Umbrella academy costume
He has a gift of picking out the tapestries of any fabric and it’s a delicious experience to see it and then have him cut it. It’s super sensual - this heavy, luminous silk satin, brocade. Christopher has impeccable taste in fabrics. Walsh: “For me, that coat was a few things: one it was all about the fabric, and then the shape. When we did the fitting, we decided we liked the simplicity of the collarless look and we went with that for the final look.” So, I did something with another fabric and layered it with tuille and it had a volume. The coat originally had a poofy, wide collar, but I didn’t have enough fabric. I’ll amass any fabric, will run to a fabric store, and throw them on a desk and something will jump out at me. That was the beginning of that discussion. She wanted something creepy and psychotic lurking beneath. Within her persona and acting, she wanted this feeling of something very cringe-worthy and not easy to look at. Underneath, she wanted to feel like a cockroach - nipped and slim.
Kate said she was OK wearing the larger outerwear. With Jackie Kennedy entering the White House - to me, she was the standard-bearer for the New Age out of the ’50s with the wide skirt and nipped waist into these much less structured silhouettes but made with beautiful fabrics. Hargadon: “During my discussions with Kate, we decided to have an outer layer. I love that she dressed up for her demotion.” The Gold Coat I’m cinched in at the waist and it’s almost like armor. Walsh: “This might be one of my favorites. With her outfits, there’s always something off-kilter which reflects her character.” Again, adding in the kinky element, I used black vinyl on the trim instead of fabric. I took the tails and brought them back into points with a slit up the middle to get that effect. When I was sketching that outfit, as I got to the back, I wanted it to look like a wasp. I said, ‘I want to go big.’ And the first one made wasn’t big enough so I made her go bigger here. I’m so grateful that she fought for them. But Kate insisted on them because they finished the outfit. And this is something I love about Kate: she loves wearing hats and veils, which are things that directors and cinematographers often hate and will nix because they don’t work for lighting. Hargadon: “The persimmon look was again another entrance look. I love color and this is a show where the Handler can wear a lot of colors and pop it out. I had really wanted that hat and that look. Christopher had cut out all these photos from magazines, but I wanted that sculpted Nefertiti shape with the hat.
Kate Walsh: “This was the first scene back where she was walking down the street. My way of characterizing this outfit is Audrey Hepburn meets Marge Simpson.” And we weave spiders throughout her design throughout the rest of the season. The hat and purse were made from white vinyl, but I put a blood-red and gold spider on the purse to give it a creepy element. I had this old necklace that I had built with the big pearls, which Kate loved right away because of the way the necklace follows the neckline. We had to dye that silk to get that blue color. I came up with the silhouette, which she loved. Here, Hargadon and Walsh take Variety through some of the early key looks of The Handler from the second season of “The Umbrella Academy.” Audrey Hepburn Meets Marge SimpsonĬhristopher Hargadon: “We wanted to play against type with this look for her. “Those hats are works of art,” says Walsh. Those were made by costume builder Milena Radeva.
One such kink were the head coverings the Handler was never without. Hargadon made sure to have “a lot of accessories” on the Handler because he “ wanted to have a little element of kink.” “She heralded the fresh new look of the ’60s into households of the nation more than any other celebrity. Arguably the era’s most iconic female was Jacqueline Kennedy Onassis, who was one source of silhouette inspiration for the sharply-dressed Handler.
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Silhouettes in the ’60s featured classic lines and were often markedly more free than the fitted bodices, nipped waists and wide skirts of the previous decade. “Chris and I worked very closely and we’d shop for fabrics,” Walsh tells Variety of their collaboration that began back in season one and carried through to season 2.