For this moment, the costume designers knew that she had to be wearing something stunning. The audience first sees Stone’s character through the eyes of Ace, who through closed-circuit television, watches Ginger put on a show at a craps table.

And obviously there was a price to be paid for that.” Meeting Ginger

And also the idea that he’d come so far from where he had started in Chicago, and now he’s in Las Vegas in insanely bright colors and happy to be the center of attention. And so it was very important to see that his character had reached a point where visually he was not afraid of basically being the brightest thing in the room. He’s being very, very up front and very in the face of the mob. “He’s no longer behind the scenes, he’s no longer just manipulating things behind the screen. “There was the idea that Ace has just gone too far,” Dunn says. He’s become too conspicuous, too ambitious. Rothstein’s reign at the Tangiers Casino is about to come to a close.

The coral suit jacket he’s wearing is as loud as the explosion. In the opening scene of the film, a flash-forward to 1983, Ace falls victim to a car bomb. On the occasion of the 25th anniversary of the release of Casino, Dunn gave a guided tour of some of the movie’s most audacious, unforgettable looks, starting with the most show-stopping of them all. “It was the ’70s,” Dunn says, “but we didn’t make anything out of polyester.” And every suit Ace wears was custom made by a New York tailor. For example, Dunn says that Sharon Stone’s Ginger McKenna marries Rothstein in a dress identical to the one that her true counterpart, Geri McGee, wore when she married Frank “Lefty” Rosenthal, the real-life Ace. Their research also included drawing inspiration from photographs of the real people on which several characters are based. Ryack and Dunn, who first worked together on Broadway musicals, prepared for the job by studying the period’s style and fashion. 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

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