The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
The kings Men costumes. I thought it might be interesting to show a costume of a smaller cast role, that although on Camera for much less time is still a major build for us. This is Sophie, Duchess of Hohenberg, wife of Archduke Franz Ferdinand. It was scripted that we would film the journey through the streets of Sarajevo,The Dukes speech and subsequent assassination. Their costumes are well documented so it was imperative to get them right. As soon as you have blood rigs and stunts involved it’s impossible to rent a suitable costume as we will need duplicates. We were not sure if there was to be a blood rig or blood in post when we had to start our making process, and without this decision it was necessary to make five of this costume. One hero clean in case of re shoots, Two extra hero’s to be blooded for more than one take, And two for the stunt. This went for all costumes seen in the car including Oxford, Conrad and the Duke extra soldiers, it’s a bid deal! This dress was really beautiful and enormously time consuming, we even had to have the fine embroidered muslin specially made because of the quantity required. This might seem excessive for the amount of time that we see this costume, but we had thought to see it more in a scene that was cut and you really never know if it might crop up in another.. so we have to make sure it’s as correct as we can make it so that we are covered. We also had made hundreds of embroidered jackets and trousers for the male street extras in this scene, again we saw a lot less of them than we had imagined!
The kings Men costumes. I thought it might be interesting to show a costume of a smaller cast role, that although on Camera for much less time is still a major build for us. This is Sophie, Duchess of Hohenberg, wife of Archduke Franz Ferdinand. It was scripted that we would film the journey through the streets of Sarajevo,The Dukes speech and subsequent assassination. Their costumes are well documented so it was imperative to get them right. As soon as you have blood rigs and stunts involved it’s impossible to rent a suitable costume as we will need duplicates. We were not sure if there was to be a blood rig or blood in post when we had to start our making process, and without this decision it was necessary to make five of this costume. One hero clean in case of re shoots, Two extra hero’s to be blooded for more than one take, And two for the stunt. This went for all costumes seen in the car including Oxford, Conrad and the Duke extra soldiers, it’s a bid deal! This dress was really beautiful and enormously time consuming, we even had to have the fine embroidered muslin specially made because of the quantity required. This might seem excessive for the amount of time that we see this costume, but we had thought to see it more in a scene that was cut and you really never know if it might crop up in another.. so we have to make sure it’s as correct as we can make it so that we are covered. We also had made hundreds of embroidered jackets and trousers for the male street extras in this scene, again we saw a lot less of them than we had imagined!
The kings Men costumes. I thought it might be interesting to show a costume of a smaller cast role, that although on Camera for much less time is still a major build for us. This is Sophie, Duchess of Hohenberg, wife of Archduke Franz Ferdinand. It was scripted that we would film the journey through the streets of Sarajevo,The Dukes speech and subsequent assassination. Their costumes are well documented so it was imperative to get them right. As soon as you have blood rigs and stunts involved it’s impossible to rent a suitable costume as we will need duplicates. We were not sure if there was to be a blood rig or blood in post when we had to start our making process, and without this decision it was necessary to make five of this costume. One hero clean in case of re shoots, Two extra hero’s to be blooded for more than one take, And two for the stunt. This went for all costumes seen in the car including Oxford, Conrad and the Duke extra soldiers, it’s a bid deal! This dress was really beautiful and enormously time consuming, we even had to have the fine embroidered muslin specially made because of the quantity required. This might seem excessive for the amount of time that we see this costume, but we had thought to see it more in a scene that was cut and you really never know if it might crop up in another.. so we have to make sure it’s as correct as we can make it so that we are covered. We also had made hundreds of embroidered jackets and trousers for the male street extras in this scene, again we saw a lot less of them than we had imagined!
