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When it came time to design Kwan’s Oscars fit, the cardigan was top of mind for everybody involved. “Our team had already talked about the possibility of the punk sweater separately,” Lin says, “and then Daniel and Shirley came to us and expressed that that’s what they wanted to do.” The trick, then, was figuring out how literal the reference should be.
Goodfight designer Calvin Nguyen devised a classic shawl-collar tuxedo—similar to the one he sketched for Minari‘s Lee Isaac Chung in 2021—but then flipped it in a rich burgundy gabardine with tonal satin accents. To bring the graphic elements from the cardigan to life, Goodfight sent the unconstructed fabric panels to LA embroiderers Tul Jutargate and Tommy D, who fashioned throwback chenille patches for the “PUNK” logo and flower blossoms, and chain-stitched the vines directly onto the arms. The garments were then pieced together in Koreatown by the brand’s longtime tailor, whom they refer to only as Mr. Chang. “He’s really old school,” says Julia Chu, Goodfight’s creative director. “He does really, really beautiful work by hand, right down to the buttonholes. Dressing directors for the Oscars is not at all something he set out to do, but I think he’s having a lot of fun with these outside-the-box projects.”
In lieu of a traditional bowtie, Kurata opted to reference another element of Evelyn’s costume—her jade necklace—by tracking down a beautiful jade bolo tie. “The one we ended up using is shaped like a jade bagel, which felt apropos for the movie,” Chu says. “And it happens to be on a red rope with gold accents, which really plays off the embroidery on the arms.”
Over the last half-decade, powered by its four founders—Lin, Chu, Nguyen, and the brand’s CEO Christina Chou, who daylights as a major Hollywood agent for CAA—Goodfight has quickly established itself as one of the preeminent Asian American fashion labels, making clothes that reflect the third culture so many first- and second-generation immigrant kids grow up in. Goodfight had dressed Kwan for a handful of public appearances during Everything Everywhere‘s awards season run, but according to Lin, it was still a nice surprise to be asked to design his Oscars look after the film nabbed 11 nominations.
“Daniel was approached by several major fashion houses, but he turned them down to stick with us,” Lin says, noting the impact a moment like this could have for a small, independent brand like Goodfight. Given just how damn good Kwan looked last night—and all the stage time he had to flex in his tux—it feels like both parties overdelivered on their ends of the bargain. “We’re just so thankful to Dan and Shirley for believing in us and giving us the opportunity to be part of their special moment.”