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HomeFashion'It's Not Your Grandma's Camelot': Costume Designer Jennifer Moeller Explains Her Method

'It's Not Your Grandma's Camelot': Costume Designer Jennifer Moeller Explains Her Method

For this piece, Moeller turned to the specialists of Eric Winterling, whose clothing store in New York’s Garment District has worked for Wicked, The Cher Show and HBO’s Gilded Age to name a few. Winterling learned embroidery techniques at Lesage about a decade ago so he could embroider on-site in New York, rather than outsourcing overseas, as is common practice. “Everyone asks if it’s done in India, and I say no, it’s done here on 1960th St..”

Winterling grew up listening to the original Broadway cast recordings of Julie Andrews and Richard Burton, but was inspired by Moeller’s more modern take: “You don’t want to do a show that’s not about the audience. You don’t want to do a historical film .It wanted a modern look with a period vibe,” he explained. The design legacy of the first 1960 product is storied, if somewhat poignant; the original client was the famous stage and screen designer known by his professional name Gilber Gilbert Adrian, or Adrian for short, died of a heart attack during the run-up and was replaced by Tony Duquette.

Another secret weapon on Team Moeller is New York tailor Lavonne “Lonnie” Richards, who started her career at the famed Barbara Matera clothing store in New York and most recently worked with Moeller at Apple TV series Dickinson and Netflix’s political drama House of Cards. “I’m lucky enough not to have any design skills,” Richards said humbly. “I knew where the wiring was supposed to go. Someone else had to light it.” Working independently and without a shop, Richards describes herself as a machinist: “The designs all had to be someone else’s idea.”

Guenevere’s red dress courtesy of Jennifer Moeller

Richards’ pièces de resistance for Camelot Yes A red velvet gown for Guenevere—she made five of the character’s costumes, while Enterling’s store made the rest of the show. The crimson gown floated effortlessly in Michael Yeargan’s spare suit with Soo’s regal doors, but it belied an intricate ecosystem of hand-stitched velvet and hidden bodice. ”

Winterling describes what Moeller and Sher called “medieval fashion,” making him and Richards indispensable little workhorses on the show. “There are so many fast fashion, but here, each piece is the result of the skill and craftsmanship of many people,” says Soo. like. ”




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