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Interview with the Oscar-Nominated Costume Designer of Train Dreams, Malgosia Turzanska

Late last year, while scrolling through Netflix, I noticed a familiar title. Train Dreams, starring Joel Edgerton, was adapted from Denis Johnson’s novella of the same name—a 120-page book that I read in a single sitting a few years ago.

The story traces the life of Robert Grainier, a logger and railroad worker who moves through the rapidly changing world of the American Pacific Northwest in the first half of the twentieth century. Haunting and poignant, the novella struck a chord deep inside of me, so the film had big boots to fill. Boy, did it ever fill them.

Easily the best film of the year, Train Dreams has been nominated for more than 150 awards, winning 21 of them at last count. It received four Oscar nominations, including best picture and best adapted screenplay. 

The acting, cinematography, and music are all exceptional, but what struck me most was the costuming. I can’t remember ever seeing a movie that was as deeply steeped in the world of heritage workwear as this one.

Logger boots, faded selvedge denim, worn-down henleys, and wabash chore coats–Train Dreams showcases some of our favourite rugged style essentials. Everything was so carefully selected and so perfectly aged that the film absolutely feels like a time capsule from an age we so rarely get to see on the big screen and in vibrant colour.

Immediately after watching the film, I reached out to the film’s costume designer, Malgosia Turzanska. With an impressive resume, including an Oscar nomination for her work on Hamnet and immediately recognisable work from Hell or High Water and Stranger Things, she has unique insight into the world of costume design–something I knew very little about before our conversation.

I messaged her, and she responded right away, volunteering to answer all of my questions. Her in-depth answers gave me a glimpse behind the curtain at the world of period costume design, and I wanted to share our conversation with all of you. I hope you find her answers as enlightening as I did. 

If you haven’t seen the film yet, you’re in for a treat. To get the most out of this interview, we highly recommend that you watch the film before reading it.

Q: First, can you introduce yourself to our readers? What is it you do, and how did you make your way into the industry?

A: Hi, my name is Malgosia Turzanska. I’m a costume designer.

I started by studying Costume Design, first at DAMU in Prague in Czechia, and then at NYU’s Tisch School of the Arts.

I began by designing student shorts, then small music videos and commercials, and gradually made my way to professional film and TV.

This year, I’ve been very lucky to have worked on two movies that have both received a considerable amount of critical attention, Train Dreams directed by Clint Bentley, and Chloé Zhao’s Hamnet.

Q: Can you tell us a little bit about your process? Where do you start on a project like Train Dreams? 

A: Whenever I work on a literary adaptation, I tend to read the source material first, but then I switch to the script and never go back.

Book adaptations can be tricky, so I want to make sure that I am respectful to the screenwriter’s vision and work from the script out, but I am always curious about that original spark.

I start by creating a very raw emotional response to the text—a lookbook of images (photos, art, textures, colors) that evoke something in me of the story’s context.

At that point in the process, I might not entirely understand why I’m making these choices, but I share that with the director as a starting point and to make sure that our initial understanding of the script matches. 

Then I start my research. I go as deep as possible, trying to get my hands on anything I can find relating to the topic of the film. You never know what information you might find that could change your take on the characters.

Once I feel I am fluent in the world of the story, I start sketching and collecting fabric swatches. From there, we start putting together the film’s wardrobe. We either make. buy, or rent the costumes—usually a combination of all three.

Q: What were you most excited about conveying to the audience with your costuming choices? What stood out to you in the text that you felt costuming could help you foreground for the viewers? 

A: Train Dreams is such a special film. We travel with a mostly silent character through his entire life, which stretches over more than half a century. We witness the changing landscape of the country, both in a physical and metaphorical way.

Robert Grainier is not a leading man in a traditional sense. He is largely passive. History happens to him rather than because of him, but in that, he invites us in to be his companions on the journey.

I wanted to make sure I was deeply respectful to his character and the world he inhabited. I wanted the audience to be able to feel and smell the environment on his clothing.

The ageing needed to be absolutely believable so we can be truly convinced that he has lived and worked in the woods for years and years. Throughout all of this history, layers of dirt, sweat, and sap have built up on his costumes, as well as those of his fellow workers.

I loved digging into the culture of the early-20th-century loggers. Looking at the photos of the workers and at the actual garments they wore was very touching. Seeing the patches, the mending, the little alterations was like witnessing history on a human scale. I wanted to make sure we feel as much of that in the film as possible.

Q: Where did your research into early twentieth-century workwear take you? Any interesting rabbit holes you fell down? 

A: So many rabbit holes! Many small-town museums have archives of incredible photos of the actual people who lived and worked in the area. These people have names, families — it made it so special. 

I loved the Avant book and magazine series, Richard L. Williams’ The Loggers, and Ralph W. Andrews’ books This Was Logging, Glory Days of Logging, and Timber: Toil and Trouble in the Big Woods. 

There was lots more–whatever I could get my hands on. Our director, Clint Bentley, Production Designer Alexandra Schaller, and I would exchange anything interesting we’d find, so we were all feeding this research fire. 

Q: Where did you source the costumes for Train Dreams? 

A: There was a huge mix of sources. We needed multiples for many reasons, so it was hard to find enough garments in one place. Our budget was way too small to make everything from scratch, but we did a lot of alterations and recut a lot of the pieces to fit in this world. 

Whites’s Boots graciously agreed to collaborate with us. In fact, all of the footwear that Joel Edgerton wears in the film is White’s. For the logging scenes, it’s the Calk Block Heel Logger Boots, and for the non-logging scenes, it’s the 350 Cruiser in Distress Roughout. 

Joel absolutely loved them. We shot around Spokane, so to be able to work with a local company that has been providing logging boots to the community for more than a century felt incredibly special.

Get yourself a pair of White’s 350 Cruiser boots here.

For the other garments, it was a combination of multiple sources: LCKing, Bronson, Levi’s, Olderbest, and Frontier Classics. For shirts with the beautiful large rectangular patch pockets, we ended up buying shirts and adding the pockets on to capture that specific look. 

Q: How did you go about giving the garments that lived-in and worked-in look? What tricks do you use to distress garments? 

A: Aging and dying was a major part of this project and my favorite part of the process. It adds that magical touch that truly make the costumes a part of the world of the story. 

We used all the tricks in the book: washing, sanding, torching, overdyeing, waxing, painting — it is a combination of all of the above to make sure everything feels real. 

Q: Do you do this yourself, or are their garment-aging specialists that you work with?

A: I do a lot of it myself, because I love it and I feel I have a good understanding of what it needs to be in order to read on camera, but there are people who have built entire careers ageing clothing.

We had help for a few days, but because the budget was so tight, it was mostly on me and the core team to handle it.

Q: Can you tell us anything about the boots nailed to the tree? Was this practice something you came across in historical records?

A: Funnily enough, this was a bit of poetic license! Clint and Alexandra, our director and production designer, came up with that idea, and it hit the perfect note. I cannot imagine the film without them!

Q: Train Dreams is a gorgeously textured piece of cinema. Were your fabric choices the result of conversations with the Director of Photography? 

Adolpho Veloso is an incredibly talented DP, and we used almost exclusively natural light in the film, which makes it feel so special. I needed to make sure the camera has something to sink its teeth into, so to speak. 

The ageing added texture and depth to the clothing, but also the fact that everything is quite wrinkled and dimensional helps with that as well. 

Q: How did your fabric and costuming choices contribute to the overall texture of the film?

A: In terms of the colours, the most striking moment is Gladys wearing a yellow dress—I dyed it that specific yellow to make sure it pops, but is not overpowering and out of place.

Joel’s rusty oranges and his faded denim provided a nice softness and depth.

Q: The world changes around men like Robert Grainier and Arn Peeples. How did you use costume choices to show the passage of time (or to show men like Grainier’s resistance to the flow of time)? 

A: Grainier and Arn are both part of the old world. When we see Grainier return to the cut after a while, he is surrounded by a completely changed industry.

The young men around him wear sleeker shapes, the textures become less organic, there’s less softness and depth to them. That makes Robert feel and look older and out of touch.

Then, when he travels to the big city at the end of the film, there is another jump. He is still holding onto his woollens and corduroys, but the world around him is synthetic 1960s, with its bright colours and modern silhouettes.

It was important to me to show that contrast. He is out of place, and yet he is exactly where he needs to be, watching the world around him move. 

Q: What happens to the pieces when production wraps? Did you hold on to any of the pieces from the film? 

A: Production normally holds on to the costumes for a while in case of any reshoots, but I actually don’t know where the majority of Trains costumes ended up after that! 

Q: Finally, was there anything you learned or experienced during your work on Train Dreams that you’ll carry forward with you into future projects? 

A: I loved learning about that part of American history. I loved getting my hands dirty. I also loved seeing the role women played in this very male-focused world. 

Gladys was my favourite character in the story. She is so brave, so resourceful, so able to fend for herself. While her husband was away, she kept the house going, hunted, grew vegetables, and raised their child. Of course, she missed her husband, but she didn’t need to be rescued. 

There was a line in the script which didn’t make it into the final cut of the film. Grainier comes home and tries to fix something, and he asks Gladys, “Where are my tools?” She replies, “These are MY tools!”

A huge thanks to Malgosia for taking so much of her time to answer all of my questions. If you are keen to learn more about her or follow her work, you can visit her website here.

The post Big-Screen Workwear: Train Dreams and Its Period Costumes appeared first on Denimhunters.

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Comfort, durability and ease are leading men’s choices.

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Gucci’s Pre-Fall 2026 isn’t a traditional runway. It’s a lookbook shot by Demna himself and described as a kind of “imagined show”. The denim pieces here play a supporting but important casual role in a collection.

We have to say that: Demna Gvasalia – former Balenciaga, now Gucci – has definitely calmed down! Or however you want to phrase it!

When you think back to Demna’s hey-days at Balenciaga when there was no-limit over- and uber-sizing, you will find his Pre-Fall 2026 collection for Gucci quite “moderate” in comparison!

And not only that, but imagine that Demna is for now one of the very few designer who is actually bringing back skinny jeans.

The Pre-Fall 2026 Generation Gucci lookbook includes denim pieces with very minimal design details. Think cleaner silhouettes and concealed details like hidden pockets and closures on jeans, And this like above mentioned Demna’s rather than heavily distressed and over-big denims.. He definitely is leading Gucci toward a more refined, understated denim in this season’s story.

You can shop for Gucci on their website, at CETTIRE, Farfetch women/men, and at Nordstrom.

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After Fifteen Years of Writing About Denim, These Are the Jeans That’ve Influenced Me the Most

I launched Denimhunters on January 30, 2011. I didn’t have a plan—just an obsession. I read From Cowboys to Catwalks on repeat and remember thinking, “If only I could one day write a book about denim.” Five years later, Blue Blooded was published. But it all started here, with a blog post like this one.

Denimhunters became the work of my life. I’ve poured more time into this than anything else I’ve ever done. The feedback from readers, the reputation it’s earned me, the continued love from Google—that’s all something I’m incredibly thankful for. And incredibly proud of.

To celebrate this milestone, I didn’t want to release a greatest hits list or write an autobiography. I wanted to do something that’s actually useful—even for new readers. So I’ve put together a list of the five jeans brands I’ve worn the most. Combined, they tell my story and the story of Denimhunters better than anything else I could think of.

I’m not saying these are “the best,” but they’re the ones that’ve taught me the most about denim, fit, construction, history—and helped shape how I explain it. First on Denimhunters. And now also through my own brand, Weirloom.

If you’ve been here since the early days, thank you. If you’re new, welcome. Either way, this one’s for you.

Levi’s Vintage Clothing

“Museum-Worthy Jeans You Can Wear”

Levi’s Vintage Clothing is built on the blueprint the entire denim world is measured against: original Levi’s. The real thing is museum-grade now—nobody in their right mind is fading deadstock 501s. LVC exists so you can wear those classics again.

It’s where I started too. Like a lot of people, I found my way into denim through Levi’s—but LVC was the turning point. It’s where I realised jeans had history—not just culturally, but technically. That fit, fabric, stitching, pocket shape, leg twist, even the way denim shrinks—none of it was random. All of it came from somewhere. LVC helped me start learning how to read denim.

The heart of the line is, of course, the 501. Each iteration represents a different moment in (denim) history, from slimmer post-war cuts to roomier mid-century silhouettes. For many denimheads, myself included, the 1947 remains the benchmark: a perfectly balanced fit, and the XX denim that defined what selvedge should look like.

The one thing you must know before buying: most LVC jeans are shrink-to-fit. They will shrink significantly after the first wash, so you need to size with intention. Consult size charts, ask how much shrinkage to expect, and choose your size based on how you want them to fit after the first few washes—not the day you unbox them.

If you want the closest possible experience to wearing an original Levi’s garment—something historically accurate that still fades beautifully—this is the place to start. Others reinterpret the past. LVC lets you wear it. And while your non-denimhead friends might “just see” a pair of Levi’s, you’ll know you’re wearing denim history.

You can buy Levi’s Vintage Clothing at Cultizm and Hinoya.

Nudie Jeans

“Creating Tomorrow’s Denimheads”

Nudie is the gateway brand for an entire generation of denimheads, including this one. They helped bring raw denim, selvedge, and the idea of breaking in your jeans into the mainstream without watering down what made it special.

Their strength has always been philosophy as much as product. From transparency and 100% organic cotton to worldwide Repair Shops that fix your jeans for free, Nudie built a culture around wearing your denim hard and keeping it alive.

For me, Nudie played a formative role. One of the first pairs of raw jeans I really committed to was a pair of Average Joes in their original Kaihara selvedge—the denim that launched the brand in 2001.

I wore them every day for five months, unwashed. When I finally washed them, the knees were already blowing out. The stiff cotton yarn had started breaking along the sharp creases I’d worn in. That was the moment I realised: there’s no single right way to break in and wash your jeans.

The six-month rule is iconic, but it’s not gospel. A pre-wear soak rinse won’t ruin the denim or prevent fades—it actually helps your jeans last longer. That’s shaped how I’ve written and taught denim ever since.

Related reading: How to Wash Raw Denim (and Every Other Kind of Jeans)

Nudie’s fits have evolved over the years, but the mix of Scandinavian simplicity and rock-and-roll attitude remains constant. And while Nudie has grown beyond raw denim into a full lifestyle offering, they’ve never abandoned the idea that denim should be worn hard, repaired, and kept alive.

If you want a brand that opens the door to raw denim and still stands for something bigger, Nudie is it. They helped create yesterday’s denimheads—and they’re shaping tomorrow’s.

Indigofera

“The American West—Woven in Japan, Made in Europe”

Indigofera doesn’t fit into any typical category. It’s Swedish at the core, but the visual language is pure American West—sun-bleached deserts, wide horizons, worn-in leather, faded denim. You feel that atmosphere in everything they make. It’s not reproduction, and it’s not fashion.

This was the brand that challenged my assumptions about where top-shelf jeans could be made. Up until I got my first pair—more than a decade ago now—I thought serious denim could only come from one of two places: Japan or the USA. But a pair of Clints in the No. 2 denim—made in Portugal—changed that. They weren’t just good. They were exceptional.

Indigofera’s jeans were built like nothing else I’d worn, and they really opened my eyes. Construction was top-notch, the fit was perfectly dialled in, and the denim was unforgettable. I wore Indigofera jeans almost exclusively for several years. The only real quirk to me is that they don’t have chain-stitched hems. Indigofera has always done it differently. I’ve come to respect, even appreciate, that choice.

Their tops are just as iconic as the jeans. The Fargo and Copeland overshirts are built like jackets but easy to wear anywhere. And the blankets—made in Norway—have become collector’s items in their own right.

If you want garments with real depth—pieces that reveal more the longer you live with them—Indigofera is one of the most rewarding brands out there. Quietly original, built to last, and unlike anything else.

Indigofera is sold at: Franklin & Poe (US), Iron Shop Provisions (US), Blue Beach Denim (Taiwan), and Manready Mercantile (US)

Warehouse & Co.

“Vintage Accuracy Made Approachable”

Warehouse is probably the most accessible of the Osaka Five. Where other repro labels can feel niche or intense, Warehouse has always been the calm, easy way into Japanese denim: thoughtful, precise, and immediately wearable.

Of all the brands on this list, this is the one I’ve worn the least. Between the two pairs I own, I’ve probably logged eight to ten months of actual wear. But even that was enough to understand why they matter—and why they belong here. 

Warehouse’s identity is built on the same thing they’re best known for: Banner Denim. The Shiotani brothers dissected a 1930s Levi’s banner thread by thread to recreate a 13.5 oz. cloth with the grain, slub, and softness of pre-50s selvedge. Woven on Toyoda G3 looms, it fades into gentle highs and lows rather than high-contrast streaks.

Jeans like the 1001XX (their mid-century straight) and the 1003XX (a WWII-style cut with flannel pocket bags) show the philosophy clearly: period-correct details, iron buttons, copper rivets, rayon tab, and cotton thread. That last detail is worth noting—cotton stitching is authentic, but it breaks faster than the poly-core threads most brands use.

Beyond jeans, Warehouse makes some of the best loopwheel tees and sweats in the scene. Clean proportions, great fabrics, everyday pieces that explain why Warehouse has such a loyal following outside Japan as well. And why Japanese denim and ‘made in Japan’ is more popular than ever.

If you want true reproduction denim without the attitude or the barrier to entry, Warehouse is the effortless starting point—rooted in vintage, easy to wear, and built with the kind of care that keeps people coming back.

Warehouse is at Lost & Found (CA), Hinoya (JP), and Clutch Café (UK).

Iron Heart

“Heavyweight Holy Grails with Motorcycle DNA”

Iron Heart doesn’t just make heavyweight denim—they pioneered it. Designed to be tough enough for Harley riders, they pushed denim weights into uncharted territory, and made it surprisingly wearable.

There’s something undeniably appealing about heavyweight denim. But it took me years to work myself up to it. By the time I finally got my first pair—the 634S in their signature 21 oz. selvedge—I’d worn a lot of jeans (even written a book about them). But this was still a rite of passage. And once I crossed it, I didn’t look back.

That’s probably also why I’ve worn Iron Heart more than any other brand on this list. The 634 is the best-fitting pair of jeans I’ve ever worn (at least from a brand that’s not my own 😉).

The 21 oz. selvedge is soft, breathable, and surprisingly comfortable. And everything is built to last. Since that first pair in 2018, I’ve worn the 14 oz., the slubby 16 oz., two pairs of 25 oz., and even the UHR.

Iron Heart doesn’t chase reproduction accuracy. They use poly-core sewing thread instead of all-cotton. Softly one-wash their jeans so you don’t have to deal with unpredictable shrink-to-fits. And most importantly, they design garments that work with modern wardrobes. It’s not that they ignore the past; they improve on it. 

And the brand is so much more than the denim. Their ultra-heavy flannels in hand-picked Aspero cotton are benchmarks in the scene. The N1 deck jacket is iconic. Every stitch, every fabric, every detail is overbuilt in the best possible way—designed for durability, function, and long wear without sacrificing comfort.

If you want denim and jeanswear that’s seriously tough but incredibly refined, there’s nothing quite like Iron Heart.

Iron Heart is available at: Division Road (US), Franklin & Poe (US), Brooklyn Clothing (CA), Iron Provisions (US), and of course at Iron Heart International.

The Next Chapter Starts Here

I didn’t write this piece to be nostalgic. I wrote it to remind myself—and hopefully show others—that every worn-in pair of jeans carries more than just creases and fades. They carry lessons.

Fifteen years into Denimhunters that’s still what drives me. The five brands above weren’t just my favourites—they’re my teachers. They showed me how denim is made, how it wears, and how it lasts. And eventually, they helped me understand how to make jeans of my own and launch Weirloom.

There’s plenty more to say. But for now, I’ll just say this: thanks for reading. Thanks for being part of the journey. Let’s see where the next fifteen years take us.

The post 5 Brands That Defined My Denim Story More Than Any Other appeared first on Denimhunters.

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Lifestyle brand, American Eagle, has signed up with Spanish footballer, Lamine Yamal, as its global brand ambassador in a historic multi-year partnership.

Yamal is one of the most promising young football talents worldwide. The contract runs for five years starting in summer 2026 and is the first multi-year partnership of its kind for the brand.

Yamal will participate in global campaigns and limited-edition product collaborations. The signing comes with the World Cup due to take place in North and South America from June 11 to July 19, with the final being played at Metlife stadium in East Rutherford, N.J., near New York City.

“I couldn’t be more excited to begin this journey with American Eagle,” Yamal said. “Off the field, I like to play a lot with fashion trends, and as a leading lifestyle and denim brand, AE has the product to help me bring my energy and style to life.”

Jennifer Foyle, president and executive creative director of American Eagle and Aerie, said, “Soccer attracts an unrivaled global following, and our multiyear partnership with Lamine Yamal centers AE at the heart of the fandom-highlighting our commitment to him, the sport and our customers.”

We can’t wait to see what this collaboration has in store for us – stay tuned, we will definitely keep you posted!

Meantime you can shop for the newest American Eagle collection here.

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Etro is the brand for you if you’re looking for more classical denim. Let’s say, classical with a twist!

Etro’s trademark embroideries and embellishments are a big thing for denim as well in this Pre=Fall 2026 collection. You’ll see denim textures integrated with patterned fabrics, such as velvet, jacquard, or patchwork. All very much in Etro’s bohemian textile spirit.

Denim styles for both – men and women – are fitted and straight with some bootcuts and flares. As opposed to the baggy and oversized denim fits we have seen in many other collections.

While Etro’s Pre-Fall 2026 isn’t actually centered on traditional jeans, denim and denim-like fabrics appear as part of the rich textile mix. Especially through velvet intarsia and textured surfaces that evoke denim’s tactile qualities. More like denim influence or infusion rather than just simple blue jeans.

You can shop for the current Etro collection on their website, at Farfetch women/men, and at CETTIRE.

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Kaia Gerber has joined RE/DONE, the Los Angeles based denim brand originally known for upcycling vintage Levi’s jeans.

Gerber will be an investor, creative partner, and advisory board member. She’ll be helping shape brand strategy, contribute to collection development, and work on creative direction for campaigns.

“RE/DONE has always felt like a natural extension of who I am. It honors the past while feeling completely of the moment,” Gerber said in a statement. “The brand represents a lifestyle rooted in authenticity, individuality, and timeless style. I’ve loved being part of its journey, and I’m excited to help shape what comes next. This will include creating products and stories which feel personal, intentional, and deeply connected to today’s generation.”

Gerber has been linked to RE/DONE since 2017, when she and her mother, supermodel Cindy Crawford, posed together in a campaign wearing jeans from the brand’s collaboration with Levi’s. Since, Gerber has been a longtime supporter of the company.

You will get to see Gerber’s direct influence on the brand starting with the release of their Spring 2026 campaign. The ad campaign will be featuring Secret Snow, daughter of the late Dash Snow and a visual artist in her own right.

You can shop for RE/DONE at Farfetch, FWRD, and at Nordstrom.

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