Music

MARVIN Exclusive: Spiritbox’s Courtney LaPlante on Fashion, Identity, and Stage Power

 

There are few artists whose visual world feels as intrinsic to the music as Courtney LaPlante. The unmistakable voice of Spiritbox, she balances ethereal vulnerability with unrelenting force. Pairing custom looks with an energy that makes every performance feel cinematic. For MARVIN, Courtney talks about how fashion shapes the way she tells a story. 

 

What role does fashion play in shaping your presence on stage and how does it influence the way you connect with the audience?

“Whether I am wearing a costume, something from my own suitcase, or a mixture of both, my wardrobe is there to make a statement before I ever open my mouth. It’s what makes me feel brave enough to go out on stage.”

 

As Spiritbox continues to reach audiences outside the metal community, how do you see your artistic identity evolving – both sonically and visually? Do those two aspects influence each other?

“I think I bring a lot of my non-metal influences back into our metal community, both aesthetically and sonically. That is what’s authentic to me; I get to be a part of this really cool loop as the dominant pop culture within this subculture, and many others keep referencing one another.”

 

Some of the most iconic bands established a distinct visual identity from the very beginning. Was developing a strong aesthetic always part of Spiritbox’s vision, or did it evolve organically alongside the music?

“Having a strong visual identity just helps us create our world that our music can live in. I think of it more from album to album, rather than as a whole. It’s sometimes a more stylized version of ourselves, or it’s there to tell a story, but it’s always there. We love fashion, even though we may not be a part of that industry, we greatly admire all the work and story telling that goes into it.”

 

You collaborated with Ashton Michael for your 67th Annual Grammy Awards performance look. How did that relationship begin, and what made him the right creative partner for that moment? 

“Judson and Jak got us together and helped make my vision come to life. There are some shows I do where I want to wear my own clothes, and the pieces are either from my closet, or will retire them, and some where I say “ I need a costume!” – I need something to perform in, not just to solely look cute in. It needs to hold up for dozens of shows and be comfortable enough to move and breathe in for 90 minutes. 

Ashton actually made the Grammy performance outfit for our headline tour. We were asked to perform at the Grammys with about a week’s notice. I wanted to go up there wearing something I knew I would be comfortable in, and also something very easy to change into quickly! Ashton makes incredibly comfortable bodysuits with the most beautiful tailoring, perfectly tailored to the way I move around. 

The themes of our headline tour used a black and white palette, pulling inspiration from the deep ocean, even using the straps and buckles of a ship’s mast. The patent black look with buckles was my favorite outfit from the tour.”

 

What designers, artists, or cultural references are inspiring your style right now, and how do those influences shape your collaboration with your stylist?

“I am really interested in all the creative directors that have moved around the major houses. Every season I’m excited to see how they are interpreting the brand. I think that the Fecal Matter people had such an amazing moment with Zendaya wearing that dress with the wings to The Odyssey red carpet, it made me so proud! I love seeing the Schiaparelli designs going down the runway, just from an engineering point alone it’s just so cool and timeless but still fun. I love Melitta Baumeister, I think that’s one of my most purchased brands for tour and for my own collection in the last two years. 

I love to look for certain eras of certain brands. Right now I’m looking for these Phoebe Philo era Celine wedge heels with a black transparent wedge. 

I have been enjoying learning about Japanese mending and textiles, kind of through learning about all the Kapital design. It made me go down the rabbit hole of what they are referencing. I have loved learning about the original upcycling, from work shirt, to a patch on an elbow, to being made into a carpet, just thousands of repairs until it goes back into the ground!”

 

 

In the end, Courtney makes it clear. The clothes aren’t separate from the sound. They’re part of the performance’s pulse. Different tools, same story.