Emmy-nominated costume designers behind 'Hollywood,' 'The Marvelous Mrs. Maisel' and 'Mrs. America' open up about recreating looks from Hollywood's postwar golden age to the 1990s' gender-fluid ballroom dance scene
The Emmy-nominated designers behind 'Hollywood,' 'The Marvelous Mrs. Maisel' and 'Mrs. America' also open up about how they gave each of the show's characters a unique look, from Hollywood's postwar golden age to the "crazy energy" to the gender-fluid ballroom dance scene of the 1990s.
Roberts assembles photographic references for each character on a wall but admits, "I kind of forget about it, and I think I've got those people in my head … I just think you need to throw it all away and be completely creative about it." "When you look at the photos of the real Shirley, you can see these very loud and very bright patterns that have an African inspiration, completely different to Phyllis and to Gloria," says Daigeler. "She had this very special fashion moment, where she really stood up for herself, for her own style — but very chic with her purse and the broaches."
Collaboration with the hair and makeup teams was crucial. "I get them fabric samples of everything so that the makeup artist develops her design with her team to make that come to life, and the same with the hair department," she says. With a tremendous assist from the show's costume researcher, also a fashion academic, to ID real-life looks and accurate colors from that year's Oscar red carpet, they were able to zero in on key points of inspiration, like '40s-era designer Charles James' iconic satin and tulle "butterfly dress" for Laura Harrier's nominated starlet Camille Washington.
The era's fashion evolution had not yet fully morphed into stereotypical Swinging '60s styles, allowing room to express Midge's increasingly larger-than-life persona. "I was able to even bring more heightened, dramatic elements, because it's the beginning of a very dramatic shift from the '50s," she says.
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