In the second part of this exclusive interview (Read Part One: The Fall Guy→), costume designer Sarah Evelyn and assistant costume designer Annie Loppert discuss the costumes of Netflix’s Griselda. Set in the late ’70s and early ’80s in Colombia and Miami, the series blends crime, drama, and raw humanity. Sarah and Annie detail how they crafted a costumes for Sofía Vergara in the first four episodes of Griselda that balances the glitz of Miami’s drug-fueled rise with the gritty realism of Griselda Blanco’s life, drawing on influences from designers like Diane von Furstenberg and Miami’s unique fashion culture shaped by the drug trade.

Spencer Williams: I love a good crime story. This one is set in the late 70s and early 80s, spanning Colombia and Miami. I have to admit, I’m a big Scarface fan—I love the disco era and all the trouble you could get into. A little jealous… kind of.

But seriously, it’s such a vibrant time period, and you captured that beautifully. Yet, at the same time, there’s this roughness to it because the story is ultimately about people trying to survive. Tell me about your influences going into this project. It’s not too far in the past, so I imagine there’s a wealth of material to dig into online.

Sarah Evelyn: Yes! When we were starting the project, the director, Andrés Baiz, recommended Cocaine Cowboys on Netflix—it had just come out. There was so much overlap with the subject matter, so that became an essential reference for us.

Our influences also included Scarface, The Godfather, Studio 54, Cher, Lauren Hutton—everything amazing about the 70s, really. But what helped ground us were two key things. First, we worked with a Colombian consultant who provided firsthand insights into Griselda’s world—what magazines she might have read, what was happening culturally in Colombia, and her general perspective.

Second, Miami itself was a huge source of inspiration. It was fascinating to learn that Miami as we know it was, in large part, built by drug money. That wealth meant Miami became one of the first places outside New York to have designer stores. For example, one of the earliest Versace stores opened there.

This allowed us to justify incorporating late 70s, cutting-edge fashion into Griselda’s wardrobe. She had the money, and Miami had the access. So while we embraced the 70s aesthetic, it wasn’t just Studio 54 glitz—it was a sartorial story tied to the realities of Miami and the drug trade.

Annie Loppert: Another influence we loved was the film Gloria with Gena Rowlands.

Spencer Williams: Annie, did you get to dive into the research for this project too?

Annie Loppert: Absolutely. When I joined the project, Sarah had already started the research for the costumes in Griselda. This was our first time working together, and I came on a couple of weeks late because I was finishing another show. When I joined, Sarah handed me this curated list of movies and links to get me up to speed.

It was such an immersive process. I grew up about an hour and a half north of Miami, so revisiting its history was especially exciting for me. Miami has changed so much, even in the last 10 years, so going back to when it was just being built up by the drug trade was fascinating. I geeked out a little, honestly!

Spencer Williams: Sounds like you were the perfect person for the job! Speaking of perfect, Sofía Vergara transforms into Griselda Blanco so powerfully. She’s such a layered character—dangerous but also deeply complex. How did you approach bringing that balance to life?

Sarah Evelyn: When we started, one of the first things we discussed was Sofia’s transformation. She looks very different from the real Griselda, and Sofía is obviously stunning. So, the question became: do we try to make her look exactly like Griselda? Do we go for prosthetics or heavy makeup?

Ultimately, we decided against a full transformation—it would have been too distracting and required hours in the chair every day. Instead, we chose to approach it more like a fictional character study. We built her costumes based on who Griselda was, focusing on her personality and her story.

For example, in the early episodes, her look is very much influenced by Colombian fashion. But as her arc develops, we incorporated a lot of Diane von Furstenberg pieces. In the 70s, DVF was revolutionary, creating this “day-to-night” wardrobe concept: a dress you could wear to work, out at night, have sex — all while looking fabulous.

It felt so aligned with Griselda’s feminist, trailblazing spirit. Like DVF, Griselda carved her own path, though of course their journeys were vastly different.

Spencer Williams: I love that parallel! Annie, how many of the costumes for Griselda were sourced versus built? I imagine a lot had to be customized to fit Sofia.

Annie Loppert: Yeah, I mean, when you go into a fitting, even when you know you’re going to be making pieces, you still need something tangible to put on. You need samples to show the actress, communicate with the directors, and give everyone a starting point to build on. What was really exciting with this project was Sarah’s idea to expand beyond the usual sourcing channels.

She suggested we explore what ’70s and ’80s pieces were available not just locally but across America. A lot of LA vendors go to estate sales or source items from places like Ohio, so we were tapping into uncharted territory. Through this collaborative effort of our shopper sourcing, our own searches, and connecting with unique vendors, we discovered incredible pieces. Some items we initially pulled as samples turned out to be in amazing condition and looked stunning on Sofía Vergara, so they made it into the final costumes. It was a really dynamic process of combining sourced pieces with the new elements we built.

Spencer Williams: That sounds like such a rewarding creative process! I wish we could keep talking forever. You two have been such a joy to chat with. Please promise to come back next time you have another big project together because I feel like I could sit here and listen to you both for hours.

Assistant Costume Designer Annie Loppert and Costume Designer Sarah Evelyn, thank you so much for joining me today. This has been a truly wonderful conversation.

Sarah Evelyn: Thank you! And thank you so much for caring about what we do.

Through their meticulous attention to detail and deep understanding of character, Sarah Evelyn and Annie Loppert breathe life into the layered world of Griselda, capturing the era’s danger, grit, and undeniable style.

Want to see how they handle something entirely different? Discover their work on the action-packed The Fall Guy and how they created costumes that are as daring as the stunts. Read Part One: Action, Adventure, and Style: The Fall Guy Costume Designers Sarah Evelyn and Annie Loppert Talk Action and Ryan Gosling →