These are her shields
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Studded and zipped black leather, ripped knitwear, heavy boots, piercings and a haircut that does half the work.
Trish Summerville designed the film and is direct about what the outerwear is doing: "These are her shields. And she feels comfortable in them." On building the character: "Her haircut was a big, big deal for us. We didn't want her to be loud" — the transformation was "the haircut, the hair dye, eyebrows, the piercings, working on the tattoos."
Cropped, asymmetric zip, stiff rather than soft. It should feel like it stops something.
★ 4.4 · 801 reviews
Black, asymmetric zip, worn zipped to the chin
Holes, laddering, oversized. Genuinely worn, not factory-distressed.
Ripped, low rise, worn hard.
★ 4.2 · 713 reviews
Black on black - the rips are load-bearing
Flat, weighted, scuffed.
★ 4.2 · 834 reviews
Black colorway, laced loose - stomp, do not step
Wide, worn low, visible.
★ 4.4 · 667 reviews
Black, pyramid studs - punk credentials
Fine and heavy mixed. Silver, never gold.
★ 4.4 · 508 reviews
Stacked short - they should look accumulated, not styled
Cut off, black, worn constantly.
★ 4.3 · 682 reviews
Black - keyboard access included
Plain, worn under the jacket, hood up.
★ 4.5 · 783 reviews
Black, hood up - size down for the fitted read
Black on black, with hardware. Zips, studs, buckles, eyelets — the metal is the only ornament and there should be a lot of it. The jacket is the centre. Cropped, asymmetric zip, hard leather rather than soft. It should feel like it could stop something. Destroyed knitwear is the second layer — holes, laddering, oversized. Genuinely worn rather than factory-distressed, same rule as Effy. And the hair and piercings do half of it, as Summerville said. Short, dark, blunt. The clothes alone won't get you there.
Hard black everything: cropped biker jacket with an asymmetric zip, destroyed knits, black skinnies, heavy boots, studded belt and stacked silver chains.
Wear it beaten. Nothing matching, nothing new-looking — the layers should look accumulated over years, because hers were.
Softness and shine. No brown, no gold, no florals — Lisbeth's palette is black, silver and warning.