Every single item the characters wear-from brightly colored jackets and five-point pocket squares, to bedazzled dresses and a tri-hued chinchilla coat-is of the hyperspecific aesthetic of ’70s and early ’80s Vegas, a mobbed-up city whose grit hadn’t yet been fully washed away by glitz. “And Marty is much more involved.” Casino, based on coscreenwriter Nicholas Pileggi’s book of the same name, was no exception. “Some directors are like, ‘OK, whatever you say is fine,’ Dunn says. To Scorsese, the son of a garment presser and a seamstress, clothes have never been an afterthought.
‘Casino’ Has Always Been About More Than the Neon Vegas Lights
