Christopher Lawrence Ray Donovan
ACDs: Anita Cabada and Michi Tomimatsu
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The Costume Designer Winter 2015
Johanna Argan House of Cards There is a saying, without risk there is no reward. A show like House of Cards where the fashion is looked at so closely, sets the stakes high. I try to help the evolution of the characters with subtle changes and make statements with wardrobe where it’s necessary. The risk is trying new things which may be out of the characters and the viewers’ comfort zone. I would say a great example of that was a knit Giorgio Armani suit that Claire wore. The ensemble looked very much like armor because of the detail of the jacket. It was a slight and literal way to show her strength, which is one of the things most commented on about Claire Underwood’s character. I had several people respond positively to the suit when the show premiered. To me, that’s the reward in what I do.
True Detective felt like a risk from the beginning, trying to prep in such a short time for what was essentially an eighthour film. We had all eight scripts from the beginning, which felt like a blessing as well as extremely overwhelming. I understand now how fortunate I was, when compared to the last-minute scripts my amazing colleagues receive a few days prior to shooting a new episode. I began research by breaking down the script by year, all the different locations, and types of characters we covered. I felt unsure about dating the early episodes set in 1995 to mid-late ’80’s but I went back and dug through my personal photos. Being from Missouri, I understood how dated we were, just like the more rural parts Louisiana we portrayed, but I did not want to offend anyone. Throughout all the episodes, we wanted to make it feel poor and neglected; almost to the point these folks were looking to be rescued by anyone or anything. It was important to me to use lots of pattern mixing in the background characters, to give a feel of constant confusion and dizziness. While in the foreground, Martin Hart, played by Woody Harrelson, and Rustin Cohle, played by Matthew McConaughey, wore simple, nondescript sport coats and pants. I was worried at times with the boldness of Hart’s ties, but we wanted to make him a bit of a showman. With so much heavy dialogue, I wanted to keep the costumes subtle, without distractions for the audience.
Ray Donovan, Showtime Networks Inc. House of Cards, Netflix. True Detective, HBO
I feel the biggest risk one takes in television is subtlety. In the past I have been told, “TV is the small screen; use broad strokes; shoes don’t matter.” I never believed this to be true. Whether it’s the Donovan brothers, the hip-hop world of Marvin Gaye, Washington and Cookie Brown, skid row characters, South Boston, or the boxing club, I don’t think the audience should see every detail of our work. The fact that Jon Voight as Mickey Donovan wears his pants just a bit high or that his jackets are large in the shoulders makes the actor move and feel differently. Liev Schreiber as Ray Donovan wears extremely heavy shoes which make him walk with purpose. The audience doesn’t need to literally see this to feel it subconsciously. We also repeat costumes frequently, which I’ve been told by my crew is not usually done in television. As storytellers, we want our characters to be relatable and familiar. I have Abby Donovan and her daughter share a sweatshirt and the Donovan brothers wear the same pieces over and over. It imprints the audience with who these characters are to their core. Then when we need to show a change in attitude or emotional state, we can make more impact with more subtle strokes. When one of the Donovan brothers puts on a button front shirt, it has real purpose. Every Costume Designer is an artist and one of the best brushes we have is a great assistant. I am fortunate to have had both ACD Anita Cabada and CD Michi Tomimatsu work alongside me to help bring the nuances of Ray Donovan to life.
Jenny Eagan True Detective