The Office: Holiday Special – Exclusive Robe Giveaway with Carey Bennett

GIVEAWAY IS NOW CLOSED. THANK YOU FOR YOUR DONATIONS!

The Art of Costume is excited to announce our new collaboration with costume designer Carey Bennett in unison with her recent guest feature on our official podcast, The Art of Costume Blogcast. In celebration of Bennett’s four seasons as costume designer on the hit television show, The Office and the upcoming holiday season – listeners are being presented with a chance to take home a one-of-a-kind piece straight from the set of The Office.

During the third season of The Office, employees were given a special holiday gift, a Dunder Mifflin robe. What you might not know is that everyone, including the cast and crew, was given their own robe as a gift… well, except for Toby Flenderson.

Now one of these robes from the set of The Office can be yours just in time for the holidays! To enter for a chance to take home your own Dunder Mifflin robe, read the directions below!

How To Enter:

  • Receipts must be delivered to our email by December 5th, 2021, at 11:59 PM PST.

For every $5.00 (USD) donated, your name will be entered in a drawing. During the season finale episode of The Art of Costumed Blogcast coming out on December 7th, 2021, Carey Bennett will be drawing the name of our winner!

Example of Receipt:

Restrictions:

  • This opportunity is exclusive to our listeners in the United States of America.
  • You must be at least 18 years of age to participate.
  • Members of The Art of Costume team are not eligible for participation.

The Office – A Benihana Christmas – Courtesy of NBC

Dune – The Art of Costume Blogcast

Dune – S1.E20

Things are about to get ‘spicy’ on The Art of Costume Blogcast as Elizabeth and Spencer face their biggest challenge yet – a one-way trip to Arrakis. In this week’s episode, our co-hosts dive into the 2021 American epic science fiction film, Dune, directed by Denis Villeneuve with costume design by co-designers Jacqueline West and Bob Morgan. Topics include the famous ‘Stillsuit,’ the world’s relationship with Timothée Chalamet, the impeccable fashion of the Bene Gesserit, Oscar Isaac’s wardrobe (or lack thereof), and Elizabeth gives a brief history lesson on the world of Dune adapted by the 1965 novel by Frank Herbert.

The Art of Costume Blogcast

Available now on Apple Podcasts, Spotify, YouTube, and wherever you get your podcasts!

‘Respect’ and Costume Design: From Jennifer Hudson to Aretha Franklin – Exclusive Clip

Imagine being tasked with costuming Jennifer Hudson, one of the world’s most accomplished performers who was hand-picked to play the legendary Queen of Soul herself, Aretha Franklin. Clint Ramos was the talented costume designer responsible for the costume design of RESPECT and took on this daunting task. Now, all we can hear is the sweet sound of awards-season buzz!

Following the rise of Aretha Franklin’s career from a child singing in her father’s church’s choir to her international superstardom, RESPECT is the remarkable journey of the music icon’s path to find her voice. Hudson leads an all-star ensemble cast including Academy Award® winner Forest Whitaker, Marlon Wayans, six-time Tony Award® winner Audra McDonald, Marc Maron, five-time Emmy Award® nominee Tituss Burgess, and Grammy® Award winner and Academy Award® nominee Mary J. Blige.

Please enjoy an EXCLUSIVE clip showcasing Clint Ramos and his costume design for RESPECT and transforming Jennifer Hudson into Aretha Franklin.

Video Courtesy of Universal Pictures Home Entertainment

Experience the cinematic music event of the year featuring Oscar® and Grammy® Award winner and vocal powerhouse Jennifer Hudson (Dreamgirls) as legendary singer Aretha Franklin in the inspiring true story RESPECT, available to own for the first time on Digital now and on Blu-ray™ and DVD November 9, 2021 from Universal Pictures Home Entertainment.

The Fifth Element – The Art of Costume Blogcast

The Fifth Element – S1.E19

Yeah! She knows it’s a multi-pass! This week, our co-hosts are packing their bags and heading to Fhloston Paradise to watch Spencer’s favorite standalone movie, The Fifth Element! Listen along as Elizabeth and Spencer talk all about Milla Jovovich’s character Leeloo Dallas, Ruby Rhod, Diva Plavalaguna played by Maïwenn Le Besco, and the famed costumes of The Fifth Element by French haute couture designer Jean Paul Gaultier. Multi-pass?!

The Art of Costume Blogcast

Available now on Apple Podcasts, Spotify, YouTube, and wherever you get your podcasts!

What We Do In The Shadows S3 with Laura Montgomery – The Art of Costume Blogcast

What We Do In The Shadows S3 with Laura Montgomery – S1.E18

Oh, how deliciously macabre! We are finishing out the spooky season with a very special episode, talking about one of Elizabeth and Spencer’s favorite shows, What We Do In The Shadows! Costume designer for season 3 of What We Do In The Shadows, Laura Montgomery, joins our co-hosts to talk about all things vampires. Topics include the research process behind Nandor, Nadja, and Laszlo, giving Colin Robinson a slight wardrobe upgrade, and turning Guillermo into a bodyguard. Laura even offers a few costume tips as Halloween approaches. You will NOT want to miss this one!

The Art of Costume Blogcast

Available now on Apple Podcasts, Spotify, YouTube, and wherever you get your podcasts!

Costuming Stillwater: Bringing Matt Damon’s Character to Life – Exclusive Clip

Costume design has the power of bringing real, everyday characters from page to picture. Costume designer Karen Muller Serreau was given an interesting challenge when she took on costuming the new film, Stillwater, where she brought Bill Baker’s (played by Matt Damon) oil-rig worker, Midwest Americana image to life.

Stillwater is a powerful and moving film that follows a father and daughter from the small town of Stillwater, Oklahoma to the posh streets of Marseille, France. With his estranged daughter (played by Abigail Breslin) imprisoned in Marseille for a murder she insists she did not commit, unemployed oil-rig worker Bill Baker makes periodic visits overseas to try and prove his daughter’s innocence.

Please enjoy an EXCLUSIVE clip showcasing Karen Muller Serreau and her approach to costuming Stillwater and Matt Damon’s Bill Baker.

Video Courtesy of Universal Pictures Home Entertainment

From Academy Award winning director Tom McCarthy, Stillwater starring Academy Award winner Matt Damon and Abigail Breslin, will be available for purchase via VOD on October 12, 2021 and will be available on Blu-Ray and DVD on October 26, 2021!

Costuming The Girl In The Woods, With Designer Erin Orr

There is a creepy chill on the air – some terrifying costumes approach! I am very excited to share a look into the costuming for The Girl In The Woods! In the supernatural drama The Girl In The Woods, produced by Crypt TV and premiering on Peacock, monsters are real! They are kept at bay behind a mysterious door in a cult-like colony. Teenage runaway Carrie’s job is to guard that door, but when strange occurrences begin to shake the sleepy mining town to its core, she must enlist the help of new friends Nolan and Tasha. The group becomes an unlikely trio of monster slayers, determined to save their loved ones.

I am honored to have interviewed costume designer Erin Orr before the premiere of the show to get all of the horrific details in costuming The Girl In The Woods! Crypt TV’s “The Girl In The Woods” premieres Thursday, October 21 on Peacock. All eight episodes will drop at once!


Spencer: Hi Erin, I’m so excited to talk to you finally. I’ve been looking forward to this interview for a long while now! How are you?

Erin: I’m great; it’s nice to talk with you today! This is exciting, and The Girl In The Woods was a fun project, so I’m happy to talk about it.

Spencer: I had fun just watching it! Before we get into The Girl In The Woods, I would love to hear a little bit about your journey to becoming a costume designer on the show. Where did this passion for costume design come from?

Erin: I was always very heavily influenced by costume design as a kid and as a teenager, trying to find my way of expressing myself. I grew up watching Blossom, My So-Called Life, and Heathers. Then, of course, Molly Ringwald and the John Hughes movies. I was always very heavily influenced in the way I dressed based on what I saw in film and television. I initially went to film school thinking I would be a writer and director; that’s what I studied in film school. When I graduated, I produced a movie with some friends from film school called George Washington with director David Gordon Green. Then for his second feature, I did the costumes. I’d always wanted to do that, and that was a perfect opportunity. I could just start as a costume designer without really knowing what I was doing because I didn’t come up traditionally.

The Girl In The Woods Costume Designer, Erin Orr

I kind of backtracked a little after doing that movie. I worked as a set costumer for a while in New York on various TV shows and movies. As a costume supervisor for a while, and then I took ten years out of the business completely when I had kids. My husband’s in the business as he is a DP, a cinematographer, and he’s away on location nine months out of the year. We would pack up and travel with him on location, so I didn’t work at all for ten years.

When we moved up to Portland, there was a bunch of stuff shooting here, and I started getting back into the business part-time. As my kids got older, I was ready to jump back in! I was lucky that a director I had worked with in New York was making a movie here in Portland and hired me as the designer. After that, I was able to get an agent and kind of jump back in, which has been great.

Spencer: That’s so exciting. Do you feel over those ten years, your desire to return to the industry was just building up inside of you? Ten years later?

Erin: I always think I always had hopes I was would be able to get back in, but I wasn’t sure that I would… You know, ten years is a long time to be out of the business completely. When I left the business, we were taking continuity photos with Polaroids. When I came back, everything was on an iPhone! Things had changed a lot! In that time, I did a lot of fashion-related things for myself in terms of selling clothes. These have always been my two significant interests in life, fashion and movies. Costume design was my perfect way of tying those two things together. 

Scott Green/Peacock

Spencer: Let’s talk about The Girl In The Woods, shall we! The Girl In The Woods is a supernatural drama. It gives me all of those spooky season vibes I have been craving! Are you a fan of horrors and thrillers?

Erin: I am! Yeah, my favorite ones are some of the older ones, like Rosemary’s Baby and The Shining.

Spencer: Yes! Both are fantastic choices. 

Erin: Especially with horror, I feel like there’s such an opportunity to create an iconic costume. We would joke in the making of The Girl in The Woods; if we were doing it right, people would want to dress up as Carrie for Halloween. There’s this sort of whole other element that comes into horror movies, and designing them with that in mind.

Spencer: I could sense that you are a horror fan, seeing Carrie’s costumes especially. By the way, Carrie would make the perfect Halloween costume! So let’s talk about costuming this show. It’s quite interesting because it shines a light on the drastic differences, thoughts, and cultures between various communities. So I want to start by talking about the mysterious colony, what influences did you take in when the costuming, The Colony?

Erin: We took a lot of influences, actually. Some of the basic frameworks were in the script in terms of the basic colors for the colony. We knew we wanted to have this beige and tan palette, canvas, and off-white colors. From there, we had a lot of references! We reference early military costumes, martial arts costuming, vintage American workwear, Amish and Hutterite societies. Our team even looked at pioneer wear and early-American farming clothing. We sort of took little bits and pieces of all of those things and put them together. 

Scott Green/Peacock

Within the colony, we wanted to create this separation between The Guardians and the regular colony members. Take Carrie and Arthur Deane for example; those costumes are all made out of wax canvas. We wanted their clothes to have more structure and heft than the regular colony members, which were softer and flowing. They don’t have much structure at all. We did a mix of making things from scratch and using off-the-rack pieces that we dyed or altered in some way. Pretty much every piece of clothing for the colony we touched in some way or another, whether it was dying, altering, or switching out the buttons. All the buttons are made out of wood.

Scott Green/Peacock

We tried to make it evident that The Colony shoos technology in every way. The Colony was dressed in clothing that they theoretically could have made themselves, or they could have made using a pedal machine. We only use zippers, I think in one place, which was on Carrie’s jumpsuit. The rest, there were no zippers anywhere else. 

Spencer: I’m obsessed with this concept. I love the fact that the approach you took was so authentic and fully realized. The idea that you used wooden buttons and no zippers because that is what The Colony would have done, just peak costume design.

Erin: Right, and it was fun! It was cool to see it all come together. We also had this framework where we wanted everything to be unisex, there were no dresses or skirts in the colony. Everybody wears the same. We also wanted it to feel like uniformity is a big part of the colony so that everyone’s seen the same.

Spencer: So you touched a little bit on aging and dying. I’m a considerable aging and dying nerd. Were there any fun processes that you used on this particular project that maybe I could get in on

Erin: *laughs* Yes! We used a lot of wax canvas, and Carrie’s Guardian jumpsuit, in particular, was just a white waxed canvas. When we bought the bolt, we then had to age that down. We used different colored waxes that we tinted, and then we put that on top of the wax canvas. Then, we also used some different colored powders on top to create that color. Arthur Deane’s coat was just made of canvas which we completely waxed ourselves, and that was all tinted wax that we would melt in a crockpot. It was quite a process. Our tailor, Savannah Gordon, who’s amazing, was responsible for that!

Spencer: That’s so fun. I could talk about aging and dying forever. But let’s move on to the main character of the show, Carrie, played by Stephanie Scott. She escaped the colony in the first episode, therefore embarking on quite the journey. I would love to hear your process in costuming Carrie, because she transitions from her guardian costume into everyday life outside of the colony. I think that’s an exciting aspect. 

Erin: So with Carrie, Krysten Ritter was the director of the pilot episode and the first four episodes. She had a lot of ideas about how she wanted to Carrie to dress. One of the things that were really important to her was that Carrie wasn’t sexualized in any way because she comes from this colony where that’s not a thing. 

Scott Green/Peacock

She shows up at Tasha’s house, meaning whatever clothing Carrie is wearing from this point would have come from Tasha. But we didn’t want Carrie to look like Tasha either, so we wanted it to be more like… a shirt that Tasha gave her that she sleeps in or maybe her Dad’s Army jacket. We wanted her to have a different silhouette from the other two. Carrie’s silhouette is much boxier, looser, not as tight-fitting. Carrie has this “fish out of the water” feeling compared to the rest of the kids in the town.

Spencer: That’s so interesting now that you’ve mentioned that. Oh my gosh, that’s Tasha’s Dad’s jacket. I think it’s also interesting that you can’t even tell how old Carrie is. Carrie is really stripped-down once she’s left The Colony; you just kind of know nothing about her. The costuming really played a big part in that.

Erin: Right. Thank you!

Spencer: I loved the costumes you did for Tasha (played by Sofia Bryant) and my favorite character Nolan, (played by Misha Osherovich). I thought it was hilarious, opening with their characters creating TikToks. These two characters are bringing the fashion, and it felt so current – can you talk about costuming these two? They work in harmony but also tell different stories.

Scott Green/Peacock

Erin: It’s so colorful. We had a color palette for these guys where Tasha wore reds and yellows, and Nolan was purples and blues. We wanted them to feel different from Carrie. They’re teenagers who use TikTok and the internet. They’re very connected to the outside world and therefore influenced by the outside world in a way that Carrie isn’t. With Tasha, we wanted her to be sort of eclectic and fun who is also a little bit loud in certain ways. With Nolan, we wanted them to be free from traditional gender expressions and mix up many different things.

Spencer: That’s so fun! What would you say like we’re some of Nolan and Tasha’s influences if you were to guess?

Erin: I don’t know that I had a direct influence for either one of them except to say that the actors themselves influenced me quite a bit.

Scott Green/Peacock

Spencer: Oh right, that definitely makes sense for Tasha and Nolan.

Erin: Misha had a lot of ideas and thoughts, and they brought a lot to the table. Sofia had a lot of ideas as well. I feel like with both of those characters especially; it was a real collaboration between Krysten, myself, and the actors. 

Spencer: I love to hear that. Do you enjoy that sort of actor and costume designer collaboration and listening to their ideas?

Erin: Absolutely, I love it. I always say to the actors in fittings, “if you don’t like this… tell me! It won’t hurt my feelings. If you don’t like it, it’s out.” The actors have to like it. The costume is what gets them into their character. I want them to feel confident and when they put on those clothes, they become that character. It has to be a collaboration; if I feel like I’m talking an actor into something, then it’s probably not the right fit.

Scott Green/Peacock

Spencer: Right, and the actors and the costumes, they can’t work together in the sense of telling the story if they don’t feel comfortable with it. Then they’re not telling a story the way that you, the director, really envision.

Erin: Exactly!

Spencer: Erin, I’m so fascinated by work on the show, it brought me into the fantasy, and I’m loving every episode of it. I have not a few more episodes to go, so I don’t really know what’s coming next, but any kind of frightful surprises we’re in for coming up later?

Erin: Oh god. That’s a hard one to answer. I’m not sure what I’m allowed to say! I am also waiting to see where this story goes with bated breath, and I hope we get a season 2 to tell it!

Spencer: Well I am hoping for the same thing. I need more of these costumes… and Misha Osherovich…. Thank you so much Erin for talking to me, I am beyond excited about the audience watching this show and seeing your brilliant costume design!

Erin: Thank you so much!


Crypt TV’s “The Girl In The Woods” premieres Thursday, October 21 on Peacock. All eight episodes will drop at once at www.peacocktv.com/stream-tv/the-girl-in-the-woods.

Bram Stoker’s Dracula – The Art of Costume Blogcast

Bram Stoker’s Dracula – S1.E17

We have a highly anticipated episode this week as our co-hosts watch a hauntingly beautiful classic, Bram Stoker’s Dracula, directed by Francis Ford Coppola. Listen along as Elizabeth and Spencer discuss the Academy-Award-winning costumes designed by the legendary Eiko Ishioka, including Dracula’s creepy fits and fashions, Mina’s gowns, creepy Transylvanian taxis, and… well, a bunch of other things that are hard to describe!

The Art of Costume Blogcast

Available now on Apple Podcasts, Spotify, YouTube, and wherever you get your podcasts!

Sweeney Todd: The Demon Barber of Fleet Street with Daniel White – The Art of Costume Blogcast

Sweeney Todd: The Demon Barber of Fleet Street – S1.E16

There’s a hole in the world like a great black pit, and the vermin of the world inhabit it. And it goes by the name of London! We hope you are hungry because this week we are having meat-pies! Our co-hosts dive into the Victorian world of Sweeney Todd: The Demon Barber of Fleet Street! Listen along as Elizabeth and Spencer go song by song and break down the costumes by Academy-Award Winning costume designer Colleen Atwood. Even Daniel White, Audio Engineer for The Art of Costume Blogcast, joins in on all the meaty fun!

The Art of Costume Blogcast

Available now on Apple Podcasts, Spotify, YouTube, and wherever you get your podcasts!

Loki – The Art of Costume Blogcast

Loki – S1.E15

On behalf of the Time Variance Authority, we hereby present to you our next spooky season episode, Loki. The Tom Hiddleston train continues as our co-hosts dive into the mysterious costumes of the hit Disney + show, designed by costume designer Christine Wada. We discuss everything from Loki’s armor, Sophia Di Martino’s armor made with nursing accommodations, and the many Loki variants. You throw a rock out here, and you hit a Loki!

The Art of Costume Blogcast

Available now on Apple Podcasts, Spotify, YouTube, and wherever you get your podcasts!