The Sly Feminism in Elphaba and Glinda Movie Costumes

From dazzling ancient costumes west side story and Harriet The appearance of the wizarding world evilAcademy Award-nominated costume designer Paul Tazewell shows us that few artists are able to incorporate so much versatility into their creative DNA. “I love period pieces and telling stories that are relevant to history. What excites me evil We are designing a world that is rooted in the contours of the era while also creating a fantasy,” he said.

For the daunting task of adapting the beloved Broadway hit into two films, the designer said he drew on a wealth of inspiration: “evil It’s about digging deeper into where the original story came from. With L. Frank Baum’s book, the 1939 film, Gregory Maguire’s evil Like a Broadway musical, there are four different ways of telling the same story. Tazewell maintains the essence of the show while adding his own touch, introducing a fresh perspective without completely modernizing it. “We stayed true to the visual language of the show,” he said, “but added layers that reflected the characters’ emotional journeys.” Tazewell has a more personal connection to the “Wizard of Oz” universe, noting “I used to watch it every year. It’s part of my visual memory bank and it shapes the way I see the icon. This familiarity makes the garment feel both nostalgic and original.

One of Tazewell’s trademarks evil His work stems from his roots in the characters, bringing depth and nuance to the film’s fantastical costumes. Two standout costumes—Cynthia Erivo’s Elphaba witch hat and her Emerald City dress—reflected this philosophy. “I make design decisions based on the characters and their stories, thinking about what choices they would make and how that relates to their identity,” he explains. “For Elphaba and Glinda, the most important thing is to balance their relationship and how their clothes evolve accordingly,” in a world of chiaroscuro.

Ariand Grande’s Glinda bubble skirt and the use of pink pay tribute to the original Glinda Billie Burke 1939 classic this The Wizard of Oz, while emphasizing more modern concepts of femininity. “The fabric has the same translucent quality, but we gave it a more sculptural and contemporary interpretation,” says Tazewell. “It’s all fantasy costumes, but I wanted to create a new identity – to bring something fresh to these characters.”

Inspired by “bubbles floating in the sky,” Glinda’s dress is a technological marvel. Underneath the gown is a layer of petticoat, reminiscent of a petticoat, covered in iridescent organza. “It has hoops that create structure and function like a traditional hoop skirt,” Tazewell said, describing his engineering challenge. “I cut stiff nylon mesh into spiral shapes and twisted it into cones, Makes the dress light.”

This gown is embellished with beads, crystals and sequins, evoking a sense of whimsy. “It had to feel weightless, as if it were floating in the air. A lot of engineering went into making sure Ariana Grande could move gracefully while wearing it,” Tazewell continued. Inspiration also included the timeless elegance of 1950s dresses by Grace Kelly and Dior, which added a touch of vintage glamor to the designs.

Tazewell took a lot of risks when designing Elphaba’s costume, leaning toward bringing out the character’s darkness and personality. Work with Erivo Harriet (Both share a love of fashion.) Tazewell notes, “Elphaba may be marginalized and ostracized, but that doesn’t mean she lacks personal style. I wanted to make bolder choices for her—one that reflects her inner world.”

The result is a Victorian silhouette rooted in 1890s fashion that pays homage to the original Wicked Witch of the West (Margaret Hamilton in the 1939 film). The designers drew inspiration from organic elements (mushrooms, fungi and Fibonacci spirals) to inspire earthy textures such as micropleated fabrics and felt details. “There’s a whimsy in the interplay of her bodice embroidery and puff sleeves; and how the skirt moves when she twirls, I’m always thinking about how she would occupy space and move in the world,” Tazewell said.

Tazewell noted that the dominant concept in his designs is the choice of the wearer. “With each character, I’m living their story,” he said. “Their needs influence my commitment to my work. I want to infer for them a quality of life that becomes real once the actor puts on the costume and fully inhabits the character.

This story first appeared in the December Independence issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.