In the Neon-Saturated Universe of ‘I Love Boosters,’ Fashion Is a Rebellion
In the neon drenched world of I – Boots Riley’s latest comedic venture, “I Love Boosters,” plunges viewers into a world where color isn’t just aesthetic—it’s a force of chaos. The film follows a group of girlfriends who engage in a subversive practice of stealing and reselling clothing, a habit that becomes central to their survival and storytelling. Starring Keke Palmer, Naomi Ackie, Taylour Paige, and Demi Moore, the film blends raucous humor with a sharp critique of modern consumerism and the fashion industry’s ethical shortcomings. At the heart of its vibrant visual language is Shirley Kurata, an Oscar-nominated costume designer whose work on this project represents a creative breakthrough. Kurata, who previously worked on the acclaimed film “Everything Everywhere All At Once” and the reality series “The Debut: Dream Academy,” brings a bold, eclectic approach to the film’s wardrobe, crafting a style that’s as chaotic as the plot itself.
A Fashion-Forward World Built on Color and Contradiction
The film’s setting—a bustling metropolitan strip mall—serves as both a backdrop and a character in its own right. Each scene in the store, named “Metro Designer,” is a visual spectacle of shifting hues, reflecting the fleeting trends that drive the narrative. Kurata’s designs for the Velvet Gang, a fictional collective of characters, are a kaleidoscope of Bay-area-grunge aesthetics fused with Gen-Z raver flair. Furry cropped bomber jackets, remixed sports jerseys, oversized acrylic accessories, and neon-highlighted wigs form a wardrobe that’s equal parts rebellious and refined. “It was kind of my dream script to be asked to work on,” Kurata remarked. “I could really do all the fun fashion that I’ve always wanted to do but haven’t had the chance.”
“We were shooting in the fall and winter which is usually devoid of color in the stores. They don’t have a ton of yellows and bright greens and all that,” Kurata explained. “We didn’t have a ton of prep time either and a lot was done last minute — but sometimes it works well that way because then you’re not overthinking things.”
Kurata’s creative process was shaped by the urgency of the shoot. With limited time to prepare, she embraced spontaneity, resulting in a look that feels both meticulously crafted and refreshingly raw. The store’s employees, too, are dressed to reflect their roles in the story. Violeta, a glam goth sales associate turned labor organizer, and Grayson, the hilariously uptight manager, are clad in outfits that mirror the tension between conformity and individuality. Their costumes underscore the film’s themes, highlighting the underpaid labor and societal pressures that fuel the characters’ actions.
The Velvet Gang: A Tapestry of Styles and Subversions
To bring the Velvet Gang’s wardrobe to life, Kurata sourced a mix of thrift store finds and loans from young student designers at The Savannah College of Art and Design. This approach not only emphasized sustainability but also allowed for a level of creativity that felt authentic to the characters. Each member of the group—Corvette, Sade, and Mariah—has a distinct style that evolves as the plot unfolds. “For Corvette and Sade and Mariah, I had to create what they would wear in the real world, but then also, what they looked like when they were disguised,” Kurata said. “I almost had to create separate closets for each of the characters.”
“There also had to be a resourceful element,” she added. “One of the tops she wears is made from athletic tube socks, and in the opening scene you don’t get to see much of her bottom half, but she’s wearing a skirt made of a bunch of men’s ties.”
Corvette, an aspiring fashion designer, is styled with pieces that blend practicality and artistry. Her outfits often serve as a commentary on the creative process itself, with materials and designs that reflect her ingenuity. Sade and Mariah, meanwhile, embody different facets of the group’s identity: Sade’s streetwear-inspired look nods to Oakland’s vibrant art scene, while Mariah’s punk aesthetic challenges traditional norms. Kurata’s work ensures that each character’s wardrobe tells a story, whether through the boldness of their choices or the subtle details that reveal their personalities.
Christie Smith: The Antagonist Who Wears Her Power with Precision
As the film’s antagonist, Christie Smith is a retail mogul whose fashion choices are as calculated as her business strategies. Kurata drew inspiration from classic fashion villains, crafting an image that exudes control and intimidation. Smith’s platinum-hued bob, aviator reading glasses, and oversized power suits are designed to project authority, yet they also carry an air of off-kilter eccentricity. “I studied a lot of prominent female fashion designers and how they dressed,” Kurata explained. “Like when you think about a Jenna Lyons for instance — you think of the statement glasses, but there’s also a uniform and a utilitarian-ness to the way they dress.”
“And when you go to fashion shows there’s a lot of people dressed in black and I thought it would be so Christie to be devoid of color, she wouldn’t be caught dead wearing it,” Kurata said. “There’s something off-kilter about her, so I wanted her attire to be a little bit off-kilter too.”
Kurata’s decision to style Christie in a minimalist, monochromatic palette contrasts sharply with the Velvet Gang’s vibrant approach. This visual dichotomy mirrors the film’s central conflict: the clash between the excesses of the fashion industry and the grassroots creativity of the protagonists. Moore, who plays Christie, even took an active role in selecting specific pieces for her character, according to Kurata. “She got some pieces that she thought were ve,” Kurata noted, adding a touch of humor to the process.
The film’s wardrobe is a deliberate narrative tool, weaving together themes of identity, rebellion, and the cyclical nature of consumer trends. Kurata’s work challenges the idea that fashion is always about luxury or exclusivity, instead framing it as a means of self-expression and resistance. The use of thrift store items and student designs not only supports the film’s eco-conscious message but also reinforces the idea that style is accessible to all, regardless of status or wealth. In this way, “I Love Boosters” transforms the act of clothing into a form of activism, blending comedy with a deeper critique of the industry that dominates our lives.
A World Where Fashion Is Both a Costume and a Statement
Kurata’s collaboration with Riley highlights the director’s vision of a world where fashion is more than just an accessory—it’s a battleground. The Velvet Gang’s heist-ready attire, often cobbled together from secondhand materials, becomes a symbol of their ingenuity and defiance. Meanwhile, Christie Smith’s pristine, colorless outfits represent the industry’s obsession with perfection and uniformity. This contrast is not just visual; it’s thematic, underscoring the film’s message that true style lies in authenticity rather than conformity. By blending the chaos of street culture with the precision of high fashion, Kurata crafts a wardrobe that is as much a part of the story as the characters themselves.
The film’s success lies in its ability to make fashion feel like a living, breathing entity. Kurata’s designs are not static; they evolve with the characters, reflecting their growth and the shifting dynamics of their relationships. The sheer variety of outfits—some made from unconventional materials, others repurposed from discarded trends—serves as a metaphor for the film’s own narrative: a relentless cycle of creation and consumption, where nothing is ever truly permanent. In this neon-saturated world, fashion becomes a form of rebellion, a way for the characters to assert their individuality against a system that values disposability over identity.
Through Kurata’s lens, “I Love Boosters” is more than just a comedy—it’s a statement about the power of style to challenge norms and redefine value. The costumes, with their mix of thrifted finds and avant-garde designs, remind viewers that fashion is for the people, not just the elite. As the film wraps up, the Velvet Gang’s choices echo the broader message: that creativity, resourcefulness, and individuality can thrive even in the face of industrialized fashion’s relentless pace. Kurata’s work ensures that every piece of clothing in the story is as much a character as the people wearing it, making the film a vivid celebration of the art of style in all its forms.
