00:01What we wanted, right?
00:03Be at the beginning of something.
00:04Oh, my gosh.
00:05Well, the crew, they work so hard.
00:08They put details into everything.
00:10The hair and makeup and outfits and everything are amazing.
00:13All these people, they just make the show the show.
00:16One of our goals in this adaptation
00:18is to really capture the books.
00:20This whole crew is filled with people
00:22who really love this project
00:25and they're putting so much heart
00:26into being true to the time period.
00:30Costumes, makeup, hair, production, props, everything.
00:34It just feels like you're walking into 1869.
00:39The production design team,
00:41they have done such an amazing job
00:42building the town of Independence.
00:44It makes my job a bit easier.
00:45It's not hard to, like, step in to this world
00:48when you get to work and there's a whole town there.
00:50The authenticity involved in everything
00:52and the scope and the size of it.
00:54It's such a beloved book for one,
00:57so there's a real responsibility that comes with that.
00:59It was a really fun challenge to build the town of Independence.
01:03It's 29 full standing buildings
01:04and it also is constantly changing.
01:06In one episode, the post office shows up,
01:08or one episode of the church shows up,
01:09which on a television schedule is a little bit complicated
01:12to get in there and have a whole new building pop up.
01:14So one of the challenges of building the cabin
01:16was doing it in the way that the Ingalls family had done it,
01:19which was with no nails and with wood pegs
01:21and really with all natural material that they sourced.
01:24Then we sort of turned it over to our set decorating team
01:27to let them bring all of the things into the house
01:29that the Ingalls would have brought with them on their journey.
01:31We paid particular attention to historic accuracy and detail.
01:36I went out of my way to purchase really authentic American antiques.
01:41I hired a local blacksmith to make hooks and pieces
01:44that you can actually hammer into the logs.
01:46I mean, that's the kind of detail we went into on this show.
01:51The hair team and makeup, too,
01:54they pay attention to the teeny-tiniest details.
01:56They have to remember everything.
01:59We wanted to have hair move, wind, all of this.
02:02It's in the prairies, the rugged, rough look,
02:05to feel that people had gone through things.
02:07There was a lot of authenticity that we've been able to throw into this project.
02:10All the haircuts, all the war paint that you put on,
02:13watching them on the horses.
02:14For makeup, like, what does that look like? How's your skin?
02:17How does that weather you?
02:18So that hopefully you feel like you're there.
02:21My mom came and was like,
02:22are you not wearing any makeup, darling?
02:24You know, I was like, no, I have a full beat.
02:27But that's how amazing they are at making it all feel period,
02:31but still not bad looking.
02:33Ah, well done, Mr. Ingalls.
02:36Thank you. Well done.
02:37On my first Vinny, I knew that the costumes would be period appropriate,
02:41but I did not expect them to be as gorgeous as they were,
02:45and as fascinating too.
02:46I just love it.
02:48Costumes, Mitchell Travers.
02:49He just had a vision.
02:50I mean, he's like a poet, the way he talks about these garments.
02:53Ooh.
02:54You know, I don't even want to call them clothes.
02:55It's like pieces of art.
02:57Wow.
03:00Every single time, the dresses just kept getting better and better
03:02until we reached this beautiful blue gingham dress,
03:05and I absolutely fell head over heels in love.
03:08I would describe the costuming for the show as handmade.
03:11It was really important to me that we feel the hand-done buttonholes
03:15and homespun cottons and things that really felt like they were of another time.
03:19The majority of the principal cast, we actually build all of their clothes,
03:22including their shoes.
03:24We hand-make all of the petticoats for the women.
03:26Their corsets were all made by hand.
03:28Their dresses were all made by hand.
03:30Their bonnets are sewn in-house.
03:31It's a massive project to create something that looks simple,
03:35but it's an army that builds this world.
03:37He's an absolute genius, and what he's done is remarkable.
03:41The first time I put the clothes on, they felt comfortable and they felt mine.
03:44It's a great experience wearing these clothes
03:46and feeling so a part of them and them so a part of me.
03:53The Osage are a part of our story,
03:56and we could not have done that without Julie O'Keefe,
03:59who was our Osage cultural consultant.
04:01She's incredibly knowledgeable, super dedicated.
04:04She does all her production design and costume consulting,
04:07and she's there to make sure that all the actors feel comfortable.
04:11You have to have a real commitment to be able to really create that authenticity,
04:15and it really raises the bar that makes the story so much richer.
04:20The way that the women will dress their children is kind of like how Julie would dress me.
04:26I don't know, it's just such a loving experience, too.
04:29Just to feel that, that also went into my process.
04:33Bead work, ribbon work, otter caps, necklaces.
04:36I wanted as many of the pieces of clothing that the Osage wear to be made by Osage artisans,
04:41and I'm very proud of the fact that we were able to do that.
04:43The production design, the costumes, the attention to detail, the hair and makeup,
04:47everyone involved is so creative, and the vision really works together really beautifully.
04:53It's like a painting.
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