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Sabrina Carpenter Loves a Musical Theater Reference

Director: Nina Ljeti Director of Photography: Andrew Maso Editor: Daniel Poler Senior Producer: Bety Dereje Associate Producer: Lea Donenberg Assistant Camera: Jack Kelly Audio: Lily van Leeuwen Production Assistant: Erica Palmieri Production Coordinator: Ava Kashar Production Manager: Natasha Soto-Albors Line Producer: Romeeka Powell Senior Director, Production Management: Jessica Schier Assistant Editor: Justin Symonds Post Production Coordinator: Scout Alter Art & Graphics Lead: Léa Kichler Supervising Editor: Erica DeLeo Post Production Supervisor: Alexa Deutsch Associate Director, Post Production: Nicholas Ascanio Associate Talent Manager: Phoebe Dishner Director, Content Production: Rahel Gebreyes Senior Director, Video: Romy van den Broeke Senior Director, Programming: Linda Gittleson VP, Video Programming: Thespena Guatieri Images Courtesy of Alfredo Flores, Thomas Smith

Released on 10/21/2024

Transcript

We're gonna examine the looks for tonight's show.

Can't wait.

Oh my God. Oh, [censored].

Hey, Vogue, it's Sabrina,

and we're here at the Short n' Sweet Tour in Philadelphia,

which is a very special show

because it's where I was born.

It's my hometown.

So I'm gonna show you some of our looks.

Let's go.

[upbeat jazzy music]

So tonight is going to be a very special show.

We're debuting some new variations of things,

and, yeah, it's just like such a special time

every time I get to play Philly.

This is Jared.

Jared just has such a amazing understanding

of the idea I have in my head

and how to elevate it times 1,000,

and the, like structure I like on my body,

and the shapes that I love for my body,

the colors that I feel are really complementary.

She has such a good idea of like who she is

in the best way [Sabrina chuckles]

in an amazing way.

We started working on tour looks,

summer, I think, like, July after Coachella.

Yeah, like we have so much time for this.

Years, but actually, it came together.

Like I think that was a perfect amount of time.

Yeah, I really started to think about

like what am I gonna be able to last in on stage?

What is going to look really great

from the people that are all the way

in, you know, the nosebleeds

to the person that's in the front row?

This was my first time doing wardrobe changes

on tour, truthfully.

Also, the nice thing is that very early on,

you were like, I want all the looks

to be exactly the same for each act,

but just change colors throughout the shows.

The way we change it up is through colors and details

and accessories and like little things here and there,

so that way I always know

what I'm getting into every night,

but the audience can feel

like they're seeing something new consistently.

At the end of the day,

like I have to just be so comfortable in the outfits,

and if I'm not, like the performance is two outta 10,

so first comes like comfort level,

then comes like what can we do for the girls,

and then comes like, you know, how can we round this out

and make this feel so unique?

Maybe it's flipping order.

Maybe it's the second and then the third is for the girls.

Like I feel like for the girls,

it's like the lyrics and the tights and the little,

Yeah, that's true. You know, the shoes,

the little Easter eggs.

Act one, she's coming out of a bathtub.

Naturally. Yes, of course.

Doesn't know that the show's happening,

is in a towel, and the vibe is like,

oh my god, I have nothing to wear.

And you open it, look amazing.

Have something to wear.

So that the towel was a-

The towel was a thing.

We found an old reference of someone doing it

with a jacket, and she basically reveals the jacket,

and inside the jacket, it's the same color as the dress.

So then, once we started to create the introduction

for the show, I really wanted to be in a towel,

but I was like, Ah, that means

I gotta be naked under there.

I don't wanna be naked.

It's a lot of work.

Then we thought about doing strapless corseted body suit

to hide, you know,

and then the towel's the reveal of the show.

And it makes it fun every night for people

to see what color I'm gonna come out in.

I think the towel was the only outfit

we had for a long time, yeah.

That's not wrong.

[both laugh]

The corseted outfits are a little bit harder

to dance in because there's a stiffness to it,

but my waist is non-existent, so we love her.

And then midway through the first song,

puts a baby doll dress on.

[Sabrina] And I remember being so excited when I was like,

I'm gonna get to wear a baby doll on stage

'cause it feels like pajamas.

Like it's so comfortable.

So when I throw that on over the corset,

I have no insecurities, no like thoughts about anything

'cause I'm just so comfortable in those little dresses.

I mean baby doll, that was like a motif

that I feel like has been here throughout the whole album.

Because we started with SNL.

I think it was the first like true baby doll.

For a performance, yeah. Yeah, for a dress

that we did.

Brigitte Bardot, such good baby dolls in like the 60s.

She's a great reference for baby dolls

that we were looking at, and it's kind of like,

I mean, you know better than me,

but girlies getting ready.

It's like Grease in the bedroom

and all the girls are getting ready.

I think it was really inspired by Bye bye Birdie,

and she's like dancing around her room.

And I think like stuff like that,

it felt very beneficial to the set.

Act one is really set

in the main kind of living room, living space.

And so this like getting ready

for this party is kind of happening.

It's like right before sunset.

Like our main screen for the show

is a window pretty consistently.

And so you start to see the colors change

as it gets later and later.

And the whole show takes us through one night.

It's inspired by Playboy After Dark,

but it's Sabrina After Dark.

Act two is obviously like the cocktail hour,

and it's where things are starting to heat up.

Everyone's like a little tipsy, not too crazy,

but like, you know, the band starts

to get a little more jazzy.

Our renditions and arrangements change,

but then the next outfit is like not corseted.

That's the one where I'm doing the bulk

I would say of like the movement

in the show is in the second act.

So having the catsuit in that act

has been really helpful for movement.

We were looking at Marilyn Monroe wears

a good amount of catsuits.

There's one from There's No Business Like Show Business.

It's slack with a teal sash,

and she's in a little dancer heel.

And like- We tried the sash

That didn't go well.

Even like I was always really inspired

by like Audrey Hepburn in Funny Face

because of how classic and minimal

and how much she's moving in that movie,

and you can really see her movements because of the black.

And it just looked so sleek.

It was always really exciting

that it could be black and snatched.

And then you added the gloves and little details,

and that's what's made it feel kind of more unique to me.

My changes are just a little under two minutes.

They're pretty fast, but that's why I also try

to make the visuals very meaningful in between

so that wardrobe changes don't feel so like...

Technically within the first look, there's two looks

'cause you have the corset That's true.

Without the baby doll.

Then we put the baby doll on.

Second look, we have the feather reveal

where we have- There's like a feather

that's snapped onto the catsuit that you do a twirl.

Do a twirl and it gets pulled off every night,

and then we rotate those feather colors.

And then in the third act,

[laughs] we really wanted to do this skirt reveal,

but I was like there ain't no way I can sing

more than one song in this long skirt

'cause it's so damn heavy.

No one knows this.

They're so heavy.

They're so heavy. And that one is like Abba,

I feel like, inspired.

Mhm, we went to the Abba show,

the Abba Voyage Show in London.

There was this one fabric that one of the girls was wearing.

It was so gorgeous and it was like liquidy

and it just moved and it was a hologram.

I was like, I need that goddamn outfit.

Like it's so beautiful, but it wasn't real.

So I was just like, We need to do our own version of this.:

It's all consistent.

So act one is all done by Victoria's Secret.

Act two is all done by Patou.

And then Act three is all Ludovic de Saint Sernin.

But we have like a few shows

where it feels like the teams

are a really, really big part of that state

and like really important to them.

I just always love to show love to those teams.

I'm really, really grateful that for this show,

it feels like I don't have to stress

about, you know, what's going on and off me.

I could just think about my performance

and being in the moment and the songs I'm singing.

[upbeat music]

This is our first girl first tonight.

You know this, but [laughs] I'm gonna tell you again.

Yeah, wait, let me know.

Like what am I wearing tonight?

You're gonna be wearing this.

It's red.

[both laugh]

Super crucial information.

Actually, it's the first time I'm seeing

the red version of this look,

and it's so beautiful.

Go Phillies.

I really hope people like know

that this is a reference to like my hometown.

Love that the tights have little kiss marks on them,

little bedazzled kisses.

Usually we have lyrics on the tights right around here

and they kind of look like a tattoo on my leg,

which is really cool,

but tonight we opted for the kiss so it could match.

Oh yes, these are our, well, the infamous,

You'll be wearing these.

I will be wearing these.

And by the way, every night. [laughs]

We actually have more. We do?

Different words.

Okay, oh, wait, what else do we have?

We'll find out.

Ah.

The nice thing about these ones is these are bedazzled

and most character shoes are not bedazzled.

This is act two.

Tonight we'll wear the white feather?

[Jared] We're still deciding the bow color.

We're gonna try it on.

Could be white, could be red.

Yeah, red feathers, Red?

Could be nice.

[laughs] Red could be nice. Surprise.

[Sabrina] This we put on for

[Both] The conversation pit.

Mhm. Jinx.

I like it because it feels more like a sleepover.

It does

Act two, she goes into a conversation pit,

and all the friends come and it's like campfirey songs.

Yeah, so it's just chill.

We're just chilling in our robes.

Yeah. And then act three,

would you like to pick it up?

Yeah, that's the miniskirt.

You do that one, and I'll do this one.

So first, which is crazy,

the fact that I'm wearing nine articles of clothing,

but we have the top, and we have the miniskirt,

and then we put on the large skirt over the miniskirt.

And that way,

once we pull this little contraption,

then this just comes off. Wow.

And I'm seduced by whoever is in front of me

before I sing Juno.

Mm.

And then the boots change color hearts.

And sometimes they're not filled in,

and sometimes they are filled in.

They're crazy.

This is just the most like...

I thought you were gonna say uncomfortable.

No, it's the most like gorgeous sparkle

I've ever seen in my life.

So especially when we have it in different colors,

it's just like always so beautiful

to see it with the visuals.

And then this is a jersey just for the end, yeah.

Fitting. [laughs]

No!

Yeah, it's very cute.

Might need to be shorter.

It's going to be. Okay.

It's too long.

It's like it's pretty long.

This goes on first.

I mean, we have to try it on, it is...

We actually do have to try it.

You never tried

this on before. I've never tried this on.

We gotta make sure it fits.

So that's actually important.

Okay. Thank you.

I should go.

Be right back. Okay.

Ope.

[chill music]

First look reveal.

Go Phillies.

Okay, let's go sing.

Mwah.

[chill music continues]