What was your design process like on Bridgerton?
I always begin a project by reading the script a few times over, trying to get to know the characters and how I can convey their personalities through their hair and makeup. Once I’ve read the script, then alongside my research of books and paintings of the time and my knowledge of history, I start to formulate my ideas of how I can reflect their personalities through the hair and makeup. I then put these ideas to the actors in their initial fittings. I was lucky with Bridgerton that all the actors loved my ideas. So, once we received approval from the producers, we were good to go.
Where did you draw inspiration from in terms of makeup and hair?
Most of my inspiration comes from the usual books and paintings of the period, but I also have a good knowledge of history, and also spent my formative years watching old black and white movies and musicals of the golden era of Hollywood. People say that I have the memory of an Elephant; it’s all kept in those little grey cells in my brain ready for a new production. For example, Daphne’s look was based on Audrey Hepburn from the film War and Peace. On her first meeting with me, her eyebrows, with her hair taken up tightly reminded me of Audrey Hepburn in this film. I then adapted it to what I felt was right for Daphne. War and Peace was made in the 1950s but again the story was set in the Regency period so her makeup had to have that no makeup look, but still leaving her soft, dewy and stunning.
You come from a theater background and this show has a very theatrical feel to it. Did your history working in stage help or hinder your process with this project?
I began my career in 1988, after graduating from The London College of Fashion. I landed a job on Continue reading