The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
I can die happy! I’ve been name checked on the fabulous RuPaul’s DR! Thank you George ❤️ and I did love the looks!
The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…
The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…
The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…
The Peripheral. Creating Cerise. Particular thanks to Molly Langford my assistant designer. Liz Crossman for her brian being able to comprehend the mind numbing equations necessary to create the sleeves. To Angela and her fab tailoring team for the fabulous cut..But of course none of this would work at all without the amazing T’Nia Miller wearing it and owning it!! ❤️
