![]() For Augusta, we worked with heavier silk brocades and damasks to give her a more traditional feel. For Charlotte, we used meters and meters of silk taffeta and organza to give her a lighter, more modern feel. “We used laces from France and Spain, had our silks woven at the mills in England, we constantly sourced from Italy and also New York. “We sourced our fabrics from all over the world,” continues Frecon. The coronation gown in the second episode, in all its gold glory with detailed embroidery was extraordinary. The fabrics are rich and colorful for both male and female characters. 19th century Regency costumes as accurate as possible. Lyn Paolo and Laura Frecon dived into primary source material to get 18th century Georgian era and. Our inspiration was a mix of high fashion, Dior’s New Look, impressionist paintings and our research.” We wanted it to feel as if you could wear these clothes on the runway or to a Met Ball. “However, our pitch to Shonda was that we wanted to bring a high fashion, modern element to our characters. “We did countless research based on the time period and historical characters by reading books, going to museums, and scouring the internet,” says Frecon. Since this is a period piece it requires lots of hours of research, relying on paintings and primary source documents. Every tiny detail in the costumes and the accessories was so important and managing the logistics and keeping the team moving was a huge task.” “The amount of costumes that were designed/built, the glamour and the jewels. “I feel that experience is something you need to help with a show that is this grand,” she says. Costume design requires a lot of experience and her past jobs prepared her greatly for Queen Charlotte. In addition to the shows she mentioned, she’ also done Maid (Netflix) and Little Fires Everywhere (Hulu). The gowns in the Queen Charlotte series take more fabric than the gowns in the Bridgerton series. This is the exciting beginning, the part where I cannot sleep because I have so many ideas in my head, then the work of building the costumes begins,” she explains. ![]() Then research, sketching, mood boards, fashion, art, history all of it is so important to get my mind buzzing with images/ideas. “As always, I start with the script, what Shonda has put on the page. Paolo’s process for everyone’s costume flows into her natural process of working on productions. Getting the job is one phase, then next comes execution. They both liked our inspiration and sketches and from there it was a go!” We loved the idea and the history meets fashion element, so we quickly did a bunch of research, made some boards and presented them over Zoom to Shonda and Betsy Beers. We went to London to consult on Season 2 of Bridgerton and at that time, we were approached about the possibility of designing Queen Charlotte. ![]() “I have worked with Lyn on a few projects in the past and I was the Co-Costume Designer on Inventing Anna with Lyn. Photo Credit: Netflixįor Frecon, it was from already knowing Paolo that allotted the opportunity to work on the series.
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