It’s a hell of a lot of work! But I had fantastic and wonderful support from everyone, which makes my job much easier.View all related dvds | view all related news | view all related listingsġ (8 episodes, 0 of which have yet to air) There are masses of stock costumes and we have all that stock in a big warehouse and and all the crowd comes in and gets fitted. You’ve got to do it in one shot.Īnother big part of the job is dressing the crowd. You can’t have a dress that almost fits and you have to do it again. You have to work very quickly in television, and you have to be as accurate as you can be. That’s how we knew it would fit perfectly. Then that would be fitted on the actress and any little adjustments would be made and then it would be cut in the fabric. They are all highly technical sketches and the pattern cutter would create the shape of the dress and make it up in calico. There is a group of seamstresses and we would go through sketches and then the pattern cutter and I would look at them very closely. How did these beautiful costumes come together? Tell us about your department and how it worked day-to-day. Rebecca Benson, Suki Waterhouse, Jodie Comer, Joanne Whalley, Essie Davis, and Michelle Fairley in The White Princess. It’s an echo of something that she had when she was more powerful. Later in a scene when she’s walking in the garden, we used the same design but we printed it so that it looked faded and worn. Her style becomes more and more metallic and armored.Īlso, I’m not sure if it read but earlier on, when you see Elizabeth, she’s got a quite heraldic cloak and it’s quite complex. She has one dress that is purple and gold and it’s almost like a breastplate. It really is kind of an armor she wears, but it’s done with textures that are quite beautiful. They still have long skirts and are tightly laced but as she becomes queen and gets drawn into alliance with Henry, she becomes more armor plated. I suppose with Lizzie, when she arrives at the court she’s still really a girl so she’s wearing plainer dresses. How did you use costumes to tell that aspect of the story? The status of the characters changes throughout the first season. I was quite concerned with trying to get the armor to look convincing. One of the bigger challenges actually was the armor for the men in the three big battles. And for Essie Davis as Queen Elizabeth, we used blue on her a lot because she has this connection with the water goddess. And Jodie Comer who plays Lizzie is gorgeously voluptuous, so we tried to exploit all her curves. We made these outfits that were very, very tightly laced. Michelle Fairley who plays Lady Margaret is very slender and we tried to exploit that brittle quality she had. So it was a matter of trying to define that and really bring that out in contrasting the colors and styles. One lovely thing about the project was that those three women are all so dramatically, clearly designed against each other, and they’re each very strong characters in their own right. How did you design for the specific characters or scenes? What elements did you keep in mind? Vincent Regan and Nicholas Audsley in The White Princess.
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