“Priscilla: A Lesson in Empowerment Through Clothing”

Sofia Coppola, the acclaimed director, could not have portrayed Priscilla Presley's story more effectively. As the storyteller, Coppola captures those delicate moments when a ethereal young girl, unprepared for life, endeavors to become a woman. Coppola has a penchant for elevating stories through costumes, and recounting the life of the schoolgirl chosen by Elvis Presley is no exception. The film brings to life a meticulously crafted couple, whose flamboyant looks commanded global attention.

Refinement in details lies at the core of Coppola's style—impeccable sets (such as the unforgettable Ladurée-colored boudoir in Marie-Antoinette), enchanting soundtracks (as seen in The Virgin Suicides), and inspired casting (featuring Bill Murray as a heartthrob thief). Then, there's fashion. Costumes play a pivotal role in Coppola's visual world, and in "Priscilla," more than ever before. The film is already poised for potential Oscar nominations in various categories, notably for its screenplay and, inevitably, costumes.

"Priscilla" is an adaptation of Priscilla Presley's memoirs, first published in 1985. For the first time, her perspective takes center stage. It's a tale of a special relationship that began in the late '50s when the 25-year-old rockstar stationed in Germany crossed paths with the 14-year-old girl. The story unfolds until the early '70s when she eventually leaves him. Sofia Coppola's film aims to spotlight the manipulation more than the love story between the two. It delves into the overwhelming and abusive control exerted by Elvis (played by Jacob Elordi) over Priscilla Beaulieu (Cailee Spaeny)—a schoolgirl turned confidante, comforting presence, compliant girlfriend, and finally, submissive wife. In parallel, Sofia portrays the limited control young Priscilla had over her own life. From a young age, she is molded by the man with the velvet voice, rare beauty, and unprecedented sex appeal for the time. It takes her thirteen years to gain autonomy, during which he dictates everything, including her appearance, based on his vision of the King's companion.

Clothing plays a crucial role, at the heart of Sofia Coppola's vision. It becomes a way to convey the protagonists' messages, akin to the floral evening gowns worn by the sisters in "The Virgin Suicides," Elle Fanning's satin ball gown in "The Beguiled" while attempting to seduce Colin Farrell, and Marie Antoinette's pink Chuck Taylors. In "Priscilla," costumes take an even more central role: "Sofia told us she wanted hair, makeup, and costumes to help show the passage of time," explains Cliona Furey, head of the film's hair department. For their sixth collaboration, costume designer Stacy Battat immersed herself in the era's photographs of Elvis and Priscilla, along with archival material from Vogue and Harper's Bazaar at the Metropolitan Museum of Art's library. She commissioned over 120 custom looks, including pieces from Anna Sui and Chanel, a brand close to Sofia Coppola, where she interned as a young girl and remains one of its closest ambassadors.

From the start, Sofia emphasizes the ten-year age gap between Elvis and Priscilla Presley. During their initial encounter, she is a somewhat awkward high school student, while he is an imposing star. But as the relationship progresses and she moves to Graceland at the age of 17, her look begins to align with Elvis's vision. The dominance is staged when, in a cheerful mood, the singer decides to treat young Priscilla to a shopping day. Surrounded by friends, he displays disdain or approval for each dress she tries on. He declares that blue is her color, expresses his dislike for prints, and demands pastel dresses with bows. Playing with humiliation and flattery, he strips her of personal taste and self-affirmation.

The costume team painstakingly recreated real outfits, such as their wedding attire immortalized in one of the couple's most iconic photographs, featuring a white lace dress, impressive beehive hair, and a six-tier wedding cake. These images are ingrained in pop culture history, a challenge met skillfully by Chanel and Valentino. Stacy Battat explains, "It was our dream for Chanel to make the wedding dress. It wasn't originally Chanel (Priscilla bought her dress off the rack), but it feels like it could have been." As for Elvis's tuxedo, Valentino rose to the challenge.

Now the wife of the King, Priscilla faces a star who abuses drugs, unleashes his moods, and neglects her for fleeting affairs. Yet, she dutifully wears her pastel dresses, showcasing delicate silhouettes to reassure a husband with a potentially pathological need for submissive femininity. Gradually, she gains the upper hand. Her acts of rebellion manifest through her attire, rejecting dress codes. She dares to get angry, criticizes a more audacious dress, or wears a print he detests to surprise him during an affair with another woman. Her appearance becomes a challenge to her husband. She lives in her time and demonstrates it through a more bohemian style. In contrast, Elvis embodies exaggerated theatricality, with his sideburns, thick glasses, and a whimsical cane.

The visual disconnect signals the collapse of their marriage. When she leaves Graceland for good, Priscilla wears a shirt and tailored pants—a deliberately very masculine ensemble. Battat remarks, "I wanted her to feel authoritative, as if she had become a woman who knew what she was doing. That she was the one making decisions now." Priscilla Presley can finally explore who she is.

If clothing can control, it can also liberate. Sofia Coppola, often criticized for her polished aesthetic and perceived superficial taste for fashion and luxury, understands this well and brilliantly demonstrates it.