My name is Heidi and I am a content creator under the name Costume CO.
25 years ago, I specialized in theatre costume at Ryerson University in Toronto, Canada, and earned a bachelor's degree in Technical Theatre Production. I have created and designed costumes for hundreds of Canadian live-event and theatrical productions, as well as TV and film.
I also worked in the corporate and not-for-profit sector through my costume business, Ms. Dress-Up. Some of my clients included the Royal Ontario Museum, The Toronto Zoo, Casaloma, The Government of Ontario, Icelandic Air, and Virgin Mobile.
In 2017 I launched a RU-vid channel looking at the costumes on the big screen and small through the eyes of a costumer. My first video was on the costumes of Cersei Lannister, the gloriously dressed villain in HBO's Game of Thrones.
5 years and 200 videos and livestreams later, I am still dedicating my channel to works in high fantasy, science fiction and historical drama.
Catching the playback and I really enjoyed the candid conversation, the fun vibe, the positivity even when speaking about things that annoyed you all during the season. <3
The armoured dress will go down in history as one of the best costumes ever made for a tv show it’s just stunning and it’s literally Cersei if she was a dress. Simply gorgeous
One thing that kind of disappointed me was the lack of using costumes to portray the passage of time. GoT takes place over the span of just a few years but we can see how fashion evolves, following the change of seasons and the personal tastes of whoever was acting as "trendsetter" at the time. Also, there were clearly a lot of regional styles independent from court fashion, some of which also gave the impression of being more traditional/old fashioned (like the Tarlys). House of the Dragon, however, spans over a decade in just the first season, yet you wouldn't really be able to tell from the costumes. It's true that historically fashion didn't always change at the same speed but with the amount of timeskips in this show it really seems like a missed opportunity. Instead, characters are wearing various costumes that appear very different in style from each other while in the same time and location with no apparent reason except that maybe that's just their personal taste? It would make sense for Rhaenyra and Alicent to have very contrasting personal styles but their opposition is conveyed mostly through color.
Holly Golightly would've been a whole other character if Marilyn played her. Audrey's Holly may have been miscast because she came off as an elite in the movie whereas Marilyn would've made her feel like the 'ho she (Holly) was.
interesting! The rumour was for years that Marilyn wrote no underwear in that scene and that was the reason her husband Joe Dimmagio divorced her but we can clearly see her underwear in the picture here.
One of my favorite movies of all time 💗. I’m a bit disappointed that you spent sooo much time on all the various armor, and hardly any time on Guinevere’s outfits. I do appreciate that you talked about her outfits & Morgana’s; just wish there was more details and photos of all the women’s outfits 😊.
Hi Moon, I wasn't meaning to give more attention to the armour. I just didn't have much information about the women's clothes as in the behind the scenes info, most of the attention was paid to the armour. I did try to reach out to Bob Ringwood, but he is retired.
Here is a comment left from JohnnyZero about Guinevere's wedding gown: "Here is a message from Bob Ringwood when I asked how the wedding veil was made. Hi John,,,the underdress was made of fine Indian cotton that was shot through with real silver thread(about 20 yards of fabric in the dress),,,the tabard front is a piece of vintage Egyptian bobbin lace with real silver flattened wire threaten through it in a diamond pattern, the veil was made for me by an artist then at the royal college in London. it was double lines of very fine fishing line pinned out on a board into a grid small making squares...coloured drops of resin put between the intersections and allowed to dry. when it was lifted off the table it was as fine as a spiderweb. The dress was cut by Carl Bonn a genius cutter and decorated by his partner Colin McKenzie with silver beads and embroidered with very fine silver wire....their costume shop was called Bonn and McKenzie, Alas both now dead , they were very talented and lovely men, good friends of mine and I miss them." I hope that's helpful!
If I had the money I'd buy long claw. Then probably give it to kit Harrington. I remember him saying he never got to keep it but really wanted it. Its fitting he should have it.
At the time, those Terry English's reproduction plate harnesses cost $1200 each (circa $5000 in today's dollars). They were, for both cost and wearability, made of aluminum and not iron or steel, and it shows it not just the polished shiny versions (which looks different from polished steel), but in the "clink'clink" sounds aluminum makes as opposed to the "ching" of authentic plate. Insiders say, the prime reason the knight characters wore plate almost all the time, is not for an artistic reason, but rather, after paying for all those harnesses, they lacked the budget to pay male medieval clothing.
❤this movie! I so wanted to see Morgana's green cape from the wedding! From memory it looked like a field of grass...?! I thought about that cape for years!
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Oh wow, I thought I knew everything, but that was great, I've never seen the headgear for the Fremen mentioned before. I've always wanted to make a still suit, and even got as far as sourcing fabric for it, but over the years I think I have a plan finally.
Here is a message from Bob Ringwood when I asked how the wedding veil was made. Hi John,,,the underdress was made of fine Indian cotton that was shot through with real silver thread(about 20 yards of fabric in the dress),,,the tabard front is a piece of vintage Egyptian bobbin lace with real silver flattened wire threaten through it in a diamond pattern, the veil was made for me by an artist then at the royal college in London. it was double lines of very fine fishing line pinned out on a board into a grid small making squares...coloured drops of resin put between the intersections and allowed to dry. when it was lifted off the table it was as fine as a spiderweb. The dress was cut by Carl Bonn a genius cutter and decorated by his partner Colin McKenzie with silver beads and embroidered with very fine silver wire....their costume shop was called Bonn and McKenzie, Alas both now dead , they were very talented and lovely men, good friends of mine and I miss them. attached a close up photo.
@johnyzero2000 Hi Johny, that's amazing! Do you have the picture he sent? If so, would you mind sending it to me heidi@costumeco.ca. With your permission, I would like to post this on my community tab. I will give you credit!
Whilst filming the hand out of the water in the Deliverance dream sequence , was when Boorman first thought making this tale...maybe a video on Angel Heart or Apocalypto with it's great Jade Jewelry and Costumes ?
I just recently came across this channel... definitely subscribe! I've always admired the efforts of film costume designers, but I haven't been familiar with the names of designers, so I am glad to be learning some of those names via these videos. The only designer's name I have been familiar with is Vera West who did the gowns for most of Universal Studios' Abbott & Costello films. I couldn't speculate that any of her designs would make it on a list such as the one of this video as her designs generally seem to be (film appropriately) conventual/mundane in comparison to the designs that do make it on to such lists. (edit: word add correction)
@skyden24195 Hi skyden, thanks so much for commenting. As a child, I was a huge Abbot and Costello fan. I will look up that designer that you mention as I am not familiar with her work. Warm regards, Heidi.
