How “Beef”‘s Costume Designer Captured Distinct Asian American Identities Through Clothing

Huang describes Wong as “the dream actress to work with” because she isn’t afraid to “go full character.” Mirroring her wealthy plant business, Kōyōhaus, Amy’s style is simplistic, relaxed, and features pieces from independent designers and boutiques like Mohawk General Store, a multi-brand luxury retailer in LA. Mohawk co-founder Bo Carney, whose Instagram is full of chic outfit photos, was actually on the mood board Huang created for Amy, along with flower and plant shop owners she discovered on Instagram.

Viewers may have noticed that Amy’s wardrobe largely consists of whites and creams, with stark pops of color when she goes through change. Viewers first meet Amy when she’s in her car, wearing an ivory cable-knit bucket hat that’s flipped up. “You wouldn’t think a perky hat in such a warm texture would belong to a person that just got into a road rage,” Huang says. During the penultimate episode, in the midst of a failed heist and extreme violence, Amy even wears an ivory jacket and tan trousers.

Huang recalls pitching that specifically to creator Lee: “Wouldn’t it be fabulous and kind of surreal if [Amy] was in this very controlled color?” She explains: “Underneath her personality is all of this doubt, rage, violence, and dissatisfaction with herself. She looks very controlled on screen, but what she’s doing is extremely out of control, and I really like that tension that builds.”

The goal with Danny’s style was to make sure he looked the opposite of current, Huang says: “He’s the type of man that stopped buying clothes when he was, like, 25.” Consisting of work shirts, fleeces, and layered long-sleeves, most of his wardrobe was thrifted from Goodwill, reflecting the way the character often feels like he’s stuck in the past.

“We were looking from 1998 to the early 2000s, because my thought was he kind of stopped evolving after that,” Huang explains. While Danny certainly doesn’t pay attention to fashion trends, he isn’t careless about how he presents himself. We see him dressing up in a cornflower blue button-down from JCPenney for church and more professional, clean shirts when he’s on the job as a contractor.

Danny’s look in particular was inspired by the men Huang saw growing up, including her stepbrothers and father. “I watched the Asian American men around me trying to navigate their space in America and how American they had to be to be accepted . . . Through Steven [Yeun]’s character, I hope that they feel seen,” she says.

George easily has one of the most enviable wardrobes of the series, oozing with quiet luxury and a stylish confidence that’s not often portrayed in Asian men on screen. With an artistic point of view, he has an “international sensibility,” achieved with clothing from online retailers like Ssense and Mr. Porter.

While he’s seen in interesting silhouettes and tailored designs, his warm, loving personality is reflected through his impressive collection of knit sweaters from brands like Nanushka and Kapital. “It’s like, the ‘secret bougie,'” Huang says. “You know his sweaters are like, a thousand dollars, but he’s really low-key. He’s not the type of character that cares about Tom Ford shoes, but he cares about the newest Croc release.”

Though Danny and Paul are brothers who grew up in the same environment, the latter is clearly more engaged in the world and his surroundings – which is also demonstrated through his clothing. With Paul’s finances and background in mind, Huang’s point of reference was mall culture, specifically stores like Zumiez, Pacsun, Champion, and Express. “He’s trying to be more current [than Danny] but he’s still 10 years behind,” as opposed to Danny’s 20.

Because Mazino’s IRL style was so cool and up-to-date, Huang remembers telling the actor apologetically that they had to “tone down the cool.” “The top half [of his outfit] would be normal, and then the bottom half, we’d put him in really skinny jeans from Abercrombie with rips,” she says.

As the widow of a famed artist, Fumi’s chaotic, avant-garde wardrobe is a big part of her character. “She designs herself like an art piece,” Huang explains. You can’t miss her flowy patterned dresses, vintage Issey Miyaki pleats, and strong color choices, particularly alongside Amy and George’s “naturalistic” clothes.

In an effort to stray from stereotypical portrayals of older women on screen, Huang wanted to go all out and commit to the over-the-top, Comme des Garçons aesthetic. “Older women don’t really get a chance to be seen as full characters with their full identity,” she says.