How The Outfits Played A Role In People We Meet on Vacation

Ever since Emily Henry released 2020’s Beach Read, her first foray into adult fiction, readers have devoured the Cincinnati-based author’s signature friends- and rivals-to-lovers tropes. Six bestsellers and five years later, her work has made its way to Hollywood. People We Meet on Vacation, Henry’s highest-selling book to date, has been adapted into a Netflix film premiering on Jan. 9. The slow-burn romantic comedy follows Poppy (Emily Bader) and Alex (Tom Blyth), two lifelong friends with opposite personalities who meet up every summer for a trip, until one vacation puts a strain on their relationship. Over its nearly two-hour runtime, viewers are treated to witty banter, gorgeous destinations, and incredible fashion, which costume designer Colin Wilkes says were essential in telling the story.

“The costumes were a visual bookmark of where the characters were at certain times over the course of 10 years,” Wilkes tells TZR over Zoom. Early in the film, the two characters first connect in college, where the designer says Poppy was “throwing everything at the wall” with her style. But as Poppy grows older, her fashion evolves, too. “She moves to New York, and there’s a sensibility and practicality that comes with that,” Wilkes notes, adding that she dressed her in sneakers and functional silhouettes during that period of her life.

Poppy’s fashion also echoes her free-spirited, quirky personality. “I really wanted to capture that sense of adventure,” Wilkes — who drew sartorial inspiration from iconic rom-coms like When Harry Met Sally and How to Lose a Guy in 10 Days — explains, noting that the character’s closet leans bold and maximalist throughout the film. Vintage pieces, including an archival Prada skirt and statement jewelry, were woven into her wardrobe, too, with many gems found in Barcelona while they were shooting, as well as in Los Angeles at shops like Recess and Scout. “She was gathering these vintage pieces when she was traveling,” Wilkes says, referring to how archival fashion played a part in Poppy’s storyline.

Alex, on the other hand, is grounded, reserved, and routine-oriented. To underscore the contrast between the two, Wilkes kept him in simple staples like tees and jeans, opting for a palette of dark neutrals and grays. “I wanted that classic heartthrob look,” she adds.

Wilkes treated the costumes as characters of their own throughout each trip. “My idea for Poppy was to give her a different persona every vacation,” she explains. In fact, each destination — New Orleans, Tuscany, and Barcelona — has its own distinct color palette and silhouettes. In New Orleans, Wilkes describes Poppy’s outfits as “rhinestone cowgirl meets Studio 54” with an emphasis on blues and prismatic textures. A glitzy fringe denim jacket, bright blue skin-tight pants, and metallic silver platform heels are a few key pieces in her NOLA wardrobe.

The duo’s Tuscany getaway hones in on butter yellows and romantic florals, signaling Poppy’s transition into womanhood. “With the silhouettes, I was taking cues from ‘60s Italian bombshell,” Wilkes shares. On this trip, we also meet Sarah, Alex’s on-again, off-again girlfriend, played by The White Lotus star Sarah Catherine Hook. Wilkes styled Sarah in breezy separates, pearl necklaces, and printed silk scarves, channeling classic European vacation and First Lady vibes. When Alex is with Sarah, Wilkes says his otherwise minimalist wardrobe shifts slightly, with the character dressed in luxe linen button-ups and cashmere sweaters.

Finally, in Barcelona, Poppy and Alex’s first time seeing one another in two years after a rift in Tuscany, Wilkes leaned into fiery reds and sultry fits, playing up the heat, romance, and tension between the two. In one scene, Poppy appears in a Ronny Kobo red dress featuring a dramatic petal-shaped cutout. “A red dress is such a trope, right? It has to be iconic in its own way,” Wilkes explains. “This felt wild and like a true statement piece — and I think it really landed,” she adds, noting that Bader tried on roughly 20 styles before landing on the Ronny Kobo look.

Another standout look from Barcelona is a chartreuse slip dress from Michelle Mason, a nod to the famous yellow number on Kate Hudson in How to Lose a Guy in 10 Days. Tailored to Bader’s frame, the barely-there silhouette hugs the body like a second skin, explains Wilkes.

Much like the rom-coms that came before it, Wilkes hopes the style in People We Meet on Vacation will have lasting appeal. “What’s so wonderful about these films, especially the classic ones, is that they’re timeless [in terms of fashion],” she says. With a mix of designer vintage and chic contemporary pieces that don’t skew overly trendy, the looks in the new Netflix film are sure to be referenced for years to come.