Alexis Bledel Withdraws from Emmys Over Handmaid’s Tale Role

For costume designers, the craft extends far beyond the mere choice of outfits donned by actors; it encompasses the intricate details, including accessorizing, that enrich and ground their performances. These nuances play a crucial role in character portrayal, allowing viewers to connect more deeply with the narrative.

Janie Bryant, the visionary costume designer behind “1923,” passionately shares, “I have a deep appreciation for jewelry. My collection is extensive, and I love to incorporate it into my designs to emphasize and define the characters.” Her insights reveal how small elements can significantly enhance the visual storytelling of a character’s journey.

Similarly, Tsigie White Robinson, the talented costume designer for “Power Book III: Raising Kanan,” openly admits to her obsession with jewelry, stating that she often prioritizes acquiring jewelry over other costume elements. This passion underscores the essential role of accessories in establishing a character’s identity and style.

Robinson and Bryant were joined by fellow costume designers Renée Ehrlich Kalfus (“Another Simple Favor”) and Natalie Humphries (“The Day of the Jackal”) during Variety’s Artisans Exchange panel, moderated by senior artisans editor Jazz Tangcay. This panel provided a fascinating glimpse into the artistic nuances of storytelling through their craft, highlighting how each designer contributes to the overall narrative experience. The Creative Collaborators panel featured production designer Kave Quinn (“Bridget Jones: Mad About the Boy”), cinematographer Ksenia Sereda (“The Last of Us”), and “Yellowjackets” production designer Margot Ready, who illuminated the collaborative processes essential for successful productions, discussing elements ranging from world-building to camera movement.

Exploring the Intricacies of Costume Design

In her approach to Peacock’s “The Day of the Jackal,” Kalfus aimed to pay tribute to the iconic 1973 film directed by Fred Zinnemann. In her discussions with the show’s star Eddie Redmayne, they noted how Edward Fox’s portrayal of the Jackal character was that of a “highly groomed, tailored assassin,” a quality Kalfus sought to infuse into the contemporary interpretation of the character. “We leaned heavily into British tailoring to capture that essence,” she explains. However, as the character traverses Europe, Kalfus artfully blended in European labels to illustrate the character’s evolving style and purchasing habits along his journey.

A critical aspect of the Jackal’s character was his need to move stealthily, which prompted Kalfus to avoid vibrant colors. His wardrobe palette consisted of subdued shades such as “tans, browns, navy, and grey,” which aligns seamlessly with the typical espionage aesthetic. This thoughtful color selection not only enhances the character’s believability but also serves to heighten the tension within the storyline.

Kalfus expressed that she had never worked on a sequel until “Another Simple Favor,” which sees Blake Lively reprising her role as Emily alongside Anna Kendrick as Stephanie. In this installment, Stephanie agrees to take on the role of maid of honor for Emily’s wedding, providing a fresh opportunity to explore their evolving relationship through costume.

Kalfus seized the opportunity to further enhance Emily’s intimidating presence through the use of larger silhouettes. “Her entrance in a prison-striped suit was a nod to where she had been for the last seven years,” she recalls. The suit, designed with horizontal stripes and draped in chains, serves as a powerful visual metaphor, placing Emily in a psychologically complex position that creates tension with Stephanie.

Regarding the wedding gown, Kalfus elaborates on its design, which features a custom white latex bustier. While in Rome, she collaborated with local artisans to create a stunning silver satin skirt. “The 40-foot veil consumed an entire block,” Kalfus states, emphasizing its dramatic presence. “It was dyed in blood pink and adorned with pink crystals, symbolizing the potential conflicts that may arise during the ceremony.”

Over the course of “Power Book III: Raising Kanan,” Robinson has crafted looks that are steeped in ‘90s hip-hop nostalgia, while also infusing modern elements. “I source materials from all over the world,” she explains, showcasing her commitment to authenticity. At times, she collaborates closely with her tailoring team to recreate the genuine urban wear that resonates with the show’s aesthetic and narrative.

The costume designers also discussed the crucial role of accessorizing in their designs. Bryant’s fascination with watch fobs is a distinctive element she incorporates into Taylor Sheridan’s show, emphasizing their importance for the male characters. In contrast, Cara Dutton, the matriarch portrayed by Helen Mirren, is depicted as “old school,” leading Bryant to style her in jewelry from a bygone era. “She wears a pair of vintage earrings, and the brooches she adorns are from an earlier time,” Bryant explains, highlighting how these choices firmly establish her character within the historical context and contrast her with the other women in the series.

Robinson emphasized the cultural significance and real-world impact of jewelry in her designs. By incorporating elements such as name plates, three-finger rings, and nugget rings, she conveys a narrative without veering into caricature. “I drew inspiration from how my grandfather and his friends dressed and how they wore their jewelry,” she shares, showing how personal history informs her creative choices.

In “The Day of the Jackal,” one notable outfit includes a suede jacket that became a focal point of Robinson’s design process. “We experimented with every type of suede jacket available in the UK and the USA, and we also explored European options,” she recalls. Ultimately, Humphries discovered the perfect design on Saville Row in London, specifically from Drake’s, exemplifying the meticulous search for authenticity in costume design.

The costume designers also addressed the important topic of pay equity in their industry. Last year, after decades of advocacy, the guild successfully achieved pay equity, resulting in a substantial salary increase of over 40%, aligning their compensation with that of other creative peers within the industry.

Humphries underscores the pivotal role of the costume designer as a department head. “We are often among the first individuals to meet an actor. You may have very limited time, as actors often arrive the day before shooting, creating a highly pressured environment.” This highlights the importance of establishing a collaborative rapport quickly to ensure the character is accurately portrayed on screen.

Kalfus adds, “This is a massive undertaking. You begin with the director, and you have producers, all of whom have specific visions. You stand at the forefront with the actor, stating, ‘Here’s the character. I’m going to guide you through it. Look at this.’ Your role is instrumental in ensuring they are effectively portrayed on camera, making the costume designer a critical part of the storytelling process.”

The Collaborative Spirit of Creative Collaborators

During the Artisans Exchange: Creative Collaborators panel, Quinn, Sereda, and Ready discussed the vital nature of the collaborative process and its connection to the showrunners. Ready articulates, “The showrunners truly guide the direction for the season, shaping the overall vision.” This insight illustrates the integral relationship between various creative roles in shaping a cohesive narrative.

Returning to “The Last of Us,” Sereda collaborated closely with showrunners Craig Mazin and Neil Druckmann to articulate the visual narrative of the new season. “There were many new colors, storylines, and characters introduced, but it all begins with a creative collaboration with the showrunners. In our case, both are also directing, bringing us closer to the source material,” Sereda elaborates, referencing the adaptation of the popular video game.

Sereda aimed to maintain the hand-held aesthetic of the show while transitioning from Season 1 to Season 2. The notable difference was that the camera work became more grounded. “Despite the post-apocalyptic setting and the presence of infected, we remained deeply connected to the characters, ensuring the audience feels their emotional journey,” she explains, highlighting the importance of character-driven visual storytelling.

Quinn focused on illustrating how Renee Zellweger’s character, Bridget Jones, has evolved over time. To authentically portray Bridget’s home life, Quinn sought to tell a story through the set design, reflecting her life as a single mother. “She’s been living in this home for quite some time with her children,” Quinn notes. The yellow kitchen was designed to encapsulate Bridget’s personality. “It was vibrant and fun,” Quinn explains, showcasing how color plays a pivotal role in character representation.

Quinn drew upon personal experiences to enrich the set design. “As a mother of three grown children, I included little nods to them within the set. Some of the items my children created for me, like Mother’s Day cards, were featured in the decor,” she shares, demonstrating how personal touches can enhance the authenticity of a character’s environment.

Regarding kitchens, one of Ready’s new sets featured Melissa’s (played by Hilary Swank) kitchen in the third season of “Yellowjackets.” This setting plays a crucial role in reflecting the character’s psychological state and life experiences.

Ready’s design approach was deliberately contrasting, aiming to reflect Melissa’s complex mindset. In the series, Melissa is a survivor of a plane crash and the wilderness. As an adult, she has constructed a false identity and faked her own death. Ready describes, “Her home is intentionally a blend of stark minimalism and artificial over-decoration, symbolizing her internal conflict.”

Ready opted for neutral tones and explains, “We meticulously curated every element to be strikingly, impossibly tidy.” This included precisely taped drawings on the walls and precisely arranged jars in the pantry. “We believe this reflects Melissa’s response to her trauma, showcasing how her past shapes her present,” she elaborates, emphasizing the psychological depth of her design choices.

The sign reading “Kitchen Is the Heart of the Family” was an item Ready discovered online, yet it carries profound significance. “In this context, there is no heart to this family because she lives a lie. However, it also nods to their consumption of one another and the emotional void they inhabit,” she concludes, illustrating how set design and dialogue intertwine to create a compelling narrative.