- Hi, "Glamour."
I'm Eiza González,
and today we're gonna have so much fun breaking down
some of my favorite looks from film and TV.
[upbeat music]
This is "From Dusk Till Dawn: The Series" 2014,
and I play the role of Santanico Pandemonium.
The first show I ever did in the US.
I remember being so incredibly nervous,
obviously, for multiple reasons.
Frst of all, was obviously,
working with Robert Rodriguez
and being able to play this iconic character
that Salma Hayek basically embodied so beautifully.
And they did this custom piece,
and they wanted it to look different,
but look like the original a little bit,
and have the inspiration.
And then we did this incredible head piece
that it's in the show,
which is Aztec inspired,
and it was one of my favorite costumes ever.
It was so nice to wear something
that has this Mexican/Latin inspiration.
So the first season,
we shot it in the winter,
and it's where I wear most of the bathing suit,
obviously, from the iconic film,
'cause the first season covers most of the film.
But then the second season
is where I've fully become a vampire,
and I'm outside in the real world,
and now this is the summer in Texas,
and I'm wearing leather coats, trench coats,
completely from head to toe
with like a leather hat and boots
and you're in the peak summer of Texas,
and I just was sweating
and I had all these changes;
I had a lot of corsets.
We had a lot of fun,
and Nina's just one of the best costume designers
I've ever worked with.
Not only she's just a lovely human being,
but really cares deeply about costume.
This is "Baby Driver", 2017,
and I play Darling, AKA Monica.
Not a lot of people realize that her name's Monica.
They say it in a moment of the movie,
but we know her as Darling.
So "Baby Driver" was such a unique situation and experience
'cause I mean, if you know Edgar Wright
and you're familiar with his work,
he's a very stylized director.
He has such a specific eye of what he wants,
and we worked with this lovely woman
called Courtney Hoffman:
she was our costume designer.
She was very clear that process
that they wanted to have with Darling:
lilac, purple, pink is the very clear color that she had,
and Buddy was in all blues,
whether it was his,
you can see here where we're together,
and I have my coat,
he has like a flannel with blue underneath.
So we always were sort of very Bonnie and Clyde,
and he wanted that in the design of the costume,
and the way that I was gonna play Darling was quite dark
and space cadet and obscure,
and she had a really bleak side to her.
So the cool thing about when I saw my wardrobe,
and it was so girly and so pretty,
it allowed me to play
with going a little bit further
with the darkness of her.
So after I saw this pink coat specifically,
and I saw my whole suit for the last robbery,
I wanted to make her very, very childlike.
So I came up with a couple ideas with Edgar Wright
where I wanted her to blow bubbles in one scene
and be eating lollipops all the time,
or always have gum in her mouth;
just very childish, very girly,
and it's something about her that hasn't really grown up.
And that's what I love about costume:
it says so much about your character,
and it's really cool
when it informs your performance.
And I kept my hoops,
they say darling,
and I always like to keep
one piece of my wardrobe.
I still wear them sometimes to go out,
and they're people's favorite.
So this is one of my favorite wardrobes ever.
This is "Paradise Hills",
and I play Amarna,
the lovely rock star.
Well, she's kind of a pop star,
but she lives a rockstar life.
This was such a fun movie to be part of
because it had these hints of "Alice in Wonderland"
meets an obscure narrative of it,
and I love the way they went with my hair:
I wanted to do something really fun
to counteract the outfit.
I felt like, obviously,
this character,
she's sort of very unique and special
and has her own style.
And what I liked is everyone has the same costume,
but there's unique pieces to it that identify each girl.
And I love that it has this sort of bondage
a little bit look to it
and it sort of built into the narrative
but very covered up in this period look
but in the current times
and everything for from the hair
to the makeup to the wardrobe;
it was one of the hardest wardrobes to put on.
So this is "Fast & Furious."
Obviously, this is "Hobbs & Shaw."
This was shot in 2019,
and I play Margarita.
David Leitch, who's the director,
and he's one of the most talented people
I've ever gotten the chance to work with.
Called me one day and said,
"I really want you to be part of this movie.
I think you would do so good."
And I didn't really ask him any questions.
I said, "Sure, I wanna work with you.
Let's do this."
But when I got to the set,
I realized I didn't even know what I was playing:
I had no idea what I was gonna be doing,
I didn't know what I was gonna wear.
And I roll up to my fitting with Sarah.
I'm completely bundled up 'cause I'm Mexican.
So think I really need warm.
I love the warm weather.
And she pulls up this tiny little lingerie bustier thing
and then these silk tiny pants.
and I was like, "Am I supposed
to be wearing this right now?"
She's like, "Yeah."
And I was like, "Wait, what am I playing?"
And I remember putting it on.
It was such a sexy look,
and it felt so powerful,
and then they started putting all my guns
and the boots;
the whole look.
And we were working with Alessandro,
who was our makeup artist in our movie,
and I really said,
"I'd love to channel Monica Bellucci in this."
It feels a 2019 twist of what Monica Bellucci is.
Also, looking at the set, right?
If you look at the set that we're in,
and we're in this colonial beautiful, beautiful mansion,
and all the pieces of art around it
just made it look quite expensive.
So we wanted to go really expensive with her,
and then there was an opportunity to wear this fur coat,
but I really don't like to wear fur
and anything that is cruel to animals.
So I was very vocal that I did not wanna wear that,
and it was really important
to the costume designer as well
to feel like it felt genuine,
and it was a really beautiful coat,
but I endured the cold because of the animals.
I just didn't wanna do it.
I remember being on set with the guys,
and they're like,
"This is an incredible look.
You have to keep it."
And sadly, this is one of the few costumes
that I didn't keep anything from my costume.
So it's such a bummer,
but I really enjoyed playing this role.
"I Care a Lot",
and this is 2020,
and I play Fran.
Deb, who's our costume designer,
I remember walking into her first fitting
and really feeling,
"Wow, I am gonna finally, as an actress,
get the chance to completely shed my skin
and sort of walk away from this overly sexualized
or sexy or bombshell look".
And really wanted to dig into
moving into her skin
and becoming fully Fran,
and it really unraveled this transition
for me to change my complete look,
and then we worked with both our hair and makeup team.
Lori, who did my hair,
who's worked with Rosamund Pike for quite a long time,
and I saw the haircut
that Rosamund was getting,
and it really inspired me,
and they showed me all these cool curly shags.
They said we don't want extensions.
We don't want,
and it just really inspired me,
and I said, "Let's get rid of the makeup.
Let's do the hair,
and then let's let that inform the outfit."
I remember Lori said, "I want to perm your hair?"
And I said, "I have really curly hair, actually."
And all of a sudden,
it was wild.
I've never done my hair in my entire life.
I mean, at this point, I'm 30 years old,
and I've never rocked my hair like that.
So I even discovered a new me in this movie,
and it opened my confidence of playing more
with my look as an actress,
and feeling more comfortable
of just not having this typical look consistently
in every project.
And now I sort of change it consistently.
This was one of my favorite experiences as an actress.
I grew so much in this character,
and Fran gave me so much,
and I'm so grateful that I got to do it.
"Ambulance" 2022,
and I play Camille.
I called my agent,
and I said, "How can I get this movie?
What can I do?"
And then I sat down with Michael Bay,
and I said, "Michael, I really believe in you as a director,
and I think you're really good,
but I think that it's really important
for you to make a female character
that feels like a contemporary real woman
and that feels dynamic and grounded
and not designed over a male gaze.
He's like, "I don't want her to be sexy.
I don't wanna see any part of her body and showing skin.
I want her covered up.
She's the heart of the movie.
It's super important."
And so sure enough,
we started wearing these T-shirts,
and their whole day-to-day costume
and, well, their wardrobe, right?
And which was my costume,
and it's really powerful.
A lot of actors and really good actors say,
"You start from the shoes up."
And there's an ongoing joke
because it's a very actor thing to say, like,
"I wear the shoes,
and then I turn into the character."
But really, this was the first time I felt that
because they wear specific boots
for being able to be dynamic when they're working.
They have to be protective of their feet
wherever they're walking.
They also have to have a really good grip on their feet.
They're running quite a lot.
And so, at the moment that I put on those boots,
my whole physicality changed.
I was coming off of being in like tighter clothes.
For the first time, I was like stepping flat on the floor,
and my body was grounded.
It's cool when you get to wear one costume
for an entire film, too,
'cause then you're sort of really in that physicality,
and I had never done that before.
I've never done a movie
that transitions throughout one day only.
So it was very challenging
because, obviously,
I had to have tons of different costumes
because I had to be wired for stunts,
I had to be covered, some were covered in blood,
some didn't have blood.
Actually, even though it's the same costume,
I changed more in this costume
than I've ever changed in any movie in my entire life.
It just feels when you're watching the movie that she's real
and that this could be that girl
that lives across your house,
and it really is this badass superhero
that we were living amongst.
Thank you so much, "Glamour."
I love you guys.
Bye.
[dramatic music]