oHangers, fleece coats did not have much to see. It’s made “horrible and cheap off-cut,” and costume designer Phoebe de Gaye remembers purchasing this product in 1980 on Oxford Street’s “scuzzy end”.
Worn by Del Boy Only fools and words, Reminiscent of the coat worn by the used car salesman she observed. This, she says, lends truth to the character. “It worked when he wore it over the Gabicci shirt, a red shirt with black suede pockets, but we didn’t think anymore.”
The coat will be as iconic as the wearer, the blueprint for the TV character’s costume as opposed to the bells of the costume drama. De Gaye said, “Some things just play chords, but you can’t predict what. “When creating a character’s costume on TV, we aim to create a sense of reality. For some reason, the cloak seems to have captured the spirit of the times while doing so.”
If there weren’t many winners in 2020, TV was definitely one of them. Mouth open I can destroy you on Crown, Steve McQueen Small ax In the following gorgeous costume drama Queen’s Gambit and Mrs America, Television has basically dominated this year, and other forms of entertainment have been threatened by the plague.
The program provided some relief from the tax year. But as real-life dramas unfold around us that will reveal more wildly than what’s seen on TV, they’ve also provided a connection to new things and cultures away from the endless drag of “Doom Scrolls” and leggings. Big stories are told on small screens and new realities (history, present and truth) are portrayed. TV costumes were an important part of this. If the clothes the character wears do not fit, this world will collapse.
BBC costume designer Lynsey Moore says, “It’s always about a costume drama winning, but the best outfit for me is not even registering because it looks so real.” I can destroy you, Michaela Koel’s dark and sharp consent drama based on her own rape five years ago. “[Contemporary costume design] It is the most difficult because the viewers are experts. You have to believe that you took your clothes out of the closet that morning.”
Coel’s character, Arabella, is a writer and social influencer, and her clothes quickly switch between identities. One minute she is wearing baggy jeans and a long sleeved T-shirt. Next, the boxed refreshing champion sportswear “and Kim Kardashian hair”. But she is also a detective and sometimes an agent of chaos.
“People wanted to see themselves reflected in her, or even wanted to recognize her as one of those who seemed to be confident despite something terrible happening to her. A jacket and high-waisted jeans for the assault itself, or a pointy, neat head for a self-help meeting.
“In pop culture, a woman raped always appears to be lacking in clothes or physically vulnerable. But it wasn’t Arabella’s experience like most women weren’t and we needed to show it off,” she says. “The script wrote that it was pink hair, but the rest was under discussion.”
“You’re using the psychology of clothes to create a character, but mostly you’re using clothes as a plot device,” says De Gaye. Kill eveMolly Goddard tulle for treatment and Villanelle in the Dries Van Noten suit for the murder.
“Obviously we’re not immune to what’s going on in the catwalk. It comes from the same toolbox. Catwalk is an illusion. Villanelle is a magpie, not a fashion follower. But somehow Kill eve It has become a shopping show.”
Moore, who is currently making a period play for Anne Boleyn, scheduled for 2021, agrees, “I love fashion in my personal life and I want to let fashion shows convey information, but the key is storytelling.”
The charm of rock-down TV isn’t just watching other people’s clothes. It’s seeing people get dressed. Costume Kill eveThe three seasons of the game were transformed and enjoyed. Escape from containment life then Arabella’s pandemic-friendly wardrobe I can destroy you It’s more like Del Boy in taking care of something that feels real on the streets of London. For a universally acclaimed show like Coel, styling is oddly normal and is an absolute tonic at these unusual times.
“Of course, reality requires real clothes and a more discouraged look, but we desperately wanted to immerse ourselves in the charm of the past,” says editor Tom Loxley. Radio times. Because of the nature of social events that generally require flair or sequins, rather than not just for business use, but rather than wearing boots and coats for others to see, we wear surrogate clothes through these characters.
“Queen’s Gambit, Netflix’s sleeping hit, like Cate Blanchett’s movie, meticulously reproduces the details of the era. Mrs America, Especially in the mid-century modern clothes Crazy man And it certainly hits the highest this year,” says Loxley.
“If you think reality should be dull, humdrum.”
The TV adaptation of Sally Rooney’s novel was an early closing hit because it was propaganda sentimental about the student experience. If Connell’s much-discussed gold chain speaks a lot more about his class politics than Connell himself can do, then the success (and objectification) of Marianne’s Tuscan costume has made him a surrogate for a canceled vacation.
Television is often considered similar to the opium of the modern public, and this year it’s only reinforcing it. Sometimes the screen that couldn’t leave the house was our only way out. Nostalgia thrives in uncertain times like us, and numerous shows have allowed us to escape to different times and different places. Their outfits have become part of the mood.
However, with more and more information about the different times and places available over the Internet, and more and more competitive opinions about what is right and what is wrong, the role of the costume designer in creating something that looks and feels real is more important than ever. Lost. .
Of course, this is not always the same as checking in the real world. on mangrove, first Small ax Racism in the series, London Met, and post-British societies is communicated more effectively thanks to a pitch-perfect outfit design like the one described by Lisa Duncan in black hats, sweatshirts and outfits. “Spice color” polyester. Its costume design combines with the sights and sounds of Notting Hill’s black community to create believable, beautiful, and sometimes destructive, pictures of times and places.
“I never wanted it to feel like a costume drama,” says costume designer Bina Daigler. Mrs America, Blending custom blouses and jeans with real Yves Saint Laurent and Diane Von Furstenberg. “Gloria Steinem and Phyllis Schlafly had some charms too, but they didn’t want people to watch the show and talk. Oh, it was the 1970s. I want people to see the problem of racism and inequality and know we’re still there.”