How the Iconic ‘Game of Thrones’ Costumes Are Made

(grunts) – These are just sketches
around the final season really. And it’s just taking
elements from her father, from Jon Snow, but it’s streamlined. It has a split skirts, which
enable her to run around, move, fight, whatever she needs to do. It’s a slightly padded doublet,
which gives her a sense of protection, but then
her fighting isn’t about being armored. It’s about quickness. (dramatic music) When I start thinking about
costumes, for the particular episodes, I start by drawing. I always draw my own drawings. And particularly with “The
Bells”, I wanted to go back to King’s Landing when I first started. And so I went back to some
sketches that I did then because to me it was really
important to actually look at what these people should
have worn and then actually show how their life was changed. And here we see Cersei is
in child, which is really important for her. So I was really keen to have
the studding and the protection as a decoration to be over her belly. And then I wanted also this
long, long chain with a disk with the Lannister line on the
belly, again, protecting it and signifying that this is the future. And then it was really
interesting, we did a red version, a black version, and then an
ombre, where the red is like creeping up the dress. There’s a play between
her being in mourning, but also having the
strength of her house color. Daenerys, her final costume went through quite a long intense
period of trial and error. And slowly as we developed
this, we then started moving into the black and red, which
is where we ended up going much more clearly. But again, she still keeps
her trousers and her boots underneath. And then obviously, the
chain of office and the cape, which gives us a sense of movement. And I think we worked on
this over a period of sort of three or four months. (soldiers march) I had to think of the Golden
Company, which were a group of mercenaries that came
together, so I wanted them to look like a group, but
actually when you looked at them individually there are
elements that are particular to that man. So you see there’s
these gold over-trousers and they’re all looking
slightly different, but they all have exactly the same silhouette. And the boots are very important. Some are old and some are new. Depending on when they’ve joined. And then each armor is gold
in color, but actually again there are individual details. And then we have this gold
cloth tied to the helmet, so that when they’re
riding they see the cloth and it gives movement. And I think we had, in the
end, about sort of eight or nine styles. You look at them and you
think they’re all the same, but when you look at them, they’re not. They’re a group that have come together. (drum beats) For everyone, not just
costume, I thought “The Bells” was pretty exceptional. It was enormously difficult
to shoot over a long period of time and it was just
managing it and working with the other departments. You had to work really closely
with stunts, with makeup, with prosthetics. At its height, particularly on
that episode, you’re running at probably 100 plus people. I wanted to take almost all the
color out of King’s Landing. It’s lost its way. It’s lost its personality. And when we first went
there, it was a thriving city and then we go there and
it’s almost people in rags. And I guess it’s to
represent that they’re almost unimportant. They become nothing. They become unseen. So much so that these
people who are in charge can ignore the fact that all
these people are gonna die. (rock falls) – [Jaime] Look at me. – Distressing and aging
costumes, I mean it’s such an art in itself. You make a costume that’s
new and then you have to look at it and look at the character
or the extra or whatever and think what’s happened to this person. So we’d start by sort of
fading it with the sun and then you’d probably
start washing it because that breaks the costume down
a bit more quickly. I will do a lot of hand
stitching and repairing on some because that,
again, gives it a character. And then we’d look at the
particular moment in the story that something’s happened
to it, so it was burnt. We’d work out ways that we
can singe or grease into it to give it more life. We usually have 12 weeks of
prep before we start filming and then once we start
filming, we’re still continue to prep for the episodes
as we move through. It’s the organization
of that, that’s so key. So you know a great supervisor
and a great team who are just constantly monitoring
A, what’s coming up. But also, watching the
script changes as well because they’re, you have
script changes all the time. But on something of that
scale, you know, you may make 100 costumes or something
that then you don’t need. (dramatic music) We became like a family over eight years and the same people came
back year after year and so you knew where we were going. We knew everyone’s ability
and we all grew so much within, within the show. I think we all feel like we
can do almost anything now. (laughs) So nothing is too big because
you understand the process. (dramatic music)

7 thoughts on “How the Iconic ‘Game of Thrones’ Costumes Are Made

  1. She did a fantastic job. Of all the problems that I had with this show, the costumes, the sets, the acting, the stunts, the visual effects were all amazing to watch. This group of creative people deserves every accolade and award they are up for. They made a supreme and valiant effort to elevate the material, and they succeeded as much as could be expected. None of my criticism of the writing of the show can take away from the exceptional work of everyone else involved in the production.

  2. The final costume for Daenerys was so hideous you can tell Michelle gave up on her like everyone else and she needed few weeks to come up with that it looks like something made from cheap fake leather, for a final costume for a queen you should have made something a little bit regal, and with all the money you had for this season it looked so cheap!!!

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