00:00When it comes to unforgettable TV, costumes do more than just dress the part, they tell
00:05a story.
00:06And this year's Emmy nominees for Outstanding Contemporary Costume Design gave us fashion
00:11moments that were as bold, layered, and binge-worthy as the shows themselves.
00:16Let's start with The Righteous Gemstones, a televangelist empire dripping in rhinestones,
00:21sequins and just the right amount of satire.
00:24The Gemstone family wardrobe is all about excess between flashy suits, designer labels
00:29and a Sunday service that truly dazzles.
00:32I've always been very fascinated with religion.
00:34I think specifically coming from the South, you can see some of these extreme megachurch
00:39situations where it's so far-fetched.
00:42For example, last season we did a monster truck rally and I remember messaging Danny and messaging
00:48the production center and being like, whoa, look, this is actually a thing.
00:51And he was like, oh yeah, we already knew that.
00:53So it's like the megachurch world is just, it leaves so much fun for character development
01:00and costume design.
01:01And I think with some of these characters, it's really fun to play with it because they
01:05have a stunted element to them, but they're also bazillionaires.
01:08So, you know, we have people like Judy and Adam Devine's character that, you know, they would
01:14really care about having this like elaborate look so you could play with sequins and things
01:18like that and they do have the access.
01:20So yeah, I feel like I myself am a huge fan of drag culture and just like club kids and
01:27things like that.
01:27So I really thought that this is a show that you can kind of push that, like, I don't know,
01:33sometimes you can come onto shows and they have a certain kind of energy to them and some have
01:37like a feminine energy, a masculine energy or like both or this or that or neither.
01:41And I felt like this show has like an energy where we could really elevate religion and like
01:46a drag perspective.
01:47And I think that's kind of what we did.
01:49And I think it was pretty incredible because Danny was really like on board with pushing,
01:55you know, these characters and like having a lot of fun with it.
01:58Meanwhile, The White Lotus was one of the boldest ensemble shows this Emmy season,
02:02but the clothes also stood out as a character of its own.
02:06From breezy linen sets to luxe resort wear, every look said something about status on vacation.
02:12With each season of The White Lotus, it was clear that the country or location was a huge
02:21character in the story and the relationship with the landscape and the people and the culture
02:28where the guests are was very important. One of the first things that came to my mind was my own
02:35travels in Thailand and Southeast Asia and then also the song One Night in Bangkok.
02:42It kept going through my head because it's super catchy.
02:45And so these two influences sort of a shiny, flashy, glittery version of ourselves.
02:54And then my own idea of like a bohemian spiritual adventure.
02:59I approached the ladies as if they were one person with sort of three facets to them.
03:05And when you first meet them, they seem like one amalgus blob.
03:10And then as you get to know them, you see their personalities and where they're from
03:15and where they chose to live their lives come through.
03:18But the idea really was that they are dressing for each other, trying to impress each other.
03:22And also a little bit for show that they're wearing masks and that the masks start to come off.
03:29And you know, particularly the case sometimes with American Girlfriends is that there's a lot
03:34of fronting going on. So their guard gets let down and you see that Laurie is falling apart and
03:41Jacqueline's not happy. And so that starts to prevail in the outfits.
03:47Then there's the studio, a behind the scenes take on Hollywood itself.
03:51The costumes blurred the lines between onscreen glamour and the creative chaos behind the lens,
03:56with the costumes from each episode serving as an homage to a different era of Hollywood.
04:01When you're doing a period show, you really go in and you just, you know,
04:05you want everything to be exactly from that period. And this one, we just incorporated all of it.
04:10We did, you know, 30s suiting, some 40s in there, a lot of 70s, a little 80s, a lot of 90s.
04:17You know, we just tried to kind of weave all of the eras of Hollywood filmmaking into it,
04:23just to show the love that we have for all of it.
04:27My favorite story is when we, when Ron Howard came in, we did ask him to bring his hats,
04:32his signature Imagine hats. And he brought a little duffel bag of the different hats that he has.
04:39So it's like Imagine Docs, Imagine Creative, a charity that he works with. And he showed us all
04:46the hats, which is exactly what we wanted. But he's like, well, maybe I could wear a different hat
04:52for different scenes. But it's all one costume that he wears. It's like one thing. So that would
04:58be a totally different farce if you were changing his hats every single time we see him.
05:04Meanwhile, Emily in Paris brought us Parisian couture like no other. Love it or hate it,
05:10Emily's bold looks, clashing prints, and over the top everything is another character in itself.
05:16With each season, viewers have watched Emily immerse and find comfort in the Parisian way of
05:20life. And this season that was reflected more than ever in her fashion with her signature Emily
05:26twist. Of course, I remember that the black and white masquerade ball that Truman Capote was throwing
05:33in 1967, I think around the end of sixties. So it was a good way to have this French and American
05:43culture goes well together. So black and white, I thought it was a nice idea. It was very,
05:49very graphic instead of having a lot of colors for once in the in the show. So we get in touch with
05:59Aris and and he was a part of the project. It was very enthusiastic and and he did a couple of
06:07regarding the mood board I sent to him. He did a couple of drawing sketches and
06:14and Lily and I decided on the most outrageous one, obviously. So yes, it was a nice collaboration.
06:23It's the kind of moment that you are happy to collaborate with the fashion designer because
06:29uh, they all know that I have a deep admiration for the for the the the job. Uh, so it was it was nice.
06:38And finally, hacks. Deborah Vance's wardrobe serves old Hollywood glamour one minute,
06:43sharp power suits the next, and always reminding us that she runs the show.
06:48Put her next to Ava's laid-back style, the contrast makes for the perfectly imperfect but brilliant pair.
06:54So whether it's satirical sparkle, Hollywood power dressing or Parisian couture,
06:59these nominees prove that in TV, the costumes are about more than just clothes.
07:04In the end, the Emmy went to the studio, but every designer this year delivered looks
07:08we'll be talking about long after the ceremony is over.
07:24Okay.
07:27This time is a great video.
07:29It's not a wonderful movie.
07:30It's a great movie.
07:30And we saved it.
07:31It's going to take a moment in a place.
07:32It's going to be so nice.
07:32It just looks like that.
07:34It's like, look, you know, baby.
07:35It's a beautiful movie.
07:37It's going to be so nice.
07:38It's going to be pretty good.
07:39And it's going to be over by the fact.
07:43It's going to be really close.
07:45Yeah.
07:47It's going to be that tragedies.
07:49And it's a great movie.
07:49You're going to be so nice.
07:51You're going to be a little bit.
07:51You're going to be that.
07:52It's going to be a reality.
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