Costume Drama

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1:01Hello and welcome to Fashion People. I'm Lauren Sherman, writer of Puck's fashion and beauty memo line sheet. And today with me on the show is Stacey Batat, the costume designer behind everything from Priscilla to the better sister. We discuss being a Marc Jacobs shop girl, working with Sofia Coppola for the last 15 years, and so much more. Before we get going, I wanted to remind you that if you like this podcast, you'll definitely love Puck where I send an email called Line Sheet. If you're a fashion person, you get that reference. It's an original look at what's really going on inside the fashion and beauty industries.

1:40Line Sheet is scoopy, analytical, and above all, fun. Along with me, a subscription to Puck gains you access to an unmatched roster of experts reporting on powerful people and companies in entertainment, media, sports, politics, finance, the art world, and much more. If you're interested, listeners of Fashion People get a discount. Just go to puck.news slash fashion people to join Puck or start a free trial. Happy Friday, everyone. Hope you had a great New Year's. These holidays are always overrated, but I have to say I'm very psyched for 2026. I'm off this week from everything, but Line Sheet will be back in full force starting Monday.

2:22So enjoy this conversation. And if you need me, you have my phone number, you have my email, text. I don't mind. Bug me. Stacey Patat, welcome to Fashion People. Thank you. I'm so happy to be here. What did you have for breakfast this morning? I eat breakfast late, but I had a yogurt with berries and a cup of my favorite tea, which is Palais de Thé, dreamy tea. It's the tea of dreams, thé de sange. does it have a does it have caffeine in it it does have caffeine in it i have coffee when i first wake up which i know is quite bad but then with i do a cup of tea and it's oolong with flowers and lemon that's so nice that sounds really really nice stacy how do you know our mutual friend laurie trott um i've known laurie for many many years i don't really know how she And I feel like I remember meeting you at her apartment in, we shouldn't name the apartment complex, but it's basically Melrose Place.

3:32Oh, yes. Yes. That Melrose Place complex. It's so great. But I was wondering if you live there, too. No, I don't live there. I live in Los Angeles as well, but not there. Not there. Okay. We can talk about that later. Yes. yes um that place is so magical and i guess there are these for people who don't live in los angeles and have not seen melrose place there are a lot of these like in west hollywood and hollywood there are all these like apartment complexes that are i guess from like the 60s and 70s or 40s and 30s and 40s 30s 20s and 30s it's like from old 20s and 30s and there's so and there's a courtyard and people like ask each other for flour and sugar not that anyone eats sugar but you know ask asking for um syringes for their their glp ones but they but everybody's friends at these things and it's um i feel like i've had many fun experiences at laurie's at laurie's house i think part of that is also laurie that laurie you know fosters community it's true it's true She loves to get people together.

4:51So how did you end up in Los Angeles? And you're a costume designer, which is why you're ostensibly here. But what brought you here? Well, I actually came here because of my partner. I met him and he lived in Los Angeles. How long ago? Ten years ago. You can ask him, but I'm bad at that. That's my everything is always five or 10 years ago. But yeah, he lived here. And then I kind of resisted that I lived here for a very long time. And then I just one day was like, OK, I guess I live here. Well, when did you get into costume design? Because it was before that, right? I did costume design about 20 years ago.

5:38So I used to work for Marc Jacobs, who I'd like to mention I'm still very intimidated by. I just think like when I was, you know, 20 years old, he was the be all end all like God of all gods. And for some reason, he's never left that in my mind. So whenever I see him, I'm just like, oh, my God, there's Mark. Yeah, I feel similarly about him. I don't know why. He's like the reason I wanted to be a fashion journalist. So it's a little bit. He's the reason I wanted to work in fashion, too. I just like loved him so much. Yeah. What did you do for him? I worked in his shop. on mercer street god wow yeah it was like years ago so that shop was kind of iconic like there was like the like the office downstairs and you know it just was like like a hangout there was no kind of pressure to like i don't know it wasn't like working at a like a retail store where like there's a pressure to meet a certain quota or whatever to sell stuff and i don't know it was just a nice experience and you got free clothes oh my god that's so cool and that was like how this is like 20 years ago well yeah maybe mark sad to say that was that was like the peak the height of his like the pointy ballet flat and the bag yes mouth flat oh my god um yeah it might have even been like close to i'm like don't want to age myself because i'm still only 25 but it might have been closer to 25 or 30.

7:15That's so cool. Did a lot of like cool people come through there? Oh my god yes that's where I met Sophia and I met this woman who I actually adore so much Mary Lee who's still my close friend. She was my client. She's not famous but she's still my close friend after all these years. She was like this woman that you know bought clothes there and then like we would always talk on the phone because it wasn't like emailing back then so we would talk on the phone and then we'd be on the phone you know she'd be like I like look five and then we'd talk about look five what I like I don't know and talk about other stuff and she's still I'm still very close to her which is funny what a dream it was a great it was a great job and I loved working around did it feel like you were at the center of the fashion world or was it because it was in New York and like very cool did it feel private in some way I didn't understand until way later in the game that it was cool because I kind of assumed that like everywhere was like that like I didn't know that if you worked at a different designer store there would be some other like like I thought like you always get to pick your clothes from like I you know oh my god like those are the choice like you get to choose whatever you like like I didn't realize there was a you know in some stores there's like a uniform like these are the things the Prada employees wear or whatever I thought like it was across the board like whatever place you worked at you got to pick and you know because that was the best part the free clothes my god did you I'm so curious because you have an amazing curly hair how did you wear your hair back then?

9:02I went through lots of hair phases. So I really can't remember. I probably wore it curly. But then because the keratin thing happened later, right? Oh, my God. Yeah, that was 2009. Yeah. 2009 to 2009. I was like curious by care. Like, I feel like I was like, oh, maybe I want straighter hair. I know. You know, there is this new thing that I did about three years ago, like a defrizzing treatment. Oh, I don't, you shouldn't do it. I have my hair blown out now. I don't have it done anymore, but it's incredibly addictive because it's like keratin, but it doesn't totally make your hair straight. So it just takes the frizz out and makes your hair wavy curls and it looks amazing.

9:48And it's really easy to blow out. So then why don't you recommend it? Because the problem is it screws up your curl pattern. So like, and I already, I don't, I don't know if you dye your hair, but I dye mine. I do. So that has already messed my curl pattern up from the dyeing. But like, basically the first time I did it, it looked awesome. And I was like, my life has changed. I now I'm a girl with like curl wavy hair that can just like I wake up and I it's fine and I don't need to like wash it or re rewet it and reshape everything. And then it would basically be like some straight pieces, especially in the front where my curls are looser anyway.

10:38That's because they didn't do a good job. Well, the issue with this guy who does it, I don't want to call him out. He says it's a quote unquote proprietary treatment because it is it is a nice treatment. But the issue is he is obsessed with your hair being straight, even though he says it's not for straight hair. So he kept because I have such frizzy hair, he kept being like, can you can I put something stronger at your roots? And I was like, no, I I want my hair to be curly and full. I don't want it to be flat. that and so but you're supposed to get it done like every three or four months and it becomes this you become addicted because then up top your hair is really coarse and so you need to keep doing it and I finally I haven't gotten it done in like a year and a half but every single time I go to Europe or I'm in New York I'm like I have to do it because my hair gets so puffy whereas in LA like It's for I.

11:36Yeah. Well, I will tell you this. I don't know if this is interesting to your listeners, but my sister lives in Brazil and has for a very long time. And so when I go visit her, so the keratin thing, like that's where I first discovered it. And what I have learned over these years is that it's all the same product. It's how long you straighten it. Like you could do a keratin treatment with like they sometimes do it with this curling iron thing. And so like you just have really beautiful non-frizzly curls. I mean, it's tempting. So I'm just saying I think we're not calling the guy out, but I think there might be some technique involved.

12:19And like if he's using, you know, heat, too much heat on the parts that are. I agree. And my friend Claire, who also goes to him, who has hair like ours, has very similar hair texture to you, actually. I know Claire. Claire Mazur. Oh, yeah. Yes. Yeah. So Claire is the one who got me hooked on this. Gotcha. Yeah. And she gets it. She can't. She's it's so she's addicted. She can't stop. She just. I'm just like, I cannot deal with anything anymore that has maintenance. Like I can barely get my nails painted. They're always chipped. well you look you look great so so you ended up somehow working I'm sure you your hair looked very cool and that's how one of the reasons you got the job of Mark Jacobs but how did why did you move to New York you just wanted to work in fashion and work for Mark Jacobs or did you I moved to New York because um I grew up in Connecticut and I loved New York obviously I wasn't um I'm not very Connecticut in my as you can see yeah you know not blonde I feel like I didn't really you know just I'm not waspy like all those things that feel very Connecticut are kind of not who I am and I never felt like I belonged in my um world there and then like the city always seemed so open and appealing and so I really just like when I went to college I knew what I wanted to do was go to New York.

13:46I didn't really care if I went to Barnard or Columbia. I was like, is it in New York City? That's where I'm going. And then I wanted to go to, so I considered going to FIT, but in like a classic, you know, thing that 18 year old girls do, I had a fight with my best friend who was this wonderful gay guy named Matt and he was going to FIT and I was like well I don't want to go there because that's very funny I went to Hunter College and I studied women's studies and sociology and then my last year I was over the fight I mean I just didn't care anymore and then I was like I'm gonna go to FIT and then I started working for Mark and in my last year of college so it was all yeah and and what did you do after Mark like how long did you work there for and what how did you did you go into costume design from there or kind of so when i worked there zoe cassavetes worked at the mercer hotel and she and i worked next door to each other because the mercer hotel is right next to the store and we would like hang out you know and sophia would come in the store so then we kind of all became friends and then zoe said to me one day i'm i'm writing a movie when i make my movie i want you to do the costumes and I said like okay cool and then at that point I kind of had also like learned that there's more jobs in the fashion industry like there's not just a designer like you could be a stylist you could be totally all these other things and then um I started so I left Mark to start assisting as a stylist or to be a stylist and then when I left um I started assisting Alex White and then Sophia had Lost in Translation coming out so she would ask me to like do the little like front of book things in W Magazine when she would be in like not the main well but just like little like one page because she wasn't the same Sophia Coppola that she is now and um so she would just get like a little blurb or whatever and then I started you know doing that And then Zoe said, like, like, she also quit her job at the same time as me and was like, I'm going to make my movie.

16:06And then do you want to do the costumes? So then I did the costumes on her movie. And I think it was like two years or three years before I did the costumes on another movie. And anyway, I just I liked it. I thought like, oh, this is so it's like the same, but it's different. Yeah. Well, what is the same and what is different? it well i think the same is that there's like a creativity involved and you're using fabrics and clothes and silhouette and drape and stuff to convey an idea but instead of it being a trend or creating a trend like it is in fashion it's about character yeah yeah so it's really like not just the archetype of a person but an actual person yes and I think like having a knowledge of fashion is is very helpful because you know I know how to make patterns and not great I'm not and I don't know how to sew very well either but just like having that kind of understanding of like what is capable like what you're able to manipulate does help in the design process so yeah so I we've had many costume designers on I've because I've done a lot of live events with costume designers but I don't think that I've had a costume designer one on one-on-one so it would be fun to kind of walk through what does it entail and I'm sure it's different with each director and each film or each television show but like the the thing that always amazed me thinking about it like I used to do a lot more one-on-one interviews earlier in my career with costume designers of the level of organization it requires but like what is your process when you are doing like say a film versus and then maybe we can talk about tv too but just like getting it together.

18:07I think the process actually weirdly is very different from TV to film, but which is anyway, regardless, the process for me normally is reading the script, understanding what I believe the characters to be, talking about that with the director so that we're kind of on the same page of like, this is who they are, and then kind of developing visual concepts that support who they are as a character so that you can subtly tell you know certain parts of their story like the way that i think about it is like we're the visual representation of who they are the combination of like a costume hair and makeup is a visual representation of who somebody is and weirdly today and i am the new york times mini crossword puzzles had like a costume that would like require a black trench coat like there are certain signifiers the the thing was spy go to had and it's not sunga i don't remember what it was but there are certain signifiers that we all kind of know to be something and um you know there's things about like the way that we dress that project confidence there's things about the way that we dress that project insecurity there's things about the way that we dress that, you know, project sloppiness or whatever it is.

19:35There's a lot of ways in which the visual aspect of a costume can help to define a character.

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20:22It's so dangerous to live that. More dangerous than a B minus or a C plus life because when you're living a B or B plus life, you don't change it. You think it's good enough. Is it? I'm Susie Welch. I host a podcast called Becoming You. People think, okay, an A plus life is not available to me, but there is a way. We are all in the process of becoming ourselves. Listen to Becoming You wherever you get your podcasts.

20:51So how do you organize it? Do you have to write it all out and be like, do you go through a script and say each scene is, this is the look that this person's going to wear in this scene and this person's going to wear? And then you have, obviously, for certain things, background actors and all that, too. Yeah, it's definitely visual more than it is written down. So, I mean, I have different ways in which I do things. that also partly does depend on who you know you're working with but normally I start with you know the main character obviously because they're who story we're telling and I work very closely with production design and camera because I like to know what the shots are and what the light is and because I don't know like a good example is in Priscilla for example there's um a scene where they're at the casino and Kaylee Spaney has this big bow on her thing the scene was cropped so it was short so I knew that that was going to happen because I knew we couldn't shoot in the hole of the casino because part of it was another set you know whatever it was I knew that we were going to be cropped and I feel like I wanted that part of the you know I wanted it to be visually appealing in that like area like close to her face because I knew we'd be there so tense the big bow like I feel like understanding what um the shot and the light and you know you don't always get that but when you can understanding what the shot and the light and the set look like help to define with something like Priscilla because obviously you're working with Sophia who's very influential in the fashion industry and you got a lot of custom stuff made like how far ahead are you concepting that stuff and how is it working with someone like Sophia versus a director who is maybe not as fluent in fact like there's no one as fluent in fashion as her Right.

23:07I don't know. I mean, I think one of the things that I find different about working with Sophia that I don't always have with every director is how easily we understand each other. So, you know, there's like a real gift in that, that we can talk about something and, you know, we don't have to look at a million photos or whatever. I mean, we do look at a lot of photos at the beginning, but that we can kind of just work in a way that's harmonious. And I know whatever I'm going to give her is something that she's going to like because we've talked about it. And I like the community, the way that we can communicate and our understanding of what something means is similar.

23:51So like if, you know, somebody says, oh, maybe she could be in a, I'm giving a random example, navy blue sweater. I know what navy blue sweater is the one. Yes. You know, or like how do we have the same, a similar visual lexicon. Got it. I understood. Yeah, that makes sense. I mean, being friends for 20, 25 years probably helps with that. But a period piece like Priscilla versus, I don't know, what is it called? Somewhere. Somewhere, yeah. How do you approach a period piece versus something that feels like more contemporary? Well, research, right? So I think you do a lot of research. search I love to go to the Met Fabric Library I think it's the most incredible place that you could ever visit um have you ever been there no tell me about it they have a textile library and I just want to point out like you can look in the catalog and you can say and this is like goes for anyone and I'm not trying to make them work so hard but you can look in the Metropolitan Museum's catalog and be like, you know, I would love to see this Annie Albers textile.

25:16Oh my God. And they'll bring it in for you. I just put it on my list of things to do next time I go. It's amazing. It's a really amazing place. So you can make an appointment at the Met Textile Library and you can look at all the textiles. Like you can't touch them. You know, if they're very old, you're not supposed to touch them. But you can look at all the textiles from whatever period. You can look through like so for beguiled i went and i looked um you know to kind of see what was available at that time and you'd be surprised a lot yeah and weirdly i don't know why i remember this because the color combination so awful but orange and purple they had just learned how to die that's so interesting so um there was a lot of like orange and purple in combination with one another we never did that obviously because it's gross yeah it just reminds me of a basketball team yeah whatever the orange i guess it's the lakers i don't know it's someone i don't know and you still care about basketball in middle school oh i still kind of care about basketball it's my favorite sports yeah it's great i mean i like tennis i guess tennis is great too but i think basketball is the most fun to play personally basketball is very elegant yeah it's kind of like ballet which is my other love like they're so um i don't know like they just the way they move is very graceful yeah i agree so the so back to the textiles at the met the orange and purple that's that's amazing yeah and they had like fake fur and metallic by 1860s wow i know weird but yes they had all that stuff and um I mean it wasn't great quality fake fur like it didn't look like a mink it just was fake fur um but yeah I was impressed by that and then for Priscilla I did a similar thing but you know just to get like a sense because I feel like those color palettes are also so much about what makes period feel period yeah so you know I did I went there again and um looked at all the you know textiles so i start kind of there weirdly i don't know why and then i like to develop a color palette depending so like for priscilla there's a very distinct color palette from when she's like a child so as she progresses into you know and those color palettes are based on um things that i've seen in magazines like it's not i didn't make it up Well, we were talking about this a bit before we started recording, but this idea of when you're doing period that there needs to be something in it that feels that connects you to the, there doesn't need to be, but it's nice for there some context that connects you with the current, like the modern world in some way.

28:19or yeah and I think sometimes I just watched it happen one night um and which is from like 1934 right and it was interesting because I guess it was before they started like having a bunch of rules about not being able like she's she's wearing um Claudette Colbert is wearing like a slip dress with nothing and they're like in the same bedroom and I was like how is this possible but the point being that it felt really modern because not only because they just look like you need to make them look like humans even during period films and I think what you're talking about with the color palette and the accuracy it brings a humanity to the work and to the film that But if you don't have intention behind it, and that's what the great costume designers do and why I like your stuff so much is because there's so much intention behind every decision that you make.

29:27Well, I really love costume design. I think it's such an incredible art and I'm so grateful that I get to be a part of it. really yeah you know it's funny I was just looking at your IMDB to go through but I was thinking about when we were talking about new versus period or modern versus period and I thought that your costumes and on the rocks were so great thank you like and it it will bring me to my next thing but like Jenny Slate who plays this sort of mom in line at the which I think honestly the best part of the movie. I thought I love everybody involved in the movie, but but I thought the best part of the movie was her character of like the mom at school drop off.

30:11And I just thought you nailed it so exactly of what that woman would be wearing. And I feel like there was a gray I haven't seen in a couple of years with a gray sweatshirt or something that just I was like, oh, my God, she nailed it so clearly. And that's something that when you talk about you and Sophia having a similar sensibility. It's also just like understanding human nature and how people are. And you can say a lot in the clothes. Well, I studied sociology. Maybe that helped. Yeah, totally. I just wanted to go back to the period thing. I think that's kind of part of it too, is that when you are doing a period film because we live in the modern world and our references come from the modern world and the modern world is so different.

31:00You don't necessarily understand that women didn't wear their hair down or stuff like that. You don't understand that if you don't study it and if you don't live it. So to bring in period-appropriate but modern flexions I think does help to make those characters more relatable to a modern viewer. yes that that makes a lot of sense and it also must it must be so fun to create a fantasy out of of the reality yeah so how much we talked a lot about your relationship with sofia but how do you work with actors because actors from the conversations i've had with costume designers That can be interesting, too.

31:55There was an amazing interview with Bella Freud on her podcast with Kristen Scott Thomas about her interest in costume design and working with the costume designers on her wardrobe for different TV series and films and things. I'm assuming a lot of actors don't have that interest and then also are deeply insecure and nervous and all of that. What's your relationship like? I know it varies, but how do you approach working with actors and making them comfortable and helping them get into character through the clothes? Well, I actually really like working with actors. I mean, yes, I've worked with actors that I didn't like, but I think for the most part, I just want to help to create the characters.

32:46And I do think about how they move and what's the scene and what are they saying and, you know, how to help kind of facilitate that. the movie that i just did i just did a movie with jesse eisenberg called no one cares i think that's what it's going to be called and julianne more is in it who i've worked with a bunch and i love and um well there's a scene where so her car interior is beige and there's a scene in which she talks about something quite sad and i don't want to give away the movie and i kind of was like she should be in her beige trench coat and i brought that up with the director and the cinematographer because there's something really like appealing about her disappearing into her environment when she's telling this story of like so i think there's um when you work with someone so because how do i say um i think it's nice to develop a certain amount of trust and that if you've never worked with someone hopefully that happens in the beginning stages of collaboration because they are a very integral part of you know what the costume is going to be you're dressing their body but you're also aware of their physical movement and they're so i think like when you you have to kind of gain their trust but also allow for collaboration because they will often have ideas that sometimes are good.

34:19You know, most of the time, whenever an actor has had an idea for their costume, it's always made my original idea better. And how do you work with the hair and makeup and the set people? Like, is it like BFF you have to be or can you sort of run in parallel? I think so for me, because I do a lot of projects that don't have tons of money. And I don't know if you work on a project that does have tons of money, if it's any different. I think that the initial stage of hiring hair and makeup people, it's something I always really like to be involved in. And a lot of people don't like that, but I'm always kind of like, look, if I'm doing this, I want to know who hair and makeup are because I think once you know, like if you can work well with hair and makeup and you know that they have a certain talent level, you can talk about concepts at the beginning and then everybody goes and does their thing.

35:17You know, like I give them a lookbook of like, like this is what, you know, Julianne's wearing. So we do, you asked about writing things down and I don't want to take away from this job. So there is a costume supervisor and the costume supervisor's job is to essentially, well, it's actually different in New York and LA, but there is a person whose responsibility is to go through the script and write down basically um when somebody changes what day it is so like they go through and are like in scene one through five you know the character is in change one and then in scene six they go to sleep and they're in their pajamas and that's change two so i will give my breakdown of those costumes so like i'll put photos in and i'll give that to the hair and makeup team so like once we've kind of already established like this is who they are and these are the references that we like and whatever then they can kind of just go with it i wish i had time to like go in the hair and makeup trailer every morning be like hey what's going on yeah it's like a script coordinator it's a similar thing yeah um what what's the difference with that job between new york and la that's funny it's like in new york the costume supervisor it's actually called a wardrobe supervisor doesn't do the budget got it more like on a truck or like in the office but like they and in los angeles they they do the budget so they are kind of like i don't know like the manager of the department got it yeah it's just it's a little bit different i i mean this is very nuanced and i know i love it we love that we love We love attention to detail.

37:05That's interesting. I know that in L.A. they do the budget and in New York they don't. And that's the big difference. And then there's probably a million other nuances. And I don't want to. There's probably some license that you get in L.A. and some union support that you don't get in New York. That's what I would guess. No, because New York was mostly Broadway. Got it. OK. So like the way that it's set up is for Broadway and the way that it's set up here is for Hollywood. Got it. Understood.

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38:15Try it today at Starbucks.

38:23Let's talk about TV. Okay, because I think the original reason I wanted to, and now I'm remembering why I wanted to have you on the show. is because the better sister yes the better sister which is a connected to me to on the rocks and why you are so good at what you do because you it's like the specific shirt it's the like you said it's the right navy sweater it's the totem did did jessica beale carry a totem bag or did she I think it was a row. It wasn't the row, but it was like a row. Yeah. OK, yes. I mean, we can look through right now. The white dress was. We had a really good prop department.

39:08So props normally handles bags. Yeah. And, you know, again, like it's like a similar collaboration. We'll talk about it at the beginning and I hope that the prop department is good. If they're not, then I just get my own bags and glasses. But generally, like you, you talk about stuff at the beginning and then they understood and like you kind of communicate, like I feel like when it came to court in that show specifically, I wasn't sure what Jessica was going to wear. I was like, is it this or this? And I like by the time we, you know, because they have a lot of say, like actors will participate a lot more on TV.

39:44Interesting. interesting um so you know we didn't know what was gonna be worn at that time and then i guess you know i didn't communicate it fast enough but at the court scene i there was a a bag snafu i remember that's funny how worried are you about consistency and all of that does it stress you out if something isn't exactly right in the end i'm sure happens all the time right? Because like, there's retakes and yeah, I've learned to let go. I think we I strive for, you know, perfection, I guess you could say. But I also know that our work is very fast. It's, you know, there's only so much you can plan for there are moments where like, somebody doesn't want to wear what you were supposed to wear, or like, they change and then you're like, Oh, shit, But now, you know, they don't want to wear this.

40:40So that person was wearing that. And you have to make all these decisions kind of on the fly. And I think when you have to do that in any profession, there needs to be a little bit of compassion when things aren't exactly right. And also, I don't think anybody else notices. Like when I say to people, like, I'm annoyed about that bag, they go like, I don't even know what you're talking about. No, I'm looking through. on a website called femstella.com. Oh, okay. Femstella.com. I don't know what it is. Me neither. Which is basically, it's going through all the outfits from the Better Sister. Oh. First of all, the really nice Cartier Panther.

41:28Yes. I have a less expensive version. I do too. It's so good. I love it. That makes me feel good that you have it. Because every once in a while I'm like, is it too basic B that I got the Panther? Well, I will tell you that I did have to go to New Jersey recently. Yeah, and a bunch of people had it. Yes, I feel like all the like 17 year olds who are like 18 year olds who just graduated from college or whatever or high school, they all had. What, what, I have the mix metal. No, I just have, I can't wear gold. I'm allergic to gold. okay i mean i can wear it but i can't you have like a plat like the the stainless steel okay i have steel and gold mix but i will say when it was on zendaya and challengers which obviously i love the costumes and challengers and it was so good i was like and i know that's her she wears it right i was like what should i have done something and i'm sure you know tina che very well she has that like perfect really tiny Cartier watch with like diamonds on it.