#jennifer bryan

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Costume Illustrator

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Not yet seen on screen, the costume was one of Bryan’s favorites to design, with a weighted cloak fashioned from fabric the designer acquired in Spain. “It is a very luxurious wool, and it has a basket weave with gold and silver threads,” Bryan notes. It’s also quite heavy, which helped inform the design choice of a wide band across the front to distribute the weight. Perhaps it’s also a subconscious nod to the character’s journey this season. “Unconsciously, she has a lot of weight on her shoulders,” Bryan notes. “She has a lot to carry. She knows things. She knows that there's a lot of — the word I would use is a lot of duplicity — in what the Jedi did in the name of protecting the Force. She's basically trying to manage and do damage control with the Senate.” Accentuating the garment, Bryan added the symbols of the Jedi Order in the High Republic. Even among politicians, it’s clear where Vernestra’s allegiance lies. ”It's kind of a feminine throwback to a Jedi's leather belt that has the symbol.”

Dressing The Acolyte: The Stranger and an Assassin Hunt the Jedi of the High Republic — Updated

[siryl]

"Monster Stampede!" by Jennifer Bryan.

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this is so funny what the hell

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Perhaps most notably, the center panel of Aniseya’s gown was a small remnant of fabric that Bryan found in a shop on one of her first days on the production. The netted fabric covered in tiny cowrie shells and bugle beads will be a challenge for cosplayers looking to replicate the look in screen-accurate detail.

[singingninja4]

“I had to really not even look at that wardrobe I had for her before. I literally started from scratch. In absence of color, subdued prints, what the other characters and her coworkers that she meets in Florida at this pipe supply company that she’s working for. They are more Florida, so you can see that she's kind of a round peg in a square hole. You wanna know that it’s her, but you also want to know that she’s not who she was.” - Jennifer Bryan / Inside the Final Season of BCS (x)

I am in awe. jennifer bryan's costuming is always absolute god-tier. all of kim's coworkers are wearing shirts with vertical stripes and she is the only one wearing horizontal stripes--round peg, square hole

[heisenbergchronicles]

Patrick Fabian on Instagram: “A Boy & His Suit (And his Awesome Wardrobe Designer, Jennifer Bryan!)”

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The color palette is darker this season, at least for Walt. Walt got darker colors because his character gets, as we’ve noticed, darker. And his style has become — it’s almost like he takes on Gus’s sartorial fussiness. He still does his shirts and he still does his khaki slacks and he still does his Clarks Wallabees. Those things are still there. But I did a couple more colors in the same shoe, and he puts a little bit more thought into his clothes. I think he picks that up from Gus; it’s almost like Gus is channeling through Walter White a little bit.

And the Wallabee boots are something that the character has had since the beginning. Oh yeah, those Clarks, they have been basically the only shoe he wears, unless there’s a particular reason — like in the magnet episode, then I put him in all black with a black shoe. But Walt wears those Wallabees 24/7. So what I did is, now he has his shoe in three different colors. [Laughs.]

Let’s talk about Jesse. Is his look less hip-hop these days? We talked a little bit about where he saw Jesse’s character going this season. And what I can share with you is that basically he grows up a bit. I don’t think his street cred is all that critical and important to him anymore. I think what is important now is his credibility to Walter, that Walt treats him as an equal. So I still kept an urban vibe, but the slacker-stoner-baggy direction — I trimmed that way back. So in the first episode, he’s in this really cool, hip leather jacket, as opposed to a slouchy hoodie sweatshirt kind of deal. And everything is a little close to the body, but still urban. Occasionally, I’ll put a graphic T-shirt on him, but the graphics that I’m putting on his T-shirts are now definitely more subdued, more sophisticated. There’s one with that grenade, and you can see it’s a very stylized grenade — as opposed to maybe in season four, it might have been more graffiti-looking, for example.

How about Saul Goodman, the lawyer? I want to know where that character shops. I want to know where he shops, too! [Laughs.] I had to kind of throw out every rule of coordination. I swear, sometimes I was like, “How am I going to fit that yellow tie with that purple shirt?” And literally, I will have to almost close my eyes and grab whatever I got and say, “Okay, okay, I’m gonna make this work.” And Bob Odenkirk, the actor, he comes in for fittings and he gets into character. I’ll put him in his gear and he starts shooting his cuffs, he lifts his pants up, and he gives you this very coquette turn like, Check out these socks, baby!

Skyler has more of a businesswoman thing going on this season, it seems. Yes. This is something I do sometimes with wardrobe and putting looks together for television: I sometimes will use the clothing almost as an armor, as a protection from whatever adversarial thing is happening in that character’s life. And for me, I just look at her business clothes as armor for her husband’s drastic change. And her palette also over the season you’ll see shifts. I mean, I can’t reveal to you where it ends up, but if the viewer watches, they’ll also see shifts as she goes through what the writers have in store for her.

“Breaking Bad’s Season Five Costume Designer on Walt’s Darker Look” (x)