We talked about the general color palette.
So you crafted the costumes to compliment character and theme as well?Absolutely, yes!
I also think about how something is perceived by the modern eye.
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Its historically accurate; it doesnt take a ton of liberties.
The only liberties we took were when the characters wore pastel-colored clothes.
The most challenging thing was fading the fabrics.
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We did a lot of enzyme washing and stonewashing.
It was trial-and-error, and a ton of fabrics got ruined.
You just dont know how theyre going to react!
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They have a textile center.
They couldnt go outside on the street because theyre women, and a war was going on.
It wasnt safe for them to go outside without someone.
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They were stuck in the house, so they didnt bother.
McBurney came along, so they put on their best.
I feel like I pushed all of her clothes in that way.
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There was an economy to them.
Kirstens character came from the city, so she had the most sophisticated styles.
There was an innocence and a romantic quality to her costumes.
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With Oona Laurences character, Amy, we wanted to express elements of the war in her clothes.
Hers always felt like they were a little big.
How many of the costumes were made specifically for the film?We made 90 percent.
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We rented McBurneys costume, but most of the girls costumes, we made.
Even down to the nightgowns, because spoiler alert they were going to get bloody!
[Laughs].We also didnt make some of the girls pajamas.
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We even made the corsets, believe it or not!
We knew from the beginning.
When Philippe Le Sourd is lighting your set, its ok because its going to look so beautiful anyway!
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But, if you look closely, the bottom of every dress is a little bit brown.
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