For the film "A Complete Unknown," costume designer Arianne Phillips had to immerse herself in Bob Dylan's fashion, studying his style as if it were a new language. CNN
Arianne Phillips, renowned costume designer, has once again captured the essence of a legendary figure, this time transforming Timothée Chalamet into a young Bob Dylan for the highly anticipated film A Complete Unknown. Set to release this Christmas, the movie follows Dylan’s rise to fame from his humble beginnings in New York to becoming a global music icon by the age of 24. Phillips’ work on the film brings Dylan’s distinctive style and persona to the big screen, adding depth to the character and helping Chalamet step into the role of the legendary musician.
Phillips’ career is a testament to her ability to master the wardrobes of famous figures. In Walk the Line (2005), she dressed Joaquin Phoenix as Johnny Cash, capturing the rockabilly icon’s signature look. She continued this expertise in Once Upon a Time… in Hollywood (2019), when she outfitted Margot Robbie as Sharon Tate, replicating the exact outfits the actress wore before her tragic death. But for A Complete Unknown, Phillips has spent the last five years immersing herself in Bob Dylan’s world, working hard to understand both his personal style and the cultural significance of his early career.
In an interview, Phillips explained how her process began: “We were recreating known events that are widely documented,” she said. The movie covers key moments in Dylan’s rise, including his pivotal 1963 Freewheelin’ album cover photoshoot and his controversial 1965 performance at the Newport Folk Festival, where he famously went electric. For these moments, Phillips meticulously recreated iconic outfits, such as the red button-down and leather jacket Dylan wore at Newport, which became a symbol of the backlash he faced from fans.
Phillips recreated Bob Dylan's iconic red shirt and leather jacket look from his controversial 1965 performance at the Newport Folk Festival. CNN
However, capturing Dylan's full persona required more than just iconic stage outfits. Phillips had to imagine the private moments in Dylan’s life that were not documented as thoroughly. She thought deeply about the clothes Dylan would have worn during offstage moments, such as walking around New York City or riding his Triumph motorcycle. This part of the process was especially challenging because, according to Phillips, there were very few photographs of Dylan during these private times. To fill in the gaps, she relied on books and biographies, including A Freewheelin’ Time, written by Dylan’s ex-girlfriend Suze Rotolo, whose influence on Dylan’s early years is reflected in the film.
For Phillips, one of the key elements of Dylan’s wardrobe was his denim. The film features his beloved 501 jeans, made famous in the 1963 Freewheelin’ album cover. Phillips worked with Levi Strauss to source the vintage Levi’s worn by Dylan during this era. But as Dylan’s style evolved, so did his wardrobe. After spending time with The Beatles in London in 1965, Dylan adopted a more mod style, favoring slimmer-fitting jeans, which Phillips also had recreated for the film.
Levi's collaborated with Phillips to recreate Bob Dylan's favorite 1963 501 jeans style. CNN
In total, Chalamet’s character undergoes over 65 costume changes, reflecting Dylan’s ever-evolving sense of self and style. Phillips describes the experience as a "very intimate job," emphasizing the trust between costume designers and actors. “We’re the only department on set that says, ‘Take your clothes off,’” she explained.
The film’s production has not gone unnoticed by Dylan himself, who recently tweeted his support, saying, “Timmy’s a brilliant actor, so I’m sure he’s going to be completely believable as me.”
Phillips’ work on A Complete Unknown is a labor of love, combining historical research, artistic interpretation, and an intimate understanding of Bob Dylan’s fashion to bring his iconic style back to life. While she didn’t have access to Dylan’s personal wardrobe, Phillips is confident that her vision captures the spirit of the artist during his most formative years. As she put it, “We’re not making a documentary.”
