#michele clapton

[embroideryobsession]

Michele Callagher Embroidery for Game of Thrones

Costume Designer: Michele Clapton MCE/HBO Inc

[khaleesiofthegreatdairystate]

Finally watching The Dragon in Winter and I love the new costumes! I love Alicent's fur trimmed riding cloak/coat. It looks so princess-like. I love Beala's riding leathers! Finally she gets to wear another color besides red or black. That blue looks great on her. I do love Addam's black and red riding cloak, though. I love Mysaria's white kimono-style top and skirt. The silver jewelry sowed on the front is gorgeous. I love Rheana's crazy rider costume!

I am glad that these costumes are not just copy/paste jobs of Michele Clapton's work. Caroline McCall is showing some of her own ideas and I welcome that.

[thejewellerybox]

Fabergé x Game of Thrones, 2023

Dragon Ear Cuff, white and rose gold, ruby and diamond.

Dragon Skeleton ring, diamond and ruby in white gold.

The Fabergé x Game of Thrones collection was developed in partnership with Michele Clapton, costume designer for Game of Thrones, and Liisa Tallgren, Fabergé’s head of design, with Fabergé’s creative director, Josina von dem Bussche-Kessell.

[westerosiladies]

Sansa Stark Month Day Nine: Wardrobe Appreciation - Coronation Dress

[fuckyeahcostumedramas]

Claire Foy as Queen Elizabeth II in The Crown (TV Series, 2016 - Present).

[rrrick]

Blitz club

[westeroswisdom]

‘Game of Thrones’ Costume Designer Michele Clapton on the Clothes That Made the Characters

THE SIX-TIME EMMY WINNER BREAKS DOWN HOW SHE CREATED THE FANTASTIC FASHIONS OF THE SEVEN KINGDOMS

Designer Michele Clapton was interviewed on the occasion of the London and New York auctions of Game of Thrones costumes and artifacts.

Clapton, a winner of multiple Emmy Awards for Outstanding Costumes for a Series, has long been hailed, and rightly so, as a visionary for her work on Game of Thrones. She has awards and acclaim to last a lifetime just for this series, not to mention her work on The Crown and an impressive roster of films. She spent a decade on Game of Thrones, turning a Tower of Babel’s worth of influences – ancient Greece and Rome, Japan, Iran, Native American, and on and on – into a singular, striking body of work.

Interviewer Robert Wilonsky brought up the effect of the clothes on the actors.

Robert Wilonsky: We haven’t even discussed where the actors come into this equation – the people who have to carry these clothes, who use them as inspiration as much as the words. Alan Alda once told me he didn’t become Hawkeye on M*A*S*H until he stepped in those combat boots and slipped on those dog tags – all of which belonged to actual soldiers. “It’s a mysterious thing,” he said, “but it makes you feel more at home in the character.” Michele Clapton: It’s important to listen to their interpretations of the characters. Sometimes they come with a little nugget of insight, and you develop together. Aidan Gillen, who played Littlefinger, brought such a sense of precision to the tiniest details, which is great because his costume is plain, but there was something about this neck clasp that became a key to this character, who was so ambitious. Later we came up with having this beautifully printed image in this plain coat, not that you really saw it – you might get a flash – but a lot of his costume was so internalized. It becomes a part of that character: He knows something you don’t. Pedro Pascal brought such a life to his character and worked closely on his things so that they should move. But over time, all of these actors knew their characters and started to inhabit them, and they either trusted me to move forward or came with lots of thoughts about where they should go. And then there was Diana Rigg, who said, “Darling, I should be wearing a wimple because I don’t want to spend hours in hair.” That’s why she’s the only one in a wimple. And it was gigantic. Robert Wilonsky: I’d always heard that Kit Harington didn’t love the weight of his wardrobe. But the truth is, if the costumes are too light, the characters don’t move the way they should onscreen. Michele Clapton: If a costume is weightless, that changes the gait, the movement, and I don’t believe it anymore. Kit’s coat did get heavier because of the weight of his responsibilities. I wanted to move him from this thin cape of the young boy to the weight of what happens when he goes north, into the cold. There were also actors who said they wanted to wear metal armor because it felt more real to them. Others did not feel the same. [Laughs]

There's much more via the link at the top of the post.

[masterblackoak]

Stephen Linard and Michele Clapton