Excerpts from the SyFy Wire & Film School Rejects interviews with Claire Anderson, the Emmy-nominated costume designer for Good Omens:
[ Film School Rejects - by Ciara Wardlow]
 âI worked through it with gut reaction images. So, two guys. Two guys, kind of close, nearly in love, if you like,â she said. âI just went in and we had a really big, very open conversation about how you related to these people in the script and how we would make them real and plausible, but give them a fantasy element. Give them something otherworldly.â
While Anderson says that she ultimately took this approach with more or less all of the characters, mixing period and modern elements to give characters somewhat timeless, yet also somewhat fantastical âout of timeâ looks, in the early discussion stages it was all about Aziraphale and Crowley. For one thing, Sheen and Tennant were already cast, which was a major help in determining their looks. It took some time to settle on the duoâs main, contemporary looks, but once these were locked in they played a significant role in determining everything else they wore.
[âŚ] Aziraphale maintains a look with significant nods to the late Victorian era. Crowley too, although he manages to put an edgier twist on things than his angelic contemporary. âWe re-appropriate bits of period stuff so that it echoes. [Aziraphale and Crowley] echo one another in their visual identity with pieces from their pastâwhere theyâve touched each other in the past perhaps, or bumped into each other.â Regarding how Crowley manages to keep more of a modern, cool vibe, Anderson gives David Tennantâs performance the lionâs share of the credit. âHeâs a very nice man, but heâs very sexy. He brought all of that swagger, that rock star, snake-hipped sexiness, and we built on that.â
[ SyFy Wire - by Jennifer Vineyard]
GARDEN OF EDEN, 4004 B.C. -Â Anderson looked at everything from Pre-Raphaelite paintings to Al Pacinoâs hippie clothes in Serpico to determine just the right flow for Aziraphaleâs rough-hewn robe, which has gold embroidery on the shoulders and side. Aziraphale is also wearing a golden ring, which later becomes a signet ring stamped with wings in the Victorian era.
NOAHâS ARK, MESOPOTAMIA, 3004 B.C. - âAs aged as I am, I wasnât there,â Anderson says, laughing. âAnd there wasnât any painting or documentation from this era. But what we do know is that tunics remained pretty simple, and the earlier shape would have served them well for many years.â Aziraphaleâs robe becomes more streamlined, and he wears gold beads at the neck.
THE CRUCIFIXION, GOLGOTHA, 33 - By this time, both Aziraphale and Crawley â now Crowley â are wearing turbans and head wraps, which Anderson attributes to âa bit of vanity.â Plus the wrap helps Crowley conceal his snake-like eyes (itâs too soon for glasses). Aziraphale dons a soft leather coat over his tunic, while Crowley wears female attire of the region â an abaya.
ROME, 41 -Â Â Switching from tunics to togas was difficult, since togas contain 6 to 12 meters of fabric, which is a lot to carry around on camera. Anderson reduced the size by cutting the togas to fit for the characterâs movements, and she gave each actor a thematic decorative pin to hold their togas together â Crowley a serpent and staff, Aziraphale a pair of wings (both courtesy of George Easton at Danegeld Historic Jewellery). Although history might argue that itâs too soon for sunglasses, Crowley starts to shield his eyes with a very small, eye-shaped lens. âItâs suggestive, rather than historically accurate,â Anderson says. And as a sign that Crowley is adapting to the humans around him, he also wears a silver laurel wreath.
ARTHURIAN ENGLAND, THE KINGDOM OF WESSEX, 537 -Â Anderson sent character descriptions and visuals for Aziraphale and Crowley to armor specialist FBFX, which sent a van to London full of pieces that could work for angelic and demonic armor. Instead of focusing on historical accuracy, Anderson looked for shapes and fit that suggested an ethereal â or snakelike â quality, once the pieces had been painted black or silver. For Crowley, she found a helmet that had a smaller face that could suggest a snakehead, and for Aziraphale, shoulder pieces that were slightly wing-like. To add to the wing effect, Anderson added a white fur caplet to Aziraphaleâs armor. âIt was terribly grand, but not very practical,â she says. âAnd the poor guys, it was murderously uncomfortable to stand around in that armor.â
GLOBE THEATRE, LONDON, 1601 -Â Crowley and Aziraphale catch an early version of Hamlet, looking more period-appropriate than ever thanks to the Globeâs vast archive of costumes. Aziraphaleâs wardrobe, which includes a neck ruff edged with gold thread, has a metallic look with a hint of iridescent blue, which opens up his color palette. Crowley, meanwhile, wears a cleaner neckline and leather on his doublet, as well as fabrics that provide sheen and luster to suggest his snaky origins.
REVOLUTIONARY FRANCE, PARIS, 1793 - This is not a period to be dressed like an aristocrat, but Aziraphale couldnât resist a lace collar, gold brocade and fitted jacket â which explains why heâs stuck in a prison cell (at least until Crowley intervenes). Crowley, more mindful of what revolutionaries would wear, dons a dark red jacket thatâs almost as dark as his usual black. When Aziraphale miracle-changes his clothes, he wears the red cap of liberty. âItâs a soft beret that falls somewhere between a modern French beret and a pirate headdress,â Anderson notes.
ST. JAMESâ PARK, LONDON, 1862 - This is the time period with which Aziraphale gets most comfortable, fashion-wise, and settles into a Victorian look with tartan flair. Anderson also bestowed some heavenly nods to his angelic nature â a feathery velvet top hat, a stopwatch with angelâs wings on the chain, and the signet ring. Crowley, meanwhile, wears a pair of long, elegantly cut trousers that we will see again in the 1960s. âThe trousers repeat, which is basically what fashion does anyway,â Anderson says. âAnd itâs what the story does. There are notes backward and forwards.â
THE BLITZ, LONDON, 1941 - Aziraphaleâs tartan necktie becomes a bow tie, and his penchant for wide lapels, a nod to his wings, continues, this time with a spear-point collar. Crowley, who comes to save Aziraphale once again, is dressed more formally, in a full double-breasted wool suit that must have been hard for David Tennant to wear in the South African heat. âThe rest of the crew were in flip-flops and T-shirts, and David was in the suit, hat, and those big boots,â Anderson says, recalling the shoot. Â âHe had to be very physically active in that scene, and yet David didnât complain about the heat or anything. Heâs amazing.â
SOHO, LONDON, 1967 -Â Crowley, as noted, continues to wear his Victorian trousers, which are right up to date, and which he pairs with a black paisley velvet jacket with contrasting lapels. His sunglasses now have more of a John Lennon vibe. Aziraphale, perhaps inadvertently, is also looking stylish with his Victorian topcoat, spear-point collar, and cravat (modified from his scarf in Victorian England). âYou canât avoid being affected by changing trends,â Anderson says. âHowever bookish you are, you still notice other people. And you would have had Rolling Stones and Beatles fans wearing that kind of thing. That was our argument for Aziraphale wearing his Victorian topcoat all the way through, and Michael Sheen loved it. He said it inspired him. And the cravat rang in the changes and helped us with the passage of time, rather than always having him wear a bow tie.
