were pins and needles hoping that it was
going to get here in time. Then we needed more
than one. It's always a scenario when it comes to
pulling pieces together.
Speaker 2 (07:41):
It's fascinating. So and I know, you know, one of
the most famous items and it continues to sell and
sell and everybody asks for it, and it's been replicated
and copied. But the Lindsay Thornburgh that blue coat, the
cloak that she wore, and that actually was not that
was actually a Kelly's suggestion, right, you had another outfit
and she said, I feel like this might fit.
Speaker 3 (08:03):
Well, it wasn't so much that she had another outfit
and she thought that that might fit. It was we
were filming and that particular day it was freezing. The
temperature dropped suddenly and we didn't have the coat available
for the scene.
Speaker 2 (08:23):
Did you know that cloak was going to be such
a big hit when like, are you able to envision
to yourself, Wow, people are gonna want this?
Speaker 3 (08:30):
Oh, I knew it immediately when she brought the cloak out,
she says, Okay, I just grabbed this. I literally just
grabbed this and threwat in my car. What do you think?
She always says, what do you think? And I and
most often I say, oh my gosh, that's amazing. And
so I said that, and when I looked at it,
I said, this is going to be one of those
coats that everyone's going to want to wear because the
color is fantastic. It's also exciting. It's exciting, and it
(08:55):
speaks to the planes. You know, it's very Montana with
the colors. Lindsay's in Montana. She builds all of her pieces,
she has a studio in Montana. She's from Montana, or
she lives in Montana. So you know, it's the sky,
it's the sunset, it's the mountain range, it's the land.
All of that is encompassing. So that speaks to of
course the people in Montana, and then the people outside
(09:17):
of Montana Street where or in New Yorker where have you.
They have no idea why they love it so much
because of the colors. They don't realize that it's the
sunset and the sky and all the happy feeling in
places that we all want to go to right now.
It just makes you happy.
Speaker 2 (09:31):
No, it's so true, And so I know that are
a lot of the actors collaborative as collaborative as hard
like I guess it's a show that's so interesting because
somebody like Rep he wears the same outfit almost all
the time.
Speaker 3 (09:45):
Right, Well, funny you used to say that, because what
he wears all the time is all black. It's not
exactly the same. I was having this conversation earlier. His
jacket is the same, his hat's the same, his jeans
aren't even the same. He has four pairs of genes
that are different colors of blue and different degrees of
(10:07):
what we call aging. It's how much they've been worn
in and worked in. His shirts. He has six different
black shirts, and I've dyed them all different colors of undertones.
So one black shirt may have a navy blue undertone,
one black which is very cold. So and I do
(10:29):
that because I like colors to have some warmth. Well,
black comes because it's the combination of all colors.
Speaker 2 (10:36):
So when he's with Beth, what is the colorway of
the black to show his warmth towards her?
Speaker 3 (10:43):
So if he's only with Beth and he hasn't been
any place else, because we have to remember that Rip
comes in from work, or he comes in from killing people,
or he comes taking me to the treason. But if
he's just with Beth, then I would then I generally
choose a warmer black which has a brown undercoat, maybe
even a deep forest green undercoat, because her eyes are green,
(11:05):
so it picks up on those little tiny nuances ever
so slightly.
Speaker 2 (11:09):
That's really unbelievable. That is I was like, oh, he
wears the same outfit. No, and I'm wrong. It must
have been so interesting for you having to conceptualize the
(11:30):
younger Beth, the younger and dress. I mean it was
the younger Rip and seeing them what they would look like.
I mean as a as a viewer, it was so
exciting to see what Beth looked like. And you really
showed us a glimpse of sort of how it evolved.
(11:50):
You know, it's like how it started, where it's going,
you know that Instagram phenomenal.
Speaker 3 (11:55):
Yes, yes, the flashbacks are really pretty special. He did
an eighteen eighty three flashback too, which segued into the
series and just showed the whole family where it all
began with Beth and Rip because he has such, you know,
such a challenging, dark, heavy past. I wanted to make
(12:18):
sure that that translated in his look he ac says
to Beth on a somewhat regular basis, at least he
said it, I know, at least twice. He said, once
very clearly, Beth, I'm nowhere. I'm on no one's record.
I don't exist, you know, right before they got married.
And so I constantly draw on those moments that Taylor
writes in because he's a shadow, he's a ninja. He
(12:42):
doesn't exist, so he has to remain in black. And
when he was younger, when young j D found him
in the barn, or actually yet where was he. He
was on the property. He was on the ranch when
he found him, and he was so broken and so
just a desperate and without life because of what happened
(13:05):
to his mom and then what had to happen to
his dad. When you're without life and void of any
form or being at all, that's where you get black.
And it's important for the costumes to translate the communications
from Taylor in his writing as well in the world
that he's building. With young Beth. All of her pieces
(13:28):
are vintage and we've altered every last one of them.
Speaker 2 (13:32):
And what about Kevin Costner And how is he too?
Is he more of a this is what I want
to wear? Or is he open to I mean, I'm
sure is Taylor very the most specific with him?
Speaker 3 (13:47):
Taylor has really provided me with an incredible license to do.
Speaker 2 (13:54):
That's awesome.
Speaker 3 (13:56):
It is so incredible. It's beyond awesome. It's extraordinary. And
only so often does he chime in with a note
for something to be slightly different, and it's quite it's yes,
it's hacking. Sometimes it's very rare. So with jd becoming governor,
(14:17):
the governor of Montana, wiars jeans and a sport code
and a shirt. They almost never wear neck tyes. They
wear their cowboy hat. So for John Dutton and Kevin
also gives me license to do what I do. In
the beginning, he may have he may have had a
thought when I came on in season two, but now
he literally looks at me and says, well, well, what
(14:39):
do you think I think season three, he wanted a
few options. He said, well, let me see what else
you have, But then he always goes back to my
original outfit that I presented and recommended. And so now
he just says, well, which gut, and I'll just and
I'll present him with the outfit and it's fullness head
(15:01):
to toe. And he may say, well, let's try another
color hat, whether because he has navy blue, he has brown,
he has gray, he has black hats. And I'll say, sure,
let's try these hats. But if I set a hat
with it, maybe the navy hat, He'll look at me
and he'll go, You'll say, you're right, it's the navy hat,
and that'll be it, and wow, It's yeah, wow, is
(15:24):
exactly right.
Speaker 2 (15:24):
This is just so fascinating. So just tell us what
to picture, like, what does the Yellowstone closet look like?
Speaker 3 (15:30):
So our young the costume house at the for Yellowstone
is actually two buildings now we poured over into another
building last season. It's two buildings that are thirty five
hundred square feet each. We keep every single thing, mainly
because I don't know if Taylor's ever going to do
a flashback, and he did a flashback in season four
(15:53):
with Lee who was killed in season one. And if
I got rid of the clothes that he was wearing,
I really would have been in a bad way. So
I keep everything. Everything is logged and cataloged per character,
and if we don't see a need for it immediately,
we put it aside in a container where it's you know,
(16:14):
where it's held with high regard with moth repellents and
things of that nature, because that does exist. We are
in a ranch land. There's moths everywhere, so we you know,
so we make sure that we keep the integrity of
the garments and as well as catalog everything so we
know what we have and where it is.
Speaker 2 (16:34):
Do you just love your job.
Speaker 3 (16:35):
I love my job. I do. I'm so passionate about
what it is that I do, and that's what keeps
me going every moment of the day when I'm doing
my job, and it's never really a job. I you know,
when I'm doing my research. My research is the people
that I'm engaging with in the community. It's the sheriff's
(16:58):
de I go to the sheriffs all the time. I say, guys,
I'm the costume designer for Yellowstone. I just wanted to
check out your uniform because I noticed that there's some
things that are new and I have to get it right.
Every time, and they said, we appreciate you because not
always is it done right. We thank you so much
for taking the time to do that. And then the
(17:19):
people in the grocery store or in the casino or
what have you, I just and I want And that
is also an opportunity for me to engage the community
because it's no mystery. There's no diversity in Montana. So
when I walk around, people wonder who I am. Now
people know sort of, well, they're part of the Yellowstone crew,
(17:40):
but I want to invite them into our world. They
can't come to center anything, but if I include them
in what it is that I'm doing, they're so welcoming
and appreciative. So that even adds more to why I
love my job so much.
Speaker 2 (17:54):
Janetta, thank you for your talent and your passion and
for bringing us the most incredible looks and forgetting all
of the world into country Catore.
Speaker 3 (18:04):
Oh my gosh, Jill, thank you so much for having.
Speaker 1 (18:06):
Me our Thanks to Jill and Janetta for sharing the
secrets to dressing for success on Yellowstone. Don't forget to
subscribe to the official Yellowstone podcast, and you can find
us on Apple Podcasts, Spotify, or wherever you get your podcasts.
The Official Yellowstone Podcast is a production of one oh
one Studios and Paramount. This episode was produced by Scott Stone.
(18:29):
Brandon Getchis is the head of Audio for one oh
one Studios. Steve Rasis is the executive vice president of
the Paramount Global Podcast Group. Special thanks to Megan Marcus,
Jeremy Westfall, Ainsley Rosito, Andrew Sarnow, Jason Red and Whitney
Baxter from Paramount, and of course David Glasser, David Huckin,
and Michelle Newman from one oh one Studios.
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