SPOILER ALERT: Don’t learn if in case you have not but watched the second season of “The Umbrella Academy,” streaming now on Netflix.
The second season of “The Umbrella Academy” snaps its characters again in time to the 1960s — and sure, that features Kate Walsh because the Handler, regardless of being shot and presumed lifeless within the first season of the Netflix adaptation of Gerard Approach’s graphic novels. To place collectively the Handler’s colourful and sometimes grand appears for the season, costume designer Christopher Hargadon relied on magazines and different picture references from the 1950s and ’60s, however he additionally discovered collaborating with Walsh herself was key.
Walsh says the function of the Handler was initially written for a person, so when she was forged as a substitute, creator and showrunner Steve Blackman instructed her and Hargadon that they might “do no matter you wish to do with hair, make-up and costume.”
“Chris and I labored very intently and we’d store for materials,” Walsh tells Selection of their collaboration that started again in season one and carried by to season 2.
Silhouettes within the ’60s featured traditional strains and had been typically markedly extra free than the fitted bodices, nipped waists and broad skirts of the earlier decade. Arguably the period’s most iconic feminine was Jacqueline Kennedy Onassis, who was one supply of silhouette inspiration for the sharply-dressed Handler.
“She heralded the contemporary new look of the ’60s into households of the nation greater than every other celeb. She was broadly imitated,” says Hargadon.
Hargadon made certain to have “quite a lot of equipment” on the Handler as a result of he “wished to have a little bit component of kink.”
One such kink had been the top coverings the Handler was by no means with out. These had been made by costume builder Milena Radeva. “These hats are artistic endeavors,” says Walsh.
Right here, Hargadon and Walsh take Selection by a few of the early key appears of The Handler from the second season of “The Umbrella Academy.”
Audrey Hepburn Meets Marge Simpson
Christopher Hargadon: “We wished to play in opposition to sort with this search for her. Kate noticed herself being in sky blue. I got here up with the silhouette, which she liked. We needed to dye that silk to get that blue coloration. I had this previous necklace that I had constructed with the large pearls, which Kate liked immediately due to the best way the necklace follows the neckline. The hat and purse had been made out of white vinyl, however I put a blood-red and gold spider on the purse to offer it a creepy component. And we weave spiders all through her design all through the remainder of the season. My approach of characterizing this outfit is Audrey Hepburn meets Marge Simpson.”
Kate Walsh: “This was the primary scene again the place she was strolling down the road. Christopher had reduce out all these photographs from magazines, however I wished that sculpted Nefertiti form with the hat. I had actually wished that hat and that look. I really like coloration and it is a present the place the Handler can put on quite a lot of colours and pop it out. That is an instance of that.”
One other Grand Entrance
Hargadon: “The persimmon look was once more one other entrance look. She begins with a black coat. And that is one thing I really like about Kate: she loves carrying hats and veils, that are issues that administrators and cinematographers typically hate and can nix as a result of they don’t work for lighting. However Kate insisted on them as a result of they completed the outfit. I’m so grateful that she fought for them.
That hat was off the charts. I mentioned, ‘I wish to go massive.’ And the primary one [Milena] made wasn’t large enough so I made her go larger right here.
Once I was sketching that outfit, as I received to the again, I wished it to appear to be a wasp. I took the tails and introduced them again into factors with a slit up the center to get that impact. Once more, including within the kinky component, I used black vinyl on the trim as a substitute of material. Together with her outfits, there’s at all times one thing off-kilter which displays her character.”
Walsh: “This is perhaps certainly one of my favorites. I’m cinched in on the waist and it’s virtually like armor. It match like a cloth. I really like that she dressed up for her demotion.”
The Gold Coat
Hargadon: “Throughout my discussions with Kate, we determined to have an outer layer. With Jackie Kennedy getting into the White Home — to me, she was the standard-bearer for the New Age out of the ’50s with the broad skirt and nipped waist into these a lot much less structured silhouettes however made with lovely materials. It was precisely the time for that. In order that’s what we used right here.
Kate mentioned she was OK carrying the bigger outerwear. Beneath, she wished to really feel like a cockroach — nipped and slim. Inside her persona and performing, she wished this sense of one thing very cringe-worthy and never straightforward to have a look at. She wished one thing creepy and psychotic lurking beneath. That was the start of that dialogue. The start of any design is material. I’ll amass any material, will run to a cloth retailer, and throw them on a desk and one thing will bounce out at me.
The coat initially had a poofy, broad collar, however I didn’t have sufficient material. So, I did one thing with one other material and layered it with tuille and it had a quantity. Once we did the becoming, we determined we preferred the simplicity of the collarless look and we went with that for the ultimate look.”
Walsh: “For me, that coat was a couple of issues: one it was all concerning the material, after which the form. Christopher has impeccable style in materials. It’s tremendous sensual — this heavy, luminous silk satin, brocade. He has a present of choosing out the tapestries of any material and it’s a scrumptious expertise to see it after which have him reduce it.
The scene was going to begin on the Handler’s iconic crimson pump, which was essential. However once more, it was all about working in live performance — the hair, make-up — and it was all super-specific.”