As a die-hard fan of magical realms and period dramas, I can’t help but be utterly captivated by Paul Tazewell’s extraordinary work. From the enchanting costumes in “West Side Story” to the historical splendor of “Harriet”, his ability to weave versatility into his creative DNA is nothing short of mesmerizing. But it was his transformative take on “Wicked” that truly stole my heart.
From the dazzling period costumes in West Side Story and Harriet to the looks in the magical world of Wicked, Academy Award-nominated costume designer Paul Tazewell has shown that few artists weave as much versatility into their creative DNA. “I love period work and telling stories connected to history. What excited me about Wicked was designing a world rooted in period silhouettes while also creating a fantasy,” he says.
To create the two films based on the popular Broadway musical “Wicked”, the designer revealed that he delved into a rich source of inspiration: “The essence of ‘Wicked’ was exploring the roots of the original story. With the L. Frank Baum book, the 1939 film, Gregory Maguire’s ‘Wicked’, and the Broadway musical, you have four different interpretations of the same tale.” By preserving the spirit of the production while adding his unique touch, Tazewell presented a new angle without making it overly modern. “We remained faithful to the play’s visual style,” he explained, “but added depth that mirrors the characters’ emotional arcs.” Tazewell also had a deeper connection to the Oz world, mentioning that “I would watch it annually. It’s etched in my visual memory, and it influenced how I perceive icons.” This connection lends a sense of nostalgia while still offering something new to the costumes.
The distinctive feature of Tazewell’s work on the film adaptation of “Wicked” is his deep focus on character development, which gives depth and intricacy to the fantastical clothing designs. Two notable costumes, such as Cynthia Erivo’s Elphaba witch hat and her Emerald City dress, embody this approach. As he states, “I make design choices based on the character and their narrative, considering what decisions they would make and how these relate to their identity.” For Elphaba and Glinda, it’s about striking a balance in their relationship and how their costumes change as their characters develop, all set within a world of contrasting light and dark.
Ariana Grande’s Glinda gown and the choice of pink pay tribute to the original Glinda, Billie Burke, from the 1939 classic film “The Wizard of Oz”. However, this modern take accentuates contemporary ideas of femininity. Tazewell explains, “The material retains that ethereal transparency, but we’ve given it a more structural, contemporary twist.” He aimed to create a fresh symbol – something innovative for these characters.
Glinda’s dress is remarkably designed, resembling floating bubbles ascending into the sky. Beneath its elegant exterior lies a crinoline layer akin to a petticoat, followed by shimmering organza. As Tazewell explains, the dress incorporates hoops for structure, functioning much like a conventional hoop skirt. He further elaborates on the technical aspects, stating that he utilized stiff nylon netting shaped into spirals and twisted into cones to ensure the gown remains lightweight.
The dress embellished with beads, crystals, and sequins gives an air of playful charm. Tazewell explains that it needed to feel light, as if suspended in mid-air. A great deal of craftsmanship was required to make it move smoothly when Ariana Grande wore it. The designs were also influenced by the classic elegance of Grace Kelly and Dior’s 1950s skirt suits, bringing a hint of retro glamour into the mix.
When crafting Elphaba’s wardrobe, Tazewell took more than a few risks, leaning into the character’s darkness and individuality. Having collaborated with Erivo on Harriet (the two share a love of fashion), Tazewell notes that “Elphaba may be marginalized and ostracized, but that doesn’t mean she lacks personal style. I wanted to make bolder choices for her — a reflection of her inner world.”
The design outcome showcases a silhouette reminiscent of Victorian-era fashion from the 1890s, echoing the iconic Wicked Witch of the West (portrayed by Margaret Hamilton in the 1939 film). The designer sought inspiration from natural elements like mushrooms, fungi, and Fibonacci spirals to create earthy textures such as micropleated fabric and felted details. Tazewell expresses that “the whimsical interplay between her bodice embroidery and puffed sleeves adds a playful charm; and as she spins, the way her skirt flows evokes thoughts of how she would command space and navigate through her world.
Tazewell emphasizes that the guiding principle behind his designs is shaped by the decisions made by those who will wear them. “I immerse myself in each character’s tale,” he explains. “Their requirements spark my engagement with the project. I aim to envision a lifestyle for them, one that takes on authenticity when the actor dons the costume and truly embodies the role.
Originally published in a special December edition of The Hollywood Reporter magazine, you can access this intriguing tale by clicking here to subscribe to our magazine.
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2024-11-27 23:55