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Costume designer Jacqueline Demeterio says Lowen Ashleigh’s wardrobe in Verity was built to reflect her guarded nature and changing fortunes, using a mix of vintage, accessible and designer pieces. The film’s clothes are a visual storytelling choice; the supplied report does not establish them as a separate production announcement or provide details beyond Demeterio’s interview.
A Glamour UK interview with Verity costume designer Jacqueline Demeterio explains how Dakota Johnson’s wardrobe as Lowen Ashleigh was designed to mirror the character’s guardedness and shifting circumstances. The account highlights the film’s coats, vintage denim and layered knitwear as choices made for character and camera, rather than as a display of labels.
Lowen arrives in Vermont after accepting a publishing job that requires her to stay at the home of bestselling novelist Verity Crawford, played by Anne Hathaway. Demeterio describes Lowen as a “downtown Brooklyn cool girl” whose look needed to feel plausible for someone with limited money, even when individual pieces came from designer brands. She told Glamour UK that price was not the deciding factor if a garment felt right for the character.
The outerwear marks key stages in Lowen’s story. She wears a toned-down Theory wool coat before the events that bring her to the Crawfords’ home, then arrives in Vermont in an oversized Dunst leather jacket. Demeterio said the jacket helped make Lowen appear protected as she entered an unfamiliar environment. Later, a pale-blue Proenza Schouler knit dress and a suede trench signal a more polished version of Lowen after her circumstances change. The trench, Demeterio said, came from Mango rather than a luxury label.
Lowen’s everyday wardrobe also includes vintage Levi’s and AGolde jeans, worn with T-shirts and layered knits. Demeterio said the production bought multiples of many garments for filming, including jeans Johnson may also own. The interview describes an approach shaped by how the clothes looked on screen and supported the character, not by a strict rule that each item must match Lowen’s finances or come from a particular price range.
Costumes Chart Lowen’s Changing Fortunes
The interview offers a concrete example of how costume design can communicate character without relying on dialogue. Lowen’s leather jacket and warm layers give her a guarded appearance, while the later, more refined clothes suggest a change in status. That visual progression helps viewers follow her movement from financial strain into the wealthy Crawford household and toward a different life.
It also clarifies that a character’s wardrobe need not be a literal record of what she could afford. Demeterio’s account distinguishes between a garment’s label and its on-screen effect: a designer piece can fit a character if it reads as something she might wear, while an accessible retailer can supply the right look for a moment meant to suggest success. For readers interested in the film’s visual choices, that distinction explains why the wardrobe mixes vintage, high-street and designer clothing.
The story is a report on the film’s styling, not evidence that the wardrobe is the “best part” for all viewers. That judgment comes from the framing of the original article. The confirmed news is the designer’s explanation of the choices, while the assessment of their quality remains subjective.
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From Brooklyn Layers to Vermont
In the film adaptation of Colleen Hoover’s psychological thriller, Lowen is a struggling novelist coping with her mother’s death and an impending eviction when she receives an offer to complete Verity Crawford’s book series. Verity is bedridden after a car accident, and Lowen moves into the family’s Vermont home. The job places her inside a wealthy household while she tries to understand Verity’s notes and navigate her relationship with Verity’s husband.
Demeterio’s comments connect that premise to the clothes. The contrast between Lowen’s New York wardrobe and the Vermont setting was part of the design: she arrives in a leather jacket that, in the designer’s words, makes her seem protected against a place and family she does not yet understand. As the story progresses, clothing shifts toward a more elevated look. The film’s ending leaves questions about Lowen’s conclusions, and the interview frames the final wardrobe changes against that unresolved turn.
““I wasn’t necessarily like, ‘Oh, she can’t afford this label,’ as long as it was feeling correct to me.””
— Jacqueline Demeterio, Verity costume designer, speaking to Glamour UK
What the Wardrobe Report Leaves Open
The supplied report does not give a publication date, a full inventory of Lowen’s costumes or a complete account of how each outfit was sourced. It also does not provide production budgets, exact garment costs or confirmation that every item named in the article appears in every version or cut of the film. Demeterio’s comments explain selected choices, but they do not establish that the wardrobe was designed to be a budget guide for viewers.
The article’s claim that the wardrobe is the “best part” is an opinion, not a production fact. The film’s interpretation and Lowen’s final position remain matters for viewers; the interview does not settle the plot’s ambiguities. The available material also does not indicate whether Demeterio or the production has given further comments since the interview.
Where Viewers Can See the Looks
The next step for readers is to compare Demeterio’s explanations with the finished film, particularly the contrast between Lowen’s arrival in Vermont and her later clothing. The report identifies several pieces and their intended function, but it does not announce a follow-up interview, a costume exhibition or a confirmed retail collection based on the film.
Any further account of the wardrobe would depend on additional comments from the costume team or production. For now, the interview provides a focused explanation of how outerwear, denim and knitwear support Lowen’s on-screen progression, while leaving broader questions about sourcing and the full costume process unanswered.
Key Questions
What is the new development about Verity?
Costume designer Jacqueline Demeterio discussed how she built Dakota Johnson’s wardrobe as Lowen Ashleigh in an interview with Glamour UK. The report focuses on how the clothes reflect Lowen’s character and changing circumstances.
Which clothes help define Lowen’s look?
The interview highlights an oversized Dunst leather jacket, vintage Levi’s and AGolde jeans, layered knitwear and later a suede trench. It also identifies a Theory wool coat and a pale-blue Proenza Schouler knit dress.
Did the costume designer use only affordable clothing?
No. Demeterio said she was not ruling out a label based solely on price, as long as the piece felt right for Lowen. The wardrobe combines designer, vintage and more accessible items.
Why does Lowen wear a leather jacket when she arrives in Vermont?
Demeterio said the jacket makes Lowen appear protected as she enters an unfamiliar home and situation. The designer also described the image of the city-raised character arriving in the countryside as important.
Does the interview settle the film’s ending?
No. The interview discusses costume choices, not a definitive interpretation of the ending. It does not resolve the questions raised by Verity’s final letter.
Source: rss
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