How “Priscilla ”recreated the Presleys' elaborate real-life wardrobe

A24

Welcome to Graceland.

Sofia Coppola is heading back to the 1960s, chronicling the legendary relationship between Priscilla Presley and her rock star husband Elvis. Cailee Spaeny and Jacob Elordi headline Priscilla, an intimate drama that charts the pair's rocky relationship and how they navigated unprecedented global scrutiny. It's a rare peek into one of the most famous relationships of the 20th century, and Coppola adapted the film from Presley's candid 1985 memoir Elvis and Me. The story stretches from Priscilla and Elvis' first meeting in 1959 to their separation in 1972, with Presley herself providing insight and serving as an executive producer.

Costume designer Stacey Battat tells EW that she wanted every look to be as accurate as possible, leaning heavily on historical references. Battat and Coppola are frequent collaborators, working together on past projects like The Bling Ring and The Beguiled. But Priscilla presented a new challenge, requiring countless looks that spanned more than a decade. Battat and her team immersed themselves in research, poring over old photographs and Presley home movies, while also studying historical collections of era-appropriate fabrics.

"We started with research because it's based on history," Battat explains. "But at the same time, it's about their private lives and moments that were never public. So, how do we interpret those things that we've seen through public photos into private moments? It was really important to see her intimate view of Elvis, and not the world's view of Elvis."

Battat breaks down three of the film's most iconic looks, pictured side by side with original reference photos.

An emotional goodbye

Sabrina Lantos/A24; ullstein bild via Getty Images Left: Cailee Spaeny in 'Priscilla.' Right: Priscilla Presley in 1960.

Early in the film, Priscilla Beaulieu and Elvis Presley meet on an American military base in West Germany in 1959. He's a 24-year-old star serving a stint in the U.S. Army; she's a 14-year-old high school student, who moved there after her Air Force stepfather was stationed in Germany. Even though Priscilla is only in ninth grade, he ardently pursues her — until his Army career comes to an end, and he heads back to the United States. A then-teenage Priscilla was photographed waving goodbye to Elvis as he departed, unsure whether she would ever see him again.

For that scene in the film, Battat and her team perfectly recreated Priscilla's look, from the pattern on her pleated dress to the way her scarf is tied around her head. Because the photo is in black and white, Battat focused more on texture than color, paying particular attention to the mohair-like fabric of the dress. The schoolgirl plaid also helps emphasize just how young Priscilla was, and Battat made the dress in two parts so she could recycle the skirt for a later scene.

"We had been very conscious of not spending so much money because we didn't have a huge budget," she explains. "So, we made that dress in two pieces so we could use that skirt as something she wore to school."

At this point, Priscilla is still an ocean away from the Technicolor excess of Graceland. For the scenes set in Germany, Coppola wanted to lean into a softer, post-war color palette, both in the costumes and the production design. "Germany is definitely more muted," Battat adds. "We always said that when we get to Memphis, the sun comes out."

Wedding bells

Philippe Le Sourd/A24; Michael Ochs Archives/Getty Images Left: Cailee Spaeny and Jacob Elordi in 'Priscilla.' Right: The real-life Priscilla and Elvis Presley on their wedding day.

For Priscilla and Elvis' 1967 wedding looks, Battat turned to two legendary fashion houses. Coppola has a long history of collaborating with Chanel, so the director personally asked the company to help recreate Priscilla's stunning lace dress and veil. Meanwhile, Elordi's custom tux was made by Valentino. "We got super lucky," Battat says, praising both companies for their collaboration and meticulous attention to detail. Battat also worked closely with hair designer Cliona Furey and makeup designer Jo-Ann MacNeil. It was Furey who shaped Priscilla's hair into the perfect bouffant, securing the veil with a glittering tiara.

Battat also had to carefully consider Spaeny's shoes. In real life, the 6-foot-5 Elordi towers over his 5-foot-1 costar, so Battat needed two pairs of wedding shoes. One pair had a period-appropriate low heel, which Spaeny would wear whenever her feet were in frame (like when Elvis carries Priscilla over the threshold at Graceland). The other pair had much, much higher heels, to help lessen the height difference when Spaeny and Elordi stood next to each other.

"It was hard to make them level, but it also worked in certain ways," Battat adds. "He is so much bigger and taller than her, and I think it played to the story."

At home with the Presleys

Sabrina Lantos/A24; Frank Carroll/Sygma via Getty Images Left: Jacob Elordi and Cailee Spaeny in 'Priscilla.' Right: The real-life Elvis and Priscilla Presley.

In this scene, Elvis and Priscilla pose for family portraits at home, their daughter Lisa Marie just off screen. At this point, the pair have been married for years, and Battat notes how much their personal styles have shifted. Priscilla has abandoned her sky-high hair and thick winged eyeliner for a far more natural look, while Elvis is in full glam mode, rocking overgrown sideburns and heavy makeup of his own. Early in their relationship, Elvis would dictate how Priscilla dressed, encouraging her to dye her hair black and wear thick eye makeup. At this point, she's started to experiment with her own style.

"What's so important about that photo is it really is the story of their life," Battat explains. "It shows how far they diverged from one another."

For Priscilla, Battat's team hand selected the perfect shade of purple, recreating the shirt and pants in their own workshop. For Elvis' flashier look, Battat turned to B&K Enterprises, an apparel company that makes meticulous recreations of some of Elvis' most iconic jumpsuits. B&K uses original patterns designed by legendary costumer Bill Belew, who first created Elvis' looks for his legendary 1968 TV special. The patterns had to be slightly modified to fit Elordi's 6-foot-5 frame, but Battat says that once the actor tried it on, Elvis was officially in the building.

"Those costumes are so incredible," Battat adds. "Every time [Jacob] had one of them on, everyone gasped. They were like, 'Oh my God, Elvis is in the room.'"

Priscilla will hit theaters Nov. 3.

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