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Most liked photo of Michele Clapton with over 2.5K likes is the following photo

Most liked Instagram photo of Michele Clapton
We have around 100 most liked photos of Michele Clapton with the thumbnails listed below. Click on any of them to view the full image along with its caption, like count, and a button to download the photo.

Michele Clapton Instagram - The Kings Man is finally out!! Loved designing the costumes for this.
Michele Clapton Instagram - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Michele Clapton Instagram - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Michele Clapton Instagram - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Michele Clapton Instagram - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Michele Clapton Instagram - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Michele Clapton Instagram - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Michele Clapton Instagram - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Michele Clapton Instagram - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Michele Clapton Instagram - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Michele Clapton Instagram - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Michele Clapton Instagram - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Michele Clapton Instagram - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Michele Clapton Instagram - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Michele Clapton Instagram - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Michele Clapton Instagram - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Michele Clapton Instagram - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Michele Clapton Instagram - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Michele Clapton Instagram - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Michele Clapton Instagram - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Michele Clapton Instagram - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Michele Clapton Instagram - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Michele Clapton Instagram - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Michele Clapton Instagram - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Michele Clapton Instagram - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Michele Clapton Instagram - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Michele Clapton Instagram - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Michele Clapton Instagram - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Michele Clapton Instagram - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Michele Clapton Instagram - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Michele Clapton Instagram - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Michele Clapton Instagram - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Michele Clapton Instagram - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Michele Clapton Instagram - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Michele Clapton Instagram - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Michele Clapton Instagram - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Michele Clapton Instagram - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Michele Clapton Instagram - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Michele Clapton Instagram - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Michele Clapton Instagram - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Michele Clapton Instagram - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Michele Clapton Instagram - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Michele Clapton Instagram - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Michele Clapton Instagram - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Michele Clapton Instagram - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Michele Clapton Instagram - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Michele Clapton Instagram - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Michele Clapton Instagram - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Michele Clapton Instagram - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Michele Clapton Instagram - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Michele Clapton Instagram - More drawings from The Kings Man. This time with the help of Simon Thorpe my illustrator on this film. I worked here with Simon to develop a ‘look’ for the female extras in the ball scene. I needed to find a solution that the Director was happy with and that I felt still reflected the idea of a dress ball in Russia..At these times it’s really important for all concerned to really be able to visualise the finished look and often the studio will need to sign off on these but not on this film, it’s all Matthew V. For this my costume sketches whilst informative to the people that make the costumes are not so accessible outside of our department. Anyway I though it would be interesting to share here for those that are not in the film industry how things work. The first photo is where we arrived and it was approved, the last is where we started.. sorry back to front! Thank you Simon you genius! See more of his work here @sim0ndo
Michele Clapton Instagram - More drawings from The Kings Man. This time with the help of Simon Thorpe my illustrator on this film. I worked here with Simon to develop a ‘look’ for the female extras in the ball scene. I needed to find a solution that the Director was happy with and that I felt still reflected the idea of a dress ball in Russia..At these times it’s really important for all concerned to really be able to visualise the finished look and often the studio will need to sign off on these but not on this film, it’s all Matthew V. For this my costume sketches whilst informative to the people that make the costumes are not so accessible outside of our department. Anyway I though it would be interesting to share here for those that are not in the film industry how things work. The first photo is where we arrived and it was approved, the last is where we started.. sorry back to front! Thank you Simon you genius! See more of his work here @sim0ndo
Michele Clapton Instagram - More drawings from The Kings Man. This time with the help of Simon Thorpe my illustrator on this film. I worked here with Simon to develop a ‘look’ for the female extras in the ball scene. I needed to find a solution that the Director was happy with and that I felt still reflected the idea of a dress ball in Russia..At these times it’s really important for all concerned to really be able to visualise the finished look and often the studio will need to sign off on these but not on this film, it’s all Matthew V. For this my costume sketches whilst informative to the people that make the costumes are not so accessible outside of our department. Anyway I though it would be interesting to share here for those that are not in the film industry how things work. The first photo is where we arrived and it was approved, the last is where we started.. sorry back to front! Thank you Simon you genius! See more of his work here @sim0ndo
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Michele Clapton Instagram - The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…
Michele Clapton Instagram - The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…
Michele Clapton Instagram - The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…
Michele Clapton Instagram - Just found my sketches for the previous post! The wonderful boots were created by Jeff @jitterbug.boy the shawls were from my personal collection, I think the corsets were from our workroom and gloves I imagine would be the wonderful Pamela wood…
Michele Clapton Instagram - Just found my sketches for the previous post! The wonderful boots were created by Jeff @jitterbug.boy the shawls were from my personal collection, I think the corsets were from our workroom and gloves I imagine would be the wonderful Pamela wood…
Michele Clapton Instagram - Just found my sketches for the previous post! The wonderful boots were created by Jeff @jitterbug.boy the shawls were from my personal collection, I think the corsets were from our workroom and gloves I imagine would be the wonderful Pamela wood…
Michele Clapton - 2.5K Likes - The Kings Man is finally out!! Loved designing the costumes for this.

2.5K Likes – Michele Clapton Instagram

Caption : The Kings Man is finally out!! Loved designing the costumes for this.
Likes : 2490Michele Clapton - 2.5K Likes - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour

2.5K Likes – Michele Clapton Instagram

Caption : I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Likes : 2467Michele Clapton - 2.5K Likes - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour

2.5K Likes – Michele Clapton Instagram

Caption : I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Likes : 2467Michele Clapton - 2.5K Likes - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour

2.5K Likes – Michele Clapton Instagram

Caption : I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Likes : 2467Michele Clapton - 2.5K Likes - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour

2.5K Likes – Michele Clapton Instagram

Caption : I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Likes : 2467Michele Clapton - 2.5K Likes - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour

2.5K Likes – Michele Clapton Instagram

Caption : I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Likes : 2467Michele Clapton - 2.5K Likes - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour

2.5K Likes – Michele Clapton Instagram

Caption : I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Likes : 2467Michele Clapton - 2.5K Likes - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour

2.5K Likes – Michele Clapton Instagram

Caption : I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Likes : 2467Michele Clapton - 2.5K Likes - I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour

2.5K Likes – Michele Clapton Instagram

Caption : I had the joy of visiting the new Game of Thrones exhibition centre in Northern Ireland last week. Met up with old friends both people and costumes! An amazing experience, it’s a truly wonderful experience, I was blown away.. #gotstudiotour
Likes : 2467Michele Clapton - 2.2K Likes - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…

2.2K Likes – Michele Clapton Instagram

Caption : Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Likes : 2198Michele Clapton - 2.2K Likes - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…

2.2K Likes – Michele Clapton Instagram

Caption : Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Likes : 2198Michele Clapton - 2.2K Likes - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…

2.2K Likes – Michele Clapton Instagram

Caption : Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Likes : 2198Michele Clapton - 2.2K Likes - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…

2.2K Likes – Michele Clapton Instagram

Caption : Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Likes : 2198Michele Clapton - 2.2K Likes - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…

2.2K Likes – Michele Clapton Instagram

Caption : Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Likes : 2198Michele Clapton - 2.2K Likes - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…

2.2K Likes – Michele Clapton Instagram

Caption : Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Likes : 2198Michele Clapton - 2.2K Likes - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…

2.2K Likes – Michele Clapton Instagram

Caption : Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Likes : 2198Michele Clapton - 2.2K Likes - Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…

2.2K Likes – Michele Clapton Instagram

Caption : Finally on this theme some fitting photos from the Russian ball. We made approximately 50 dresses in the palate that we had decided for this scene. We found around 15 dresses in costumes houses that were also in the correct colours, that helped a bit. Along with the women’s costumes that we made in house the wonderful Hero in Poland made for us many uniforms that we also had to fit. We always need to create extra pieces in advance to fit with as scenes are not cast until near the time of filming and we needed to start the making process much earlier…so maybe 15 dresses were not eventually used…We also made all the headpieces and made and rented the other jewels. We transported all to Turin from London and then fitted the part unfinished costumes (hems etc) to supporting artists and made the necessary alterations and completed. Once fitted we dyed all the shoes and gloves to match the dresses and prepared all the military orders to be worn. It was epic and also so exciting to work with the Makeup and Hair team to see the looks coming together. Thank you to all the British and Italian Costume depts, such great work and attention to detail, you really helped to realise the vision. It takes an army to create these scenes and we are just one department of many…
Likes : 2198Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 2K Likes - The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.

2K Likes – Michele Clapton Instagram

Caption : The Kings Men costumes. Here are some illustrations and fittings for Mata Hari.. A little artistic license taken with her costumes here but we based the looks on shapes that in research we noted that she wore. I loved this dark green fabrics sheen, it had depth and weight and a drape that is often missing in cotton satin. It was similar to the wonderful Glendina from Whaleys ltd.. my go to fabric of choice!!..We knew it would light well in low light which we anticipated would often be the case for her scenes in the script. I felt that it still needed a detail of extra texture so we stitched parallel lines following the shape of the collar and pocket flaps. We also had made some beautiful two tone button boots which I can’t find a photo of but these are the shoes we designed for another of her looks.. Valerie Pachner the actress was so lovely to collaborate with and endlessly patient. We had to create this jewelled and metal Mata Hari performance piece that she had to dance in for the American President. Although we don’t see much of this costume or performance in the way the scene was shot ( we were a little heart broken) Valerie was incredible as were all of the costume team involved.
Likes : 1970Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni

1.8K Likes – Michele Clapton Instagram

Caption : The Peripheral. Character Flynne Fisher Actor Chloë Grace Moretz Creating Flynne’s costumes set the tone for all the looks on the show. For the America near future looks we wanted to create a character that was relatable. She’s complicated, there’s a certain melancholy to her and she has pretty low self esteem, yet in other ways she is tough and resilient and a fighter. She’s a carer for her mum and she was close to her father who we discover has passed. With all this in mind we started to design her looks. The oversized jacket was key, I decided that it was her Dads, (the script was changed to reflect this which was really cool) she wears it like he’s still protecting her, it comforts her and is also practical. Her trainers were part find/part build, Liz Crossman rebuilt them into high tops and added straps and colour..no small feat as we needed so many pairs. The denim shorts were also really particular in their cut, too short they looked too knowing, too long they felt like a statement.. we worked this all out in fittings with Chloë who was so engaged and brilliant. The future London costume silhouette was based on this earlier look. I wanted it to be their interpretation of her, and I wanted Flynne to relate to it..The hood came from the jacket, the shorts became the Obi and the slim trousers reflected her bare legs. This look had to do so much and look cool of course!Texture was so important for it to look interesting on screen in all lights, Chloë also needed full movement in it to fight and allow for stunt pads..We made approximately 15 of this look to cover the show. The print I designed in house with Jack Beagley, Mel Carter (cutter extraordinaire) created the Jacket by draping on the stand, which was inspired, she really bought something very special to this piece. Verity Finney-Green created the beautiful fabric for the Obi. Emily Watson created and hand tooled the leather belt. So much of this look came together in the making of it and with Chloë’s endless passion for the character and patience in the fittings. We don’t even have a drawing of the final look, it can often happen this way. Assistant Designer Susan Kulkarni
Likes : 1843Michele Clapton - 1.8K Likes - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy

1.8K Likes – Michele Clapton Instagram

Caption : Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Likes : 1822Michele Clapton - 1.8K Likes - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy

1.8K Likes – Michele Clapton Instagram

Caption : Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Likes : 1822Michele Clapton - 1.8K Likes - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy

1.8K Likes – Michele Clapton Instagram

Caption : Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Likes : 1822Michele Clapton - 1.8K Likes - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy

1.8K Likes – Michele Clapton Instagram

Caption : Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Likes : 1822Michele Clapton - 1.8K Likes - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy

1.8K Likes – Michele Clapton Instagram

Caption : Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Likes : 1822Michele Clapton - 1.8K Likes - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy

1.8K Likes – Michele Clapton Instagram

Caption : Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Likes : 1822Michele Clapton - 1.8K Likes - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy

1.8K Likes – Michele Clapton Instagram

Caption : Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Likes : 1822Michele Clapton - 1.8K Likes - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy

1.8K Likes – Michele Clapton Instagram

Caption : Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Likes : 1822Michele Clapton - 1.8K Likes - Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy

1.8K Likes – Michele Clapton Instagram

Caption : Polly’s costumes. I loved designing these! For the most part her costumes are relatively understated but the cut was key and I was lucky enough to have the genius Mel Carter as her cutter. Gemma Arterton is wonderful to collaborate with and has such great posture and awareness of character. In the first fitting we discussed Polly and both agreed that we loved the idea of laced knee high boots being her signature item. They worked perfectly for the ‘action outfit’ but also gave the character a certain hidden strength even when dressed as staff. I wanted them to be in supple leather and to follow the line of the leg closely. I also wanted an elegant narrow cut to the toe, I wanted them to subtly elevate her station…The first look here with leather jacket and jodhpurs we actually see very late in the film, it’s a sort of revelation! I wanted it to be created out of period correct items but maybe worn in a quite racy way for women of the time, yet to be effortlessly stylish and practical. We had to make many copies of this outfit because of the cheese explosion scene..The next look here is Polly’s staff look. I didn’t want it too traditional yet it’s style would influence all of the other staff’s costumes so I had to be a little careful. I chose the colour palate of blues and pale grey which softened the usual black and white, and I dispensed with any frills, it seemed to be in keeping with my sense of Oxford and his late wife’s character. In photo five we put together looks on stands to experiment as to how we might dress other members of staff within the same palate. The funeral suit ( fitting stage here) is very utilitarian with its bound edged patched pockets but beautifully cut. I adore the blue wool fabric and brown binding together here. Finally I designed the green overall to delineate Polly’s different roles, so that when Conrad is finally shown the secret room we find Polly looking unlike her usual self..I thought this visually underlined his up till then exclusion.. assistant designer @sophie__oneill boots @jitterbug.boy
Likes : 1822Michele Clapton - 1.7K Likes - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.

1.7K Likes – Michele Clapton Instagram

Caption : The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Likes : 1659Michele Clapton - 1.7K Likes - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.

1.7K Likes – Michele Clapton Instagram

Caption : The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Likes : 1659Michele Clapton - 1.7K Likes - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.

1.7K Likes – Michele Clapton Instagram

Caption : The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Likes : 1659Michele Clapton - 1.7K Likes - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.

1.7K Likes – Michele Clapton Instagram

Caption : The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Likes : 1659Michele Clapton - 1.7K Likes - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.

1.7K Likes – Michele Clapton Instagram

Caption : The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Likes : 1659Michele Clapton - 1.7K Likes - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.

1.7K Likes – Michele Clapton Instagram

Caption : The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Likes : 1659Michele Clapton - 1.7K Likes - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.

1.7K Likes – Michele Clapton Instagram

Caption : The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Likes : 1659Michele Clapton - 1.7K Likes - The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.

1.7K Likes – Michele Clapton Instagram

Caption : The Peripheral costumes. Lowbeer (Alexandra Billings) The idea for creating this costume along with many of the other costumes in this particular group for 2100 London came from the idea that they could recreate anything from the past but over time the details became lost or remembered differently. Wilf’s coat and jacket are another examples of this. Cutter Mel Carter. Buyer Klaire Jamin. Illustrator Oliver Doherty. Assistant Designer Molly Langford.
Likes : 1659Michele Clapton - 1.6K Likes - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891

1.6K Likes – Michele Clapton Instagram

Caption : AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Likes : 1569Michele Clapton - 1.6K Likes - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891

1.6K Likes – Michele Clapton Instagram

Caption : AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Likes : 1569Michele Clapton - 1.6K Likes - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891

1.6K Likes – Michele Clapton Instagram

Caption : AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Likes : 1569Michele Clapton - 1.6K Likes - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891

1.6K Likes – Michele Clapton Instagram

Caption : AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Likes : 1569Michele Clapton - 1.6K Likes - AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891

1.6K Likes – Michele Clapton Instagram

Caption : AND finally some of my rushed photos on set, I’m not a photographer that’s for sure! We had a really controlled colour palate for the women’s costumes that I think work beautifully against the wonderful uniforms made for us at Hero in Poland. It takes an army of talented costume crew to make all these costumes, sadly far to many to mention here.. But I must give thanks to my assistant designers Alex Fordham Sophie O’Neill and Emma O’ Loughlin.. AND Clare Spragg costume supervisor extraordinaire for helping to put together both our British and Italian teams ( we filmed this in Turin) phew! @sophie__oneill @emmaolo7891
Likes : 1569Michele Clapton - 1.6K Likes - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…

1.6K Likes – Michele Clapton Instagram

Caption : Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Likes : 1564Michele Clapton - 1.6K Likes - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…

1.6K Likes – Michele Clapton Instagram

Caption : Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Likes : 1564Michele Clapton - 1.6K Likes - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…

1.6K Likes – Michele Clapton Instagram

Caption : Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Likes : 1564Michele Clapton - 1.6K Likes - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…

1.6K Likes – Michele Clapton Instagram

Caption : Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Likes : 1564Michele Clapton - 1.6K Likes - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…

1.6K Likes – Michele Clapton Instagram

Caption : Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Likes : 1564Michele Clapton - 1.6K Likes - Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…

1.6K Likes – Michele Clapton Instagram

Caption : Looking back to the beginning of GOT.. such a mammoth project to start! Finding our way in through trying ideas out in the workshop.. my turn here!!@good memories…
Likes : 1564Michele Clapton - 1.3K Likes - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..

1.3K Likes – Michele Clapton Instagram

Caption : Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Likes : 1338Michele Clapton - 1.3K Likes - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..

1.3K Likes – Michele Clapton Instagram

Caption : Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Likes : 1338Michele Clapton - 1.3K Likes - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..

1.3K Likes – Michele Clapton Instagram

Caption : Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Likes : 1338Michele Clapton - 1.3K Likes - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..

1.3K Likes – Michele Clapton Instagram

Caption : Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Likes : 1338Michele Clapton - 1.3K Likes - Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..

1.3K Likes – Michele Clapton Instagram

Caption : Cerise designs… some make the show and others don’t! It’s the process. Scenes get cut and ideas move forward. It was great to work on this show with such a talented crew and directors that collaborated and understood process..it’s so important to trust and to communicate. To be open and supportive of each other..
Likes : 1338Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..

1.3K Likes – Michele Clapton Instagram

Caption : My drawings and ideas for the costumes on The Sea Beast.. my first involvement in an animation Film.. so different from my usual design process, I didn’t have a workroom to help realise the ideas which is where often ideas grow.. The designs here had to be more complete on paper..
Likes : 1328Michele Clapton - 1.3K Likes - More drawings from The Kings Man. This time with the help of Simon Thorpe my illustrator on this film. I worked here with Simon to develop a ‘look’ for the female extras in the ball scene. I needed to find a solution that the Director was happy with and that I felt still reflected the idea of a dress ball in Russia..At these times it’s really important for all concerned to really be able to visualise the finished look and often the studio will need to sign off on these but not on this film, it’s all Matthew V. For this my costume sketches whilst informative to the people that make the costumes are not so accessible outside of our department. Anyway I though it would be interesting to share here for those that are not in the film industry how things work. The first photo is where we arrived and it was approved, the last is where we started.. sorry back to front! Thank you Simon you genius! See more of his work here @sim0ndo

1.3K Likes – Michele Clapton Instagram

Caption : More drawings from The Kings Man. This time with the help of Simon Thorpe my illustrator on this film. I worked here with Simon to develop a ‘look’ for the female extras in the ball scene. I needed to find a solution that the Director was happy with and that I felt still reflected the idea of a dress ball in Russia..At these times it’s really important for all concerned to really be able to visualise the finished look and often the studio will need to sign off on these but not on this film, it’s all Matthew V. For this my costume sketches whilst informative to the people that make the costumes are not so accessible outside of our department. Anyway I though it would be interesting to share here for those that are not in the film industry how things work. The first photo is where we arrived and it was approved, the last is where we started.. sorry back to front! Thank you Simon you genius! See more of his work here @sim0ndo
Likes : 1310Michele Clapton - 1.3K Likes - More drawings from The Kings Man. This time with the help of Simon Thorpe my illustrator on this film. I worked here with Simon to develop a ‘look’ for the female extras in the ball scene. I needed to find a solution that the Director was happy with and that I felt still reflected the idea of a dress ball in Russia..At these times it’s really important for all concerned to really be able to visualise the finished look and often the studio will need to sign off on these but not on this film, it’s all Matthew V. For this my costume sketches whilst informative to the people that make the costumes are not so accessible outside of our department. Anyway I though it would be interesting to share here for those that are not in the film industry how things work. The first photo is where we arrived and it was approved, the last is where we started.. sorry back to front! Thank you Simon you genius! See more of his work here @sim0ndo

1.3K Likes – Michele Clapton Instagram

Caption : More drawings from The Kings Man. This time with the help of Simon Thorpe my illustrator on this film. I worked here with Simon to develop a ‘look’ for the female extras in the ball scene. I needed to find a solution that the Director was happy with and that I felt still reflected the idea of a dress ball in Russia..At these times it’s really important for all concerned to really be able to visualise the finished look and often the studio will need to sign off on these but not on this film, it’s all Matthew V. For this my costume sketches whilst informative to the people that make the costumes are not so accessible outside of our department. Anyway I though it would be interesting to share here for those that are not in the film industry how things work. The first photo is where we arrived and it was approved, the last is where we started.. sorry back to front! Thank you Simon you genius! See more of his work here @sim0ndo
Likes : 1310Michele Clapton - 1.3K Likes - More drawings from The Kings Man. This time with the help of Simon Thorpe my illustrator on this film. I worked here with Simon to develop a ‘look’ for the female extras in the ball scene. I needed to find a solution that the Director was happy with and that I felt still reflected the idea of a dress ball in Russia..At these times it’s really important for all concerned to really be able to visualise the finished look and often the studio will need to sign off on these but not on this film, it’s all Matthew V. For this my costume sketches whilst informative to the people that make the costumes are not so accessible outside of our department. Anyway I though it would be interesting to share here for those that are not in the film industry how things work. The first photo is where we arrived and it was approved, the last is where we started.. sorry back to front! Thank you Simon you genius! See more of his work here @sim0ndo

1.3K Likes – Michele Clapton Instagram

Caption : More drawings from The Kings Man. This time with the help of Simon Thorpe my illustrator on this film. I worked here with Simon to develop a ‘look’ for the female extras in the ball scene. I needed to find a solution that the Director was happy with and that I felt still reflected the idea of a dress ball in Russia..At these times it’s really important for all concerned to really be able to visualise the finished look and often the studio will need to sign off on these but not on this film, it’s all Matthew V. For this my costume sketches whilst informative to the people that make the costumes are not so accessible outside of our department. Anyway I though it would be interesting to share here for those that are not in the film industry how things work. The first photo is where we arrived and it was approved, the last is where we started.. sorry back to front! Thank you Simon you genius! See more of his work here @sim0ndo
Likes : 1310Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.3K Likes - Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley

1.3K Likes – Michele Clapton Instagram

Caption : Conrad suits. Ok you might be bored of me showing these costumes by now.. but if you are then look away! I just love to go back and remember/enjoy our work, as it’s sometimes so hard to do so in the thick of filming. These are fitting photos so the costumes are unfinished. We loved our fittings with Harris Dickinson who played Conrad. It’s often difficult for younger actors used to wearing sports wear to feel comfortable in period cut clothes, especially the stiff high collars, so we spend time in fittings with the choreography of a costume, how it makes you walk and stand.. it’s a real aid. Harris bought so much to this role and ended up loving this style…he really made the costumes his own and we loved that his body shape was so good for the period cut.. the modern muscular shoulders and arms are more difficult to accommodate in these narrow suits.. Matthew Vaughn the director is obsessed by the cut and fall of mens suits so he really kept us on our toes. We made some suits in our work room cut by the wonderful Tim Perkins and others were made by the incredible Campbell and his team at Huntsman. The final suit here was one of my favourites and much lighter weight, it was the most unusual, quite American in cut, I liked it for the scene in Sarajevo. It was really difficult fabric to work with and we had to make multiples for the stunt scene.. Campbell was not impressed! But it turned out great! Shoes by George Cleverley complete the looks and glasses made to our design by Cuttler and Gross. Klaire Jamin on buying duty again killed it..along with assistant designers Alex Fordham, Sophie O’Neill, Emma O’Loughlin, illustrator Simon Thorpe @huntsmansavilerow @timjohnperkins @sim0ndo @cutlerandgross @georgecleverley
Likes : 1300Michele Clapton - 1.1K Likes - The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…

1.1K Likes – Michele Clapton Instagram

Caption : The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…
Likes : 1103Michele Clapton - 1.1K Likes - The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…

1.1K Likes – Michele Clapton Instagram

Caption : The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…
Likes : 1103Michele Clapton - 1.1K Likes - The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…

1.1K Likes – Michele Clapton Instagram

Caption : The Peripheral designs for Ash. We loved this character, a blend of new and old, remembered historic cuts with original accessories giving an idea as to where her real sympathy lies… Woven fabric by the brilliant Verity Finny Green and cut by Mel Carter and her team. Katy Hackney for fabulous chatelaine and Assistant designer Susan Kulkarni Illustrator the amazing Oliver Doherty..thank you all as ever…
Likes : 1103Michele Clapton - 1.1K Likes - Just found my sketches for the previous post! The wonderful boots were created by Jeff @jitterbug.boy the shawls were from my personal collection, I think the corsets were from our workroom and gloves I imagine would be the wonderful Pamela wood…

1.1K Likes – Michele Clapton Instagram

Caption : Just found my sketches for the previous post! The wonderful boots were created by Jeff @jitterbug.boy the shawls were from my personal collection, I think the corsets were from our workroom and gloves I imagine would be the wonderful Pamela wood…
Likes : 1061Michele Clapton - 1.1K Likes - Just found my sketches for the previous post! The wonderful boots were created by Jeff @jitterbug.boy the shawls were from my personal collection, I think the corsets were from our workroom and gloves I imagine would be the wonderful Pamela wood…

1.1K Likes – Michele Clapton Instagram

Caption : Just found my sketches for the previous post! The wonderful boots were created by Jeff @jitterbug.boy the shawls were from my personal collection, I think the corsets were from our workroom and gloves I imagine would be the wonderful Pamela wood…
Likes : 1061Michele Clapton - 1.1K Likes - Just found my sketches for the previous post! The wonderful boots were created by Jeff @jitterbug.boy the shawls were from my personal collection, I think the corsets were from our workroom and gloves I imagine would be the wonderful Pamela wood…

1.1K Likes – Michele Clapton Instagram

Caption : Just found my sketches for the previous post! The wonderful boots were created by Jeff @jitterbug.boy the shawls were from my personal collection, I think the corsets were from our workroom and gloves I imagine would be the wonderful Pamela wood…
Likes : 1061
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