As a seasoned costume designer with years of experience under my belt, I can truly appreciate the monumental task that Meghan McCall faced when leading the costume design for “House of the Dragon’s” second season. Having worked on various projects myself, I know firsthand the intricacies involved in bringing a fantasy world to life while maintaining a sense of realism.
When “Game of Thrones” came to an end with Daenerys Targaryen’s death at the hands of her lover/nephew Jon Snow, viewers were left reeling – both emotionally and physically. Fortunately, the prequel “House of the Dragon” took over, continuing the saga of House Targaryen’s rule. Now in its second season, “House of the Dragon” continues to emphasize the tragic and power-hungry elements found in George R.R. Martin’s novel “Fire & Blood.” Starting with “Game of Thrones,” “House of the Dragon” is filled with intriguing and history-inspired folklore, drawing from Spartan, Byzantine, and Medieval European cultures, resulting in an engaging world-building experience. Costume design plays a significant role in bringing this story to life on screen, and season two is no exception.
McCall expressed a preference for costumes that blend seamlessly with regular clothing, rather than obvious attire associated with characters. To achieve this authenticity, she delved into the study of ancient cultures and medieval fashion, focusing on methods to create garments fitting of their respective eras.
In season two, Caroline McCall took over as costume designer. Her background is impressive, with credits on “Downton Abbey” and “His Dark Materials” among others. Entering the world of Game of Thrones/House of the Dragon anew – she confesses that she hadn’t seen the show when given the opportunity – meant a significant amount of learning in the 20 weeks prior to filming. However, it was during this time that much of the enchantment began to take shape.
For several months, McCall immersed herself in an intriguing exploration of design. She delved into various resources – from studying select sections of books to observing TV shows, and examining cultured artifacts. McCall’s method wasn’t limited to choosing color-themed styles; instead, she meticulously handpicked historically-inspired designs.
McCall studied the various “houses” for the show and distinguishably designed their styles based on this research. For instance, the Blackwoods, who backed Rhaenyra Targaryen’s claim to the Iron Throne, integrated Celtic-motifs in their tunics with influences from Viking and Roman fashion. In the early seasons, the more peaceful and assimilated Targaryens adopted a European/Medieval style. However, when the Targaryens moved to Dragonstone and formed the Blacks, while the Hightowers remained at King’s Landing as the Greens, McCall made an effort to differentiate their silhouettes to portray authentic Targaryen identities. She drew inspiration from Daenerys Targaryen, the last surviving member of the house, for her designs.
The Targaryen family’s embroidery and jewelry style evolves into a more basic and brutalist design compared to the intricate pieces found in King’s Landing. While King’s Landing is known for its green and golden hues, Dragonstone embraces black, gray, and red. Each location and family provides McCall with new color palettes and stylistic concepts to explore. To ensure authenticity, McCall’s primary challenge is to create pieces that accurately reflect the characters’ surroundings and lifestyles. For instance, Princess Rhaenys, who frequently rides dragons, requires armor-like outfits with reinforced details for practicality. Conversely, Rhaenyra starts the season wearing a similar style as before but transforms her look to more distinctively Targaryen as she gains confidence, with stronger shoulder details. Similarly, Alicent Hightower’s wardrobe tells a story of her predicament; being confined in the Red Keep is reflected through her dresses that convey a sense of entrapment.
McCall explained that the world they’ve created is rough and unpolished, just like reality, but includes the addition of dragons. To maintain a sense of realism, they strive for grittiness, dirt, and signs of wear. The dragons themselves are designed to be believable within this setting.
As a gamer immersed in the intricate world of costume design, I wasn’t the sole hero in this grand production. Although I served as the lead for costume direction, my department was a formidable team of 150 artisans. This powerhouse squad consisted of metal workers, embroiderers, leather workers, military assistants, textile artists, and many more. We didn’t merely source fabrics or create looks; our processes extended far beyond that.
From a creative standpoint, McCall had the flexibility to shape “House of the Dragon’s” second season according to her vision. Each installment unveiled on Sundays showcases McCall’s skill in intricate and captivating design. It’s simple for fantasy series to veer off course, but McCall recognizes the risk – she masterfully delivers a design aesthetic that is alluring, visually gripping, and as close to realism as possible, considering it’s a program featuring dragons.
She explains that the design process involved consistent logical thinking and setting personal rules. In contrast, with fantasy, one might initially think they can do anything; however, without establishing logic and reason, chaos ensues.
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2024-07-19 19:56