We've seen Inception a couple times by now, and you probably have, too. But all the dream theorizing aside, there's still one big question on the minds of our readers — and our own: "Who the hell made those suits?" We know Joseph Gordon-Levitt takes care of business, but, like, can we get one of those? Turns out Oscar-nominated costume designer Jeffrey Kurland made them — all of them — and brought some serious flash to one of the most visually stunning films in year. "Inception allowed me, as a costume designer, to really show character in a theatrical way — without being theatrical," he told us this week. He also told us, in his own words, how to dress for the future, what you can learn from ancient Japan, and the best way to stand out in a crowd of movie stars.

It wasn't only about style; you've got six guys, and you need each one of them to look individual. Now the only way to do that is to design specifically for each one of them, because in the end, what's out there in the marketplace, a suit is a suit is a suit.

All of the clothes were designed solely for the film, because of the originality of the script, and the story itself. What I was trying to do was create a kind of corporate atmosphere that's not futuristic but that you could not date. You couldn't pinpoint exactly what it was.

This movie was designed entirely by me — made by me. The fabrics were all bought and found. I had my tailors at Dennis Kim make the suits, my shirt maker, Anto of Beverly Hills, made all of the shirts, and the dresses were made in my dress shop here in Los Angeles.

I chose sharp lines, considering their field is architecture; there are peaked lapels on several things. There are windowpane patterns, plaids, and glen plaids, but each character has their own color palette.

Sato needed to look like a powerful businessman, and his suit was extremely fitted, with peaked lapels. It pulled him away from what Cobbe looked like, which had more of a square-shouldered look to it.

You take cues from everything. I went back and researched traditional Japanese dress, to design Sato's first tuxedo at the party. I wanted to show a symbiosis of contemporary businessman with a respect and a feel for the old ways, and I wanted that to show through right away.

Part of my job as costume designer is to show passage of time and place. The clothes take you on that route, so you can understand where you are and what level you happen to be in.

I look at the past as well as the present. I looked at what was going on in the teens, the twenties, the thirties, as well as what's going on now, because you're not doing fantasy, you need it to fall within reality.

When people respond to the clothes and think, 'Oh, I would like that,' it makes it real. But it's a reality that's been pushed up and stretched one way or the other, according to what the character needs.

This looks like a reality, but there's something stylized and warped about it. And that's what you want to see.

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