In Bonjour Tristesse, the directorial debut of writer Durga Chew-Bose based on Françoise Sagan’s 1954 novel, we meet Cécile (Lily McInerny), a moody teenager vacationing in the south of France with her father, Raymond (Claes Bang), and his younger lover, Elsa (Nailia Harzoune). Her days are spent idly smoking, dancing, and kissing Cyril (Aliocha Schneider), the boy next door—until Anne (Chloë Sevigny), a fashion designer and old friend of Raymond and Cécile’s late mother, arrives, threatening to disrupt her carefree paradise.

The film is quiet and atmospheric, where the ocean’s colors, the sound of the wind, and lingering glances carry as much weight as the dialogue. Fashion also plays a key role. Chew-Bose brought in costume designer Miyako Bellizzi, known for Uncut Gems, who excels at crafting characters that feel real, no matter how fantastical their journeys. Bellizzi collaborated with Cynthia Merhej, the designer behind the cult-favorite label Renaissance Renaissance and a semi-finalist for this year’s LVMH Prize. Merhej’s work blends sharp tailoring with playful shapes and textures, creating a sensual yet offbeat aesthetic. Her designs are central to the film, embodying Anne’s creations and offering another layer to her complex character.

Ahead of the film’s May 2 release, I spoke with Bellizzi and Merhej about building characters through a single carry-on bag, finding the perfect shade of butter yellow, and how their work shapes their personal styles.

Cécile wears this egg-yolk-yellow and off-white swimsuit throughout the film.
Photo: Courtesy of Greenwich Entertainment

How did you get involved in the project?

Miyako Bellizzi: Durga reached out to me about a year before filming—we’d been discussing it for a long time. She introduced me to Cynthia. Even before we had a cast, before Chloë was attached, Cynthia and I were already brainstorming.

Cynthia Merhej: When I first read the script and Anne’s character, I felt a strong connection to her. I understood why Durga thought of me for it.

MB: Cynthia, you’re very much like Anne in real life. The three of us drew inspiration from the original 1950s film but aimed to create timeless characters. Then Chloë was cast, and suddenly everything shifted.

CM: Everything became more refined.

Sevigny as Anne in a striking beach cover-up.
Photo: Courtesy of Greenwich Entertainment

MB: It wasn’t just about Anne’s character—it was about what she’d pack for vacation, which is different from her everyday wardrobe. Chloë was very involved, asking, “If you only have one carry-on, what shirt do you bring? If you have one skirt, which one?” We thought about how pieces could mix, even if they didn’t perfectly match—because that’s what you do on vacation.

CM: We focused on small, versatile pieces: skirts, a beach robe, tops, and pants. Miyako mixed them to bring out Anne’s personality. For Cécile, it was simpler—Miyako envisioned her in easy, repeatable outfits like swimsuits and t-shirts, with just one dress.

MB: Cécile doesn’t care much about clothes, so she wears the same things over and over. This was my first film with so many female leads, which made it really interesting.People know me for styling men, so it was amazing to style three completely different women in a summer setting—Cécile, Elsa, and Anne, the central characters of Bonjour Tristesse.

Yes, I love that Cécile wears the same swimsuit for most of the film. Miyako, you have a talent for styling characters that feel real. But Cécile also has that special moment when Anne gives her a dress—almost like a coming-of-age dress.

CM: The famous yellow dress! Someone recently messaged me saying they wanted that dress for their prom. Miyako had a very specific vision for the shade. There’s a scene where Cécile falls, and you catch a glimpse under the skirt—a flash of pink that’s secretive, a little seductive, but still innocent, which reflects her character.

MB: Originally, the dress was black. In the script, there’s a nighttime scene where Cécile sees Raymond and Anne in the car. I thought, How do we make sure the dress stands out under the moonlight—or refrigerator light? We tested different fabrics. I’ve been lucky to work with legends like Darius Khondji, one of the best cinematographers, who taught me so much. On Uncut Gems, we’d do lighting tests in his truck with the costumes. Now, when I read a script, I think, What would Darius do?

What’s your creative process like?

MB: Every film is different. This one was unique because it’s contemporary but based on a vintage film. I wanted it to feel timeless. Durga and I exchanged images, asking: What would you wear on a summer holiday? How have European summer styles changed—or stayed the same—over 70 years?

CM: I work similarly, using sketches, photos, collages—whatever works. Ideas come to me quickly, so I scribble them down. Depending on time, I’ll refine the drawings or start draping and making pieces right away.

In the film, there’s a scene where Anne is sketching—are those your drawings?

CM: It was a strange process. I got stuck—should I draw as Anne or as myself? My sketches are rough and imperfect, but I didn’t think Anne would draw that way, so I tried to be more precise.

Does working on a project like this influence your personal style?

MB: Definitely. You immerse yourself in it. Plus, filming in the south of France was like living a fantasy—you dress differently when you’re in a different place. Coming back to New York was a reset—Alright, back to my sneakers.

CM: I agree. You absorb the world you’re creating.

(This conversation has been edited and condensed.)