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Game of Thrones – Michele Clapton, April Ferry
The Man in the High Castle – J.R. Hawbaker
ACDs Gillian Waterman, Kevin Knight, Odessa Bennett, Allison Leach, Koreen Heaver
This is a fantasy world that needs to look like realistic period design. To do so, it became important to me to put up a mirror to our own world and what we take for granted. In MITHC 1962, there’ s no rock ‘n’ roll, no Carnaby street, or optimistic individualism. The index of modernity could no longer be the Mary Quant mini skirt. Designing for MITHC meant designing history first. For example, we conceptualized entire fictional military campaigns in South America for the introduction for something as seemingly simple as a new Reich medal design on Himmler’ s uniform. For what I called the “ Frankfurt” silhouette for Juliana’ s assimilation to the Reich (a green jumper derived from nationalist dirndl pride) I went to a meeting and pitched that Hitler would have nationalized fashion and relocated the industry from a bombed Paris to Frankfurt, where nationalist control and government sumptuary laws could reshape and restrict silhouettes and palette.
There was also a very real, practical challenge to overcome as, at one point, we were prepping across four countries in simultaneous global units. Without the talents of my dedicated team we could not have overcome the laws of space and time.
Once Upon a Time – Eduardo Castro
ACDs Melissa Woods and Kristen Bond
The one unique facet of designing costumes for Once Upon A Time is that we sometimes have to design a costume without having a fully developed character. The very first episode this season required us to make a hooded cloak, but the writers had not yet figured the character out. Seven episodes later, the character weoriginally designed the cloak for was established. I had thought the character would have been the Evil Queen in disguise. In fact it was Belle and Rumple’s son, much taller than expected and we made adjustments accordingly, as always at the last minute.
Sleepy Hollow – Mairi Chisholm
ACD Tiger Curran
The heart of Sleepy Hollow is a storyline that spans the present and the deep past, the real and the fantastic. This is expressed in all the design elements, so one day I’m shopping for finely tailored suits, and the next I’m illustrating costumes for gods and demons. Every episode requires switching gears from historical to contemporary and fantasy, while maintaining Sleepy Hollow’s dark and stormy aesthetic across the realms.
The Walking Dead, Season 6 – Eulyn C. Womble
I thought carefully about every item of clothing’s journey to camera, and so I learned to make my own blood and I designed my own ageing products. I thought about the person—but who and what they were did before they died, how they died, how long they’ve been dead, and then how their dead body had moved around our apocalyptic world. How survivors could use found items as armour. I considered how I may react in an apocalypse and how children growing up in our apocalyptic world would be gender fluid in their use of clothing. Our apocalypse happened in 2010, so we’re becoming a period piece. I had to immerse myself in a very uncomfortable world in order to make choices for the characters and I loved every minute of it!