For costume designers, the artistry extends far beyond the mere garments worn by actors; it encompasses the intricate details such as accessorizing, which plays a vital role in grounding their performances. The careful selection of accessories can significantly enhance a character’s identity, making their portrayal more authentic and relatable to the audience.
Janie Bryant, the talented costume designer for the series 1923, articulates her passion: “I have a profound love for jewelry. I collect a vast array of pieces, and I enjoy utilizing them to enhance character details and truly define who they are.” Her approach highlights the importance of jewelry as a storytelling device that provides depth to the characters.
Similarly, Tsigie White Robinson, the costume designer for Power Book III: Raising Kanan, shares her own enthusiasm for jewelry, stating, “I often prioritize purchasing jewelry before acquiring any other items.” This statement underscores the significance of jewelry in her design process, reflecting personal style and cultural identity within the costumes she creates.
Robinson and Bryant were joined by fellow esteemed costume designers Renée Ehrlich Kalfus from Another Simple Favor and Natalie Humphries from The Day of the Jackal at Variety’s Artisans Exchange panel, which was expertly moderated by senior artisans editor Jazz Tangcay. Together, these artisans offered an insightful perspective into the creative nuances of storytelling through their craft. The Creative Collaborators panel also featured production designer Kave Quinn from Bridget Jones: Mad About the Boy, cinematographer Ksenia Sereda from The Last of Us, and production designer Margot Ready from Yellowjackets, who illuminated the collaborative process and discussed essential elements ranging from world-building to camera movement.
Creative Insights into Costume Design
In her approach to Peacock’s The Day of the Jackal, Natalie Humphries aimed to honor the classic 1973 film directed by Fred Zinnemann. Engaging in dialogue with the show’s lead actor Eddie Redmayne, they discussed how Edward Fox’s portrayal of the Jackal character was that of a “highly groomed, tailored assassin,” a quality Humphries sought to translate into the modern interpretation. “We embraced British tailoring,” she explains. However, as the character journeys through Europe, she incorporated various European labels to reflect his evolving fashion choices as he acquires clothing along the way.
A crucial aspect of the Jackal’s character was his need for stealth, which led Humphries to avoid bright pops of color in his wardrobe. His color palette consisted of muted tones such as “tans, browns, navy, and gray,” which she describes as “straight out of the espionage playbook.” This deliberate choice in color not only aligns with the character’s covert nature but also enhances the overall aesthetic of the narrative.
Renée Ehrlich Kalfus had never worked on a sequel until Another Simple Favor, where Blake Lively reprises her role as Emily alongside Anna Kendrick as Stephanie. In this installment, Stephanie agrees to take on the role of maid of honor at Emily’s wedding, providing an exciting opportunity for Kalfus to expand on character development through costume design.
Kalfus seized the chance to amplify Emily’s intimidating presence by utilizing larger silhouettes in her wardrobe. “Her entrance in a prison-striped suit was a nod to her past experiences over the last seven years. She wore a horizontal striped suit, draped in chains. This was one of the ways of introducing gender-bending elements and psychologically placing her in a position of tension with Stephanie,” Kalfus elaborates, demonstrating her understanding of the psychological aspects of costume design.
Regarding the wedding gown, Kalfus shares insights on how it was crafted with a custom white latex bustier. While in Rome, she collaborated with local artisans to create the exquisite silver satin skirt. “The 40-foot veil consumed an entire block,” Kalfus describes. “It was dyed and dripped in blood red, then encrusted with pink crystals to foreshadow potential conflicts that were about to unfold.” This attention to detail reflects the narrative’s darker themes while showcasing her technical skills.
Throughout her work on Power Book III: Raising Kanan, Robinson has crafted costumes steeped in 90s hip-hop nostalgia, yet with a modern interpretation. “My sources are global,” she explains. “At times, I’m sourcing fabrics and collaborating with my tailoring team to recreate the authentic urban wear depicted in the series. This fusion of styles not only pays homage to the era but also resonates with contemporary audiences.
The costume designers also emphasized the critical role of accessorizing. Bryant’s affinity for watch fobs is a significant element she incorporates into Taylor Sheridan’s show, noting their importance for male characters. In contrast, Cara Dutton, the family matriarch portrayed by Helen Mirren, embodies an “old school” aesthetic, prompting Bryant to style her in jewelry from a different era. “She wears a pair of vintage earrings, and the brooches she dons are from an earlier time period,” Bryant explains. “This styling distinctly positions her in the historical context and starkly contrasts with the other women in the series.”
Robinson highlighted the cultural and concrete significance of jewelry in her designs. Whether it’s incorporating name plates, three-finger rings, or nugget rings, she explained, “there are ways to tell that story without veering into caricature. I drew inspiration from how my grandfather and his friends dressed and how they showcased their jewelry.” This approach enriches the narrative by adding layers of authenticity and cultural relevance.
In the context of The Day of the Jackal, one particularly noteworthy outfit features a suede jacket. “We explored every variety of suede jacket available in the UK and the USA, and we examined European options as well,” Humphries recounts. Ultimately, she found the perfect style on London’s iconic Saville Row. “It’s from Drake’s,” she adds, showcasing her dedication to sourcing high-quality materials that fit the character’s narrative.
The costume designers also addressed the pressing topic of pay equity. After decades of advocacy, the guild successfully achieved pay equity last year, resulting in a remarkable wage increase of over 40%, which aligns the compensation standards with those of comparable creative peers in the industry.
Humphries emphasizes the critical role of the costume designer as a department head. “We are often among the first to meet an actor. You may have very limited time, and when an actor arrives the day before filming, it creates a highly pressured scenario.” Her statement highlights the unique challenges faced by costume designers in the fast-paced world of filmmaking.
Kalfus adds, “It’s an enormous undertaking. You collaborate with the director and producers, all of whom have specific visions. Then you become the first line of communication with the actor. You’re saying, ‘Here’s the character. Let me guide you through it.’ You play a pivotal role in getting them on camera.” This underscores the multifaceted responsibilities that costume designers undertake in the filmmaking process.
Insights from the Creative Collaborators Panel
During the Artisans Exchange: Creative Collaborators panel, Quinn, Sereda, and Ready delved into the importance of the collaborative process and its connection to the showrunners. Ready articulates, “The showrunners navigate the creative direction for the season, ensuring a cohesive vision.” This statement emphasizes the critical role of leadership in maintaining the integrity of the production.
Sereda, who returned to work on The Last of Us, collaborated closely with showrunners Craig Mazin and Neil Druckmann to visually narrate the story for the new season. “We introduced a host of new colors, storylines, and characters, but it all begins with a creative collaboration with the showrunners. In our case, both are directing as well, which brings you closer to the source material,” Sereda explains, highlighting the interconnectedness of storytelling and visual representation.
Sereda aimed to maintain the hand-held aesthetic of the series while transitioning from Season 1 to Season 2. The distinction lay in a more grounded camera approach. “Even though it’s set in a post-apocalyptic world with infected beings, it remains closely tied to the characters, allowing us to remain deeply connected with them,” she notes, underlining the significance of character-driven storytelling.
Quinn sought to illustrate the evolution of Renee Zellweger’s Bridget Jones character. To find Bridget’s home, Quinn needed to tell a story that reflected her life and her relationship with Mark. “She’s been living in this home for a while with her children,” Quinn points out. The design of the yellow kitchen was intended to embody Bridget’s personality. “It was playful and vibrant,” Quinn explains, revealing her creative vision.
Quinn drew from her personal experiences when filling the set with meaningful decor. “I have three grown-up children, and there were little nods to them throughout the set. Some of the items my children made for me, like Mother’s Day cards, were included. I have boxes of artwork that my children created, and much of that was used in the set design,” she shares, illustrating how personal touches can enhance authenticity in storytelling.
Regarding kitchen design, one of Ready’s new sets featured Melissa’s (played by Hilary Swank) kitchen in the third season of Yellowjackets.
Ready’s design approach served as a counterpoint, reflecting the character’s psychological state. In the series, Melissa is a survivor of a plane crash and the wilderness, and as an adult, she has crafted a false identity and faked her own death. Ready elaborates, “Her home intentionally combines clean aesthetics with artificial over-decoration.” This duality in design emphasizes the complexity of the character’s narrative.
Ready maintained a neutral color palette, stating, “We meticulously curated every element to be extraordinarily tidy.” This meant drawings were precisely taped to the walls, and jars were perfectly aligned in the pantry. “We perceive this as Melissa’s response to her trauma,” she explains, highlighting how design choices can encapsulate character psychology.
The sign reading “Kitchen Is the Heart of the Family” was an item Ready discovered online, yet it carries profound significance. “There is no heart in this family because she is living a lie. However, it also nods to their consumption of one another and their emotional struggles,” she concludes, encapsulating the thematic depth of her design work.
