Latest / The Art of Costume Podcast / Wonka with Costume Designer, Lindy Hemming

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Wonka with Costume Designer, Lindy Hemming · The Art of Costume Podcast

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And in that shop, they were selling off old pieces of all
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different designery fabrics. And by chance they got a people
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brought it back. And I was like, that's
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absolutely fantastic because he has magic symbols on it.
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So that became one of his main scarves.
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He just kept getting hold of things that were really, really
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making the character feel like the characters.
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Hello and welcome to the Art of Costume Podcast.
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I am your host Spencer Williams and thank you so much for
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joining me for another bonus episode.
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Hello costume nerds, I have quite a lovely treat for you all
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today. Or shall I say a delicious
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treat. Let's see how many like
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chocolate or candy puns we could work into this episode.
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Because today of. Course, we are talking about
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Wonka, a movie that I believe we're all so excited to see.
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I've seen it. You've probably seen it by now
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since it's killing in the box office.
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I mean, of course it's Timothy Chalamet, and I will be the
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first to admit that I am a Timothy Chalamet superfan.
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Anything this man can do, I'm just on his side.
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Whether it be Wonka Dune, that movie with the Peach, I'm here
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for it. I love Timothy Chalamet.
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So with that, I'm so excited to talk about the costumes.
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Wonka had some incredible costumes and I'm honored to say
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that today we will be joined by costume designer Lindy Hemming,
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who did the costumes for Wonka. But first, a little summary.
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Armed with nothing but a hat full of dreams, young
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chocolateier Willy Wonka manages to change the world one
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delectable bite at a time. With dreams of opening a shop in
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the city renowned for its chocolate, a young and poor
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Willy Wonka discovers that the industry is run by a cartel of
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greedy chocolate tears, and that is Wonka.
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Now to go behind the costumes, we have director Paul King and
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costume designer Lindy Hemming. And let me tell you something
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about Lindy Hemming. She has done a lot a lot of
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things that I love and I know that you love as well.
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First we have to mention her Oscar award-winning work for the
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film Topsy Turvy. She went on to design costumes
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for Tomorrow Never Dies, Harry Potter and A Chamber of Secrets.
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And maybe a few of these films will also sound familiar to you,
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like Batman Begins, The Dark Knight, one of the greatest
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movies of all time, for which she won a Costume Designers
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Guild Award, and The Dark Knight Rises.
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She also designed the costumes for Casino Royale, Clash of the
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Titans, which is a guilty pleasure of mine.
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I love anything with Greek mythology and you know, monsters
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and Medusa and punching giant scorpions.
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Paddington One and Paddington 2, Wonder Woman, for which Lindsey
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also won another Costume Designers Guild award and Wonder
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Woman 1984. And recently Lindy designed
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costumes for Wonka as well. And I am so excited for you all
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to meet Lindy. Meeting her was a big treat.
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As you know, I'm a big fan of a lot of her work.
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I was a Dark Knight nerd in high school, let me tell you.
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I mean, it was, it's kind of freaky, you know, when anyone's
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like, really? Obsessed with the Joker?
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You'd. Just kind of a little bit pause
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there. I was definitely that kid.
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I mean, I was wearing like a Joker shirt too.
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High school. Like every other day.
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So meeting Lindy was a real treat.
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And of course, I'm a big Wonka fan.
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I love any of the Wonka movies, you know, the original one with
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Gene Wilder. And now we have to tell you how
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I feel about the Tim Burton version, Charlie and Chocolate
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Factory. So I was very excited for this
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one. I think Timothy Chalamet is
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great in it and costumes are great.
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So after this break we are going to talk to Lindy Hemming.
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But before that, let me remind you all that next week season
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four of the Art of Costume podcast is kicking off and we
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will be kicking off. With a very special two-part
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episode week, which. We don't often do.
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We never post two episodes in one week unless there's one of
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them's a bonus episode. But we're going to be posting
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two episodes in one week because we are doing Barbenheimer Week.
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We got to get both of these movies into the week.
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So we will be having Barbie on January 16th and Oppenheimer on
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January 18th. I know you all are excited
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because I'm excited. I'm excited to get back in the
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studio with Elizabeth and Daniel.
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Of course. We're going to have some fun, I
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know. Elizabeth is a big.
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Barbie nerd, So I'm sure she's working up all sorts of behind
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the costume packs for that one. And I know we have a little
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special surprise for the Oppenheimer episode as well, so
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stay tuned for that. Thank you all so much for
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listening and enjoy the conversation with Costume
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designer and Lindy Hemming. I'm so excited to welcome you to
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talk about Wonka. It was such a fun, exciting
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film. I kind of want to start with the
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big picture first. You know Helen Colvic did the
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costumes for Willy Wonka in 71 Gabriella the Charlie and
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Chocolate Factory in 2005, and now Lindy Hemming did Wonka in
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2023 just. What is it?
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Connection except Wonka. How does it feel?
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What does that legacy feel like to be a part of such a beloved
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story when you first got the call?
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Well, to be honest with you, I wasn't a fully I liked Gene
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Wilder's Wonka, and that was my I hadn't really looked at Tim
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Burton's Wonka, actually, right? And I still haven't really
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looked at it properly. Well, because I find when you do
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the any superhero or iconic thing, you do need to know what
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you're dealing with. And obviously I know RAL dolls
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work, but I didn't want to be. I knew that because of the image
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of it, the thing it had to be with, it would have to be within
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a parameter, which the fans and the studio and everybody
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understood. But I wanted to try to come to
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it perhaps from the Gene Wilder end of things more than I did
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from the Johnny Depp end of things.
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I felt like the story we were telling was going to be more in
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that, the feeling of that world, than in the Tim Burton's who has
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his very special, specific way of telling stories.
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And I didn't think we were in that world at all.
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So your question to your question then, I suppose like
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every other costume that you do and especially if it's iconic
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some iconic character, you, you try to look for a way to access
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the character, which has got really not very much to do with
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the films. The other films, if they've been
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made, perhaps sometimes a bit to do with the book, the comic book
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or the book because there's more information to be gleaned or
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imagined by yourself in in the book than there is when you
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watch someone else's work or someone else's portrayal of the
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character. I think actors probably feel a
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bit the same. I'm not sure that you're there's
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a back story to our Willy Wonka which is written was written by
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Paul. So we have a a kind of idea of
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who he is and where he comes from and it's alluded to a
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little bit with the the flashbacks of the barge and that
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world. On top of that, we imagined that
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his costume was somehow gleaned, partly because of his love of
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magic and maybe from a magician or magician type world, and also
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partly, although you can hardly see it now, but things like the
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lining of his coat are from North Africa.
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And, you know, we tried to just put little bits of stuff in
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there. And his scarves, well, his
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scarves is a whole other story. But anyway, his scarves were
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part of the magic trick that he's been trying to do, you
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know, he's been doing. And of course it goes wrong
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quite often in the end. And so he wears A scarf.
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So that's the way we kind of began to build up who he was and
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where his stuff had come from. And I think you could say that
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the origins of his coat, anyway, are certainly from some old
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magician somewhere along the line.
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And so it's called Pat. Maybe not the same person, but
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just that world. And then all his other clothes
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he's picked up, as he says. Now in the script the from a
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mailman from Minsk. His trousers came from, if you
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notice that, he said. The dog trousers.
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I did. I love all the little different
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notes in the costumes. And then he.
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Stopped probably by his mother years ago and his knitted
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beautiful. He's got a beautiful knitted
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waistcoat with buttons which has got really lovely hand pattern,
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you know, hand knitted patterns on it and different worked in
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colours and that. I'm sure his mother made that
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for him or maybe he's gone by and before he goes, you know, so
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that's how we approach the character.
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So I suppose, of course we all know because an iconic thing is
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something, we all know what it looks like, isn't it?
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That's what it means really. So we all know what it is, but
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the job is to try and find a way using, using what you know,
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using what you imagine, and then using the beautiful Timothy
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chalamet to to make a new thing. Watching may not even think it
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is a new thing, but to us and to Timothy and to Paul, it is a new
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thing, you know? Right.
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Of course. I felt like a whole, you know,
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brand new vision. It was very fun to get to know
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this whole new world. And for you, this is not your
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first time working with Paul King.
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Actually, nor is it your second time.
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So. I'd love to talk about your
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collaboration of director Paul King.
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I love to know more about that working relationship and how it
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translated into Wonka. Well, it's, it started with
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Paddington, obviously, and it's just like, I feel, he might say
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not, but I feel like Indian spirits meet, you know, one of
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those things, He loves fabric, he loves colour, he loves
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textiles, he loves textures and he loves people.
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And so that's like my perfect person, you know, my perfect
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world, really. And he's totally collaborative
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as I like to work in a totally collaborative way.
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And so does he. And he's willing to spend hours
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discussing the characters and you know, the actor that's going
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to play them and how they would, how they would be.
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And you know, he's he's really the most, he might be the most
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available or one of the most available directors that I've
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worked with. And I think he likes the world
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of costume because he loves, you know, his wife used to be a hat
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maker. She's an artist, a hat maker.
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He he he loves clothes, handmade and he loves, he just likes
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textiles. And so he's willing to come and
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look at what you're doing and to be involved in conversations
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about why you like something better than something else.
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And he he's just, he's willing to to accept your overview, you
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know, because you know what everyone's wearing at different
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times and extremely collaborative about the sets on
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where you're going to be. And so it's just, I mean, I
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sound like a lovey. My somebody told me yesterday,
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you sound like a lovey because you sound like you're just
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saying everybody's nice. But actually it is a beautiful
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working relationship and it is a beautiful circumstances.
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And every actor, it's almost like he only chooses lovely
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actors and the minute they come, they're infected by the same,
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you know, their end, the spirit enters them.
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So it this is fabulous. Anyway, I don't know if that's
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the answer to anything, but it is true.
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Yeah, no, I mean, I I feel like as an audience, you could kind
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of feel it watching this film and the other films you've done
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with Paul as well, that there's just a, there's a harmony to it
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where it just feels like everyone's happy to be there and
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a story is just joyous and positive.
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It's true though, it isn't true. Reflection of the energy that's
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going into it, I think, yeah. Well, let's dive a little bit
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more specifically into Wonka's signature look.
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We touched on it a little bit, but collaborating with Timothy
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to bring this iconic character to life where what was kind of
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your process in starting with the coat, the signature look?
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Well, actually, if I tell the truth, I had two coats.
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I had a red coat in mind and then I also had a a really,
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really vibrant green overcoat, long overhead, which I fancied
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as well. But it just didn't go in among
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everything. And so I suppose my main luck,
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good fortune or choices was that I had fabulous people in my
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team, you know, in every department.
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It was just a a marvellous thing.
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So I had a wonderful Dyer of fabrics and a printer of
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fabrics, and I had a wonderful woman who was embroidery, an
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embroidery. And so we bought his velvet, you
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know, for his coat. We all thought that velvet is
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the right, you know, velvet was the right thing.
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And also my thing about velvet as opposed to other things, was
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I felt like we could really light it in a magical way,
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whereas A flatter fabric other than satin, which I didn't think
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it could be, we wouldn't be able to give it a ping, you know, we
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wouldn't be able to make. I knew there were going to be
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visual effects, moments and things.
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We wouldn't be able to give it a sort of glow really.
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And it has a glow in some sense. And so our dire and textile
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printer, Michael, we bought the velvet and then he started
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dyeing it and we all looked at dye samples and dye samples
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until we got to the colour that we thought was it was a sort of
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pink cherry, you know, red kind of pink cherry, not really red
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kind of, yeah, cherry colour. I love that.
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Me. I loved it.
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I still. And then we discussed how to cut
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it, of course. So I had a really, really good
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cutters and they their requirement was to not make it
15:19
look too period, because then he would end up looking like Darcy
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or somebody, you know had to be a sort of looseness to it.
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And also because Timothy's so physical, there had to be enough
15:33
weight to it so that it would fly, I call it.
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It also had to be heavy enough not to be like you know fluffy a
15:40
fluffy garment. So it's so he kind of that that
15:44
was an important choice in the fabric and then the Dyer and
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breaker downer spent a lot of time we we cut all we've got the
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cutter to cut the panel pieces. Lucy Denny, she was called and
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once the panels were made, we worked out how to burn the the
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acid burn as it were, the velvet pile away so that where there
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were seams we would end up getting bald seams.
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You know, part of it, the velvet had gone because we wanted to be
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really old and have a sort of a previous life, a lot of previous
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life to it and also dirt and also you know, like in a part
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where your knees gone in through it or you've sat.
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So we put all that onto the panels and then they sewed it
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together. And then once it was sewn
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together, Oh yeah, we designed a fabric for the lining of the
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coat because in my absolute mind, my, my, I knew I felt that
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he was going to twirl, he was going to move.
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It was done a dance, you know, film with dancing in it.
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I wanted to see the the just the different fabric underneath,
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something interesting that looked like it had come from
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somewhere. So it was a sort of North
16:58
African ecat print inside which we made which Michael printed.
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So slowly the thing got put together.
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And then once we'd put one together, we just then thought,
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Paul and me thought that it would be good if it had some
17:16
sort of embroidery on it to make it a little bit more theatrical,
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magical, you know, as though it came from a theatrical or a
17:23
magic magician Y kind of show background.
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So our Sarah, our embroiderer, who's a fantastic embroiderer,
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started to do samples of where we could put panels of
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embroidery and where we could put the embroidery.
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And then we pinned all them on and showed them to Paul and
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showed them to Timmy actually. And slowly that that was
17:45
decided. It's a long process.
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I must. I know I have indulgence really
17:51
to be able to have the time to do that.
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And then she started embroidering the panels.
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So every panel had to be made and worked on by the breaker
18:02
downer and the dire and the distresser.
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Then all the panels were sent to the back to the cutter.
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So their team makers Oh no sorry.
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Then they were sent. The pieces that were needing
18:14
embroidery were sent to the embroidery and then slowly they
18:18
went back up to the to the be made in the workroom.
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So at some point you'd have seen like 5 identical coats in
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different stages of breaking down and wear hanging.
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And some of them look like they've been wetted hanging in
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the workroom and then they set about to make the the multiples
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of those five, if you like five. It's almost like a James Bond
18:43
film, you know shot. He's got bullet holes.
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Is this the. But he had all this this work to
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do on him and so that was an ongoing process.
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And then as well, at the same time we started, well, I started
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looking at different reference pictures and different knitting
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patterns because I got into my head that his mother would have
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knitted him some stuff or his granny would have knitted some
19:07
stuff on their in their life on the barge.
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And so slowly we come came up with all the components and by
19:16
some sort of luck we found we didn't want to use ordinary
19:19
shirt fabric. And I think Joe, my assistant,
19:23
who is my right hand assistant woman, went off to a market in
19:27
the north of England and there there was a man who'd been to
19:29
China. This is how it makes it feel,
19:31
great China. And he brought back loads and
19:35
loads of handmade Chinese shirting fabrics, just woven
19:40
from linen and cotton. And so we decided that we would
19:46
use one of them as his undershirt because we see it
19:49
quite often because it looks sort of, it's slightly stiff and
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not going to go into rumply creases.
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It looks a bit boxy and lineny, bit old, and we know enough of
20:00
that fabric. So, Michael?
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The printer had. We had to get more of it plain,
20:05
and then he had to print it to look identical to the ones that
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we'd made from the real fabric. And it was just a long and
20:13
endless process while all the other costumes to get him done.
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But he was that he was kind of sorted out fairly, fairly early
20:23
on. As they were being cast, we
20:25
could move on to the other characters.
20:27
The hat was a very, very complicated thing.
20:31
Oh, I could imagine. Pictures.
20:34
Tons of reference. We had a whole room of
20:36
reference, a sort of workroom cum fitting room.
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And we I'd found a picture of a magician's hat that collapsed.
20:47
You know that collapsible top hat And so I also found some
20:52
pictures of the magicians of magicians hats where they had
20:56
you know devils or demons or explosions painted on them.
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And so we thought, I thought we all right then let's go for a
21:04
collapsible hat. And then I think in the script
21:07
at one point they don't think it happens.
21:09
Now his hat did collapse but I think we've we've not done that
21:13
but it end up with painting on it.
21:15
You can just see the sort of tracings of an explosion painted
21:19
on the side. And we got the an older lady
21:26
who's a famous famous lady called Jane Smith to make his
21:30
hats for us. And it was endless, an endless
21:34
process of hand making top hats for him and again making them in
21:39
different degrees of battered. Some had to be perfect and some
21:42
had to be broken down and some had been sat on, you know, it's
21:45
that kind of feeling. So it just went on and on his
21:48
costume. Man, that's interesting.
21:50
How many hats do you think there?
21:53
Were well, in fact, there had to be more hats because they had to
21:58
be given to the props department.
21:59
Because in one shot, which I actually don't think is in the
22:03
film anymore, yes it is. He looks up through his hat and
22:07
sees the Bleacher, the nasty Mr. Bleacher looking down at him.
22:11
I think right. I remember lots of things that
22:14
were in the script that Anthony Moore probably, But anyway, he
22:18
had his top hat had not only to collapse, but it also had to
22:21
open at the top. Right.
22:25
Lots of things, but we had to make them for props to do things
22:27
to as well. Man, most people think there's
22:31
just one hat, but that seems to be never the case.
22:35
And then we had lot. He had loads and loads of we the
22:38
the fabrics watching. People went out and we wanted
22:42
them to look in all kinds of obscure places to find really
22:46
really thin cotton lawn so they could make his scarves But so
22:51
they weren't bulky but that we could use a lot of fabric.
22:54
So when he wants to do his tricks you believe that the
22:58
scarves are really long and they can keep on coming out but then
23:01
he winds around his neck. So she found some wonderful
23:06
fabrics but one of the best things that was ever found.
23:09
He wears quite a lot and it's got stars and lightning bolts
23:14
and things on it. And it was an old, old Liberty,
23:16
you know, Liberties of London is a famous, famous fabric shop in
23:21
London. And it was an old, old piece of
23:25
fabric, a bolt of fabric from Liberties of London which they'd
23:28
got rid of. And it had ended up in a small
23:31
place which is called Southall I think.
23:33
Or yes, it was Wembley, it was. And in that shop they were
23:37
selling off old pieces of all different designery fabrics.
23:41
And by chance they got a brought about and I was like, that's
23:46
absolutely fantastic because he has magic symbols on it.
23:50
So that would became one of his main scarves.
23:54
So it went on like that. But I think you'd have to say
23:57
that the gods were with us, do you know what I mean?
23:59
Right. Just kept getting hold of things
24:01
that were really, really making the character feel like the
24:05
character somehow, yeah. I got to tell you, the scarves I
24:08
think were my favorite part. Just every time I'd see a
24:11
different scarf, I was my favorite.
24:14
And if you. Ask Ask at the end.
24:16
Why does he have that yellow scarf on?
24:18
If he's been in the chocolate, that's interesting, but actually
24:25
he had been wearing it. But I thought that looks as if
24:29
you never had it on before it. Happens I one of my favorite
24:36
parts of the film was seeing all the colors, the prints, as we've
24:40
been talking about the textiles and that seems like a very.
24:43
Important part to your. Process as well as the overall
24:46
film is the use of color. Yeah.
24:47
So can you elaborate on that use for a little bit?
24:51
Well first of all the the, the freedom, the key to the the to
24:56
be allowed to use color is Paul is Paul King.
25:00
He loves colour, he loves colour and he loves the look of colour
25:05
on the screen. And so starting from that then
25:08
you know you, you plan who has what colours.
25:11
You know where do we use, what do we use in different areas and
25:14
places. But the the the main fabulous
25:19
thing was that we had the luxury not only to be able to hire
25:24
crowd costumes from Spain, Italy, America, but we also had
25:29
a rather large amount of money put by to make crowd costumes
25:33
and hats. So we were able to.
25:36
The Charlotte child was the assistant in charge of the crowd
25:40
and she was able to pull in from all over the world things that
25:45
we chose individually and they were brought, but at the same
25:50
time we had a whole workroom making crowd costumes.
25:54
And so because also because they were dancers, they had to have
25:57
gussets and all, you know, they have to be able to move their
26:00
arms above their heads and all of that kind of thing.
26:03
So, so we were allowed, we were able to use colours that we
26:08
wouldn't normally use because we could make things ourselves and
26:12
we were allowed and able to use colour that didn't exist in the
26:15
costume houses. And then we would back that
26:18
colour up with stuff that we hired.
26:21
So it got to be that we had a whole range of colours which
26:25
have got still which what we allow, what we're allowed to use
26:30
in the crowd. And then we could get Michael
26:32
the dying room to dye wools that we bought.
26:35
But make sure that we had the colours we wanted to use in them
26:39
And then behind them or backing them up, we we would only hire
26:43
things that would either frame those colours or be in the same
26:48
world. So a lot of work and a wonderful
26:50
hat maker. It was.
26:52
It felt like a treat. I mean, like almost like a
26:54
dessert, seeing all these together.
26:58
I had the best teams of people. I eternally grateful to them
27:03
that they were marked. They loved the costumes as much
27:06
as as if they were the, you know, they were their costumes.
27:09
They were there. They were just great, making
27:12
sure everyone looked fabulous all the time.
27:15
It's a lot of hard work, which leads me to my next character I
27:19
want to talk about is Miss Scrubbit, who also goes through
27:22
a lot of hard work. I'm a big Olivia Coleman fan,
27:26
and she actually said a little quote.
27:29
She said There was so much fun going for my first fitting with
27:32
Lindy, the beautiful drawings of all the characters around the
27:35
room read. That I wish I'd read that.
27:38
It's in the press notes. I'll send it to you.
27:40
She. Said the fabrics.
27:43
The swatches is like going into incredible haberdashery.
27:46
So tell me, what was it like working with Olivia on designing
27:52
the Miss Scrubbit character? She was so funny, as she always
27:55
is, of course. Well, first of all, my all of
27:59
the reference stuff. I I didn't know who's going to
28:01
be Missus scrubbit when I started, obviously.
28:03
So all of the reference pictures I'd had got out were of, you
28:08
know, fat land ladies and awful washer women and people with
28:12
boats and teeth, strange teeth, and, you know, really kind of
28:16
basically really kind of ugly and nasty people.
28:20
And so then I started to draw from them and I did draw.
28:24
I haven't got them with me today.
28:25
I've only got the end drawings, but sort of draw these pictures
28:29
and show her them and think, I wonder if she's going to leave
28:31
now. Anyway, she loved it because
28:35
she's a consummate mad, mad woman.
28:37
She just loved it. And what the thing was is that
28:43
every fabric, I'd say 99% of everything she wears was made
28:49
for a start and we printed. Nearly everything that she wears
28:55
was either hand knitted or hand printed.
28:58
But everything was made and our printer printed.
29:02
You know, wonderful sort of 1930s, but a dress, fabrics, but
29:07
in unusual colours like lilacs and acid greens and things.
29:11
And then everything when it's made.
29:14
Then we washed it and dipped it so that it didn't look new,
29:16
obviously. So all of her costumes and she's
29:19
got quite a few, especially the kimono.
29:22
I don't know if you remember when she's with the biggest
29:25
bosoms in the she, it's all handmade and it's all hand
29:32
printed. And I so love her costumes.
29:37
That's that's when people think, you know you get costume designs
29:41
and people think all of it is when you do period questions
29:44
with bustles and ruffles and silk and everything, that's,
29:47
those are my favorite questions. Olivia Coleman kind of costumes
29:51
and really all the costumes in the film are, you know that kind
29:55
of hyper, real, ordinary people's things.
29:58
But I loved her. I love her stuff.
30:03
It was terrific. It was very immersive in a way,
30:06
where you felt you've kind of felt like the dirt and the grime
30:08
of it all when you were in. Their watch.
30:11
House, you know, there's not many actresses that you can get
30:14
them to wear a big padding, you know, and struck the body
30:17
underneath and they come out of the fitting room and they go,
30:20
yeah, I don't know if you can see me or yeah I don't know if
30:23
you can see me or only hear me. But she she's came out and went
30:27
Oh yes. They're like, I love, I love
30:30
this, and then build costumes over the top of that.
30:35
Wow, it's so. Fun.
30:38
So she was. Anyway, she's a real, you know,
30:41
she's a a fantastic person anyway, isn't she?
30:46
And just to wrap up, what do you hope the audience will take away
30:49
from Wonka through the costumes and just the film overall
30:54
kindness? To other people, humanity, the
30:59
behave in your behaviour towards how you should maintain your
31:04
humanity and kindness in the face of all kinds of horrible
31:08
things that happen. Laughter, a joy in the magical
31:15
world, you know. Joy a joy for children in a
31:17
magic to see a magical world. And adults really, Which is very
31:21
similar to what I'd say about Paddington anyway, you know.
31:25
But I think that the most biggest thing is, you know, the
31:29
the, the all overwhelming sort of way that kindness wins out.
31:34
You know, being kind to people and being, you know, having fun
31:38
and and singing and dancing and joy wins out in the film.
31:43
I think that's what I would hope.
31:44
And of course I hope they like the costumes.
31:47
But I think the sets, Nathan Crowley's sets, are just
31:51
unbelievable. When you think that all of those
31:54
exteriors, you know, where they're in the street with the
31:57
pillars going around and everything and the pretend front
32:00
of Saint Paul's Cathedral, they're all made.
32:02
Everything's made. Every interior's made, every
32:05
everything's made. And you just think they've gone
32:09
and filmed in bath or, you know, somewhere.
32:12
No. And all those, you know, where
32:13
the chocolate is and where the room with the big, huge,
32:17
enormous door that opens the vaults, all that's all it was.
32:21
All made. Everything.
32:23
Wow. Yeah.
32:24
That's fascinating. I it was such a fun, positive
32:28
experience. And I've the whole time had a
32:30
smile across my face. And a big part of that was the
32:33
storytelling through the costumes and of course, the set.
32:35
So costume designer Lindy Hemming, thank you so much for
32:38
talking with me. This has been wonderful.
32:40
Thank you for talking to me, and thank you for being
32:42
knowledgeable about what you were talking about.
32:44
Oh, well, thank you. The Art of Costume podcast is
32:53
hosted and produced by Elizabeth Joy Glass and Spencer Williams.
32:58
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