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[[File:Banished_-_Promotional_Images_2.jpg|thumb|center|500px]] |
[[File:Banished_-_Promotional_Images_2.jpg|thumb|center|500px]] |
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− | <center><sub>Reign |
+ | <center><sub>Reign “[[Banished]]” ''(Episode #212)'' - Costume designer Meredith Markworth Pollack </sub> </center> |
'''Tyranny Of Style:''' Can you talk to us about the early conversations with the creators of the series about this hybrid of historic and contemporary costumes? |
'''Tyranny Of Style:''' Can you talk to us about the early conversations with the creators of the series about this hybrid of historic and contemporary costumes? |
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− | '''Meredith Markworth Pollack:''' “I first spoke to the show's creator [[Laurie McCarthy]] and the director of the pilot [[Brad Silberling]] as I was wrapping out the second season of ''Hart Of Dixie''. I had a phone interview with them as they were already in Ireland prepping and I pretty much jumped on a plane two days later. They explained to me that Mary and her ladies should feel "of the times" but with modern elements like fabrics, accessories and hairstyles. They kept saying, "think Free People" and I admit I was scratching my head. But as we spoke more and exchanged references and tears I started to understand what they wanted. It wasn't the constricting, neck-ruff wearing Elizabethan fashion we would associate with the period. It was a romantic approach, still with impressive gowns and textiles but with a more relaxed feel. Being very familiar with the CW network and their strong relationship with fashion and fans- it was presented from our first conversation that there would be contemporary elements- elements that the fans could emulate on their own. They wanted the fashion of Reign to be a movement. I showed up in Ireland with Tiger Curren my assistant and we had two weeks prep before we started shooting. I basically didn't sleep the entire time. I just kept thinking, "Holy shit what have I gotten myself into." When you aren't limited to only portraying the historical version- the door is wide open, and that took a moment to define. In a way it's more fantasy than anything else. We created a look and defined the rules ourselves.” |
+ | '''Meredith Markworth Pollack:''' “I first spoke to the show's creator [[Laurie McCarthy]] and the director of the pilot [[Brad Silberling]] as I was wrapping out the second season of ''Hart Of Dixie''. I had a phone interview with them as they were already in Ireland prepping and I pretty much jumped on a plane two days later. They explained to me that [[Mary Stuart|Mary]] and [[Ladies-in-Waiting|her ladies]] should feel "of the times" but with modern elements like fabrics, accessories and hairstyles. They kept saying, "think Free People" and I admit I was scratching my head. But as we spoke more and exchanged references and tears I started to understand what they wanted. It wasn't the constricting, neck-ruff wearing [[Fashion|Elizabethan fashion]] we would associate with the period. It was a romantic approach, still with impressive gowns and textiles but with a more relaxed feel. Being very familiar with [[The CW|the CW network]] and their strong relationship with fashion and fans- it was presented from our first conversation that there would be contemporary elements- elements that the fans could emulate on their own. They wanted [[Fashion|the fashion of Reign]] to be a movement. I showed up in Ireland with Tiger Curren my assistant and we had two weeks prep before we started shooting. I basically didn't sleep the entire time. I just kept thinking, "Holy shit what have I gotten myself into." When you aren't limited to only portraying the historical version- the door is wide open, and that took a moment to define. In a way it's more fantasy than anything else. We created a look and defined the rules ourselves.” |
[[File:Banished_-_Promotional_Images_1.jpg|thumb|center|500px]] |
[[File:Banished_-_Promotional_Images_1.jpg|thumb|center|500px]] |
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− | <center><sub>Reign |
+ | <center><sub>Reign “[[Banished]]” ''(Episode #212)'' - Costume designer Meredith Markworth Pollack </sub> </center> |
'''T/S:''' How did you first set about creating the visual costume language of the world of Reign in those early episodes? |
'''T/S:''' How did you first set about creating the visual costume language of the world of Reign in those early episodes? |
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− | '''MMP:''' “I realized very quickly the way to blend the historical and contemporary was all in the palette and textures. I figured if the costume looked like it belonged, then most people wouldn't question it. I didn't want anything too bold or new looking that it would take you of the element. It was important to me in my process to start with the history. Still today when I am creating a new design, I like to start with a historical image and then tweak it to make it Reign. Once the pilot got picked up and I knew I was moving to Toronto, I spent the next couple of weeks researching and collecting tears. I made a board for everything. There was a Romantics board with the bohemian, Free People vibe. There was a Couture board with basically all |
+ | '''MMP:''' “I realized very quickly the way to blend the historical and contemporary was all in the palette and textures. I figured if the costume looked like it belonged, then most people wouldn't question it. I didn't want anything too bold or new looking that it would take you of the element. It was important to me in my process to start with the history. Still today when I am creating a new design, I like to start with a historical image and then tweak it to make it [[Reign]]. Once the pilot got picked up and I knew I was moving to Toronto, I spent the next couple of weeks researching and collecting tears. I made a board for everything. There was a Romantics board with the bohemian, [[free Free People vibe. There was a Couture board with basically all [[History's Mary Stuart|Mary]], [[History's Catherine de' Medici|Catherine de Medici]], [[History's Diane de Poitiers|Diane de Portiers]], [[History's King Henry II|King Henry II]], [[History's Francis II|Francis II]], etc. I pulled costumes first in Los Angeles at Warner Bros, Western and Palace. The women’s rentals were easy to come by, but I soon realized I had nothing for the men. I then jumped on a plane to Rome and went to Tirelli. I knew that was the best house for men’s costumes of the period. That was a dream. I was blown away, and as I walked in to the atelier they said "Oh you just missed Sophia Loren!" It couldn't have been more Italian. I didn't have time to go to Angels but we ended up renting quite a bit from there as well. We are so lucky in Toronto to have the ''Stratford Shakespeare Festival'' close by, and rent costumes from there. Toronto also has a thriving vintage scene and I loaded up on gowns, jewelry and shoes. I have shoppers in New York and Los Angeles sourcing fabrics for us as well. We constantly need new fabrics and I often order from [[Europe]] and India too.” |
[[File:Fashion Style's of Reign 2.jpg|thumb|center|500px]] |
[[File:Fashion Style's of Reign 2.jpg|thumb|center|500px]] |
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<center><sub>Research and Inspiration Board - Reign - Costume designer Meredith Markworth Pollack</sub> </center> |
<center><sub>Research and Inspiration Board - Reign - Costume designer Meredith Markworth Pollack</sub> </center> |
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− | '''T/S:''' A large portion of the show is historically accurate- especially the older characters and the background players that ground us in the time period, and then you’ve gone wild with the leads, especially the younger characters. Can you tell us what rules/parameters you have set for yourself and your team in creating the broad visual world of Reign, and how has that early vision evolved with the show? |
+ | '''T/S:''' A large portion of the show is historically accurate- especially the older characters and the background players that ground us in the time period, and then you’ve gone wild with the leads, especially the younger characters. Can you tell us what rules/parameters you have set for yourself and your team in creating the broad visual world of [[Reign]], and how has that early vision evolved with the show? |
− | '''MMP:''' “After the pilot it became apparent that keeping the background in a more historical correct look just helped define the tone of the show. There are definitely liberties taken with said accuracies but since the volume of BG is so high (at least 200 per episode), it's actually easier and more efficient to dress them in a historical manner. In general we use rentals on our BG and the rentals are re-creations from the period. It actually takes more money, time, and effort to create a blend with contemporary elements than strictly historical. We've kept the same standards for our nobles and elders, including Queen Catherine and King Henry. The idea to push the boundaries with Mary and her ladies worked story wise as well since they had come from Scotland to France; with them they brought their avant garde fashion sense. I worked with the showrunner Laurie McCarthy to define the general rules of the dressing- no neck ruffs, no hip rolls, and no pumpkin shorts!” |
+ | '''MMP:''' “After the pilot it became apparent that keeping the background in a more historical correct look just helped define the tone of the show. There are definitely liberties taken with said accuracies but since the volume of BG is so high ''(at least 200 per episode)'', it's actually easier and more efficient to dress them in a historical manner. In general we use rentals on our BG and the rentals are re-creations from the period. It actually takes more money, time, and effort to create a blend with contemporary elements than strictly historical. We've kept the same standards for our nobles and elders, including [[Queen Catherine]] and [[King Henry]]. The idea to push the boundaries with Mary and her ladies worked story wise as well since they had come from [[Kingdom of Scotland|Scotland]] to [[Kingdom of France|France]]; with them they brought their avant garde fashion sense. I worked with the showrunner [[Laurie McCarthy]] to define the general rules of the dressing- no neck ruffs, no hip rolls, and no pumpkin shorts!” |
[[File:Fashion Style's of Reign 3.jpg|thumb|center|500px]] |
[[File:Fashion Style's of Reign 3.jpg|thumb|center|500px]] |
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'''T/S:''' Can you talk specifically about how you go about designing for Mary from episode to episode and scene to scene? Her costumes always tell a wonderful color and texture story, but they also move wildly in silhouette from what looks very historic- corseted bodice, long sleeves, and full skirt, to very body conscious dresses that fit the bust, waist, and hips very closely, to un-corseted almost peasant style bohemian looks. Can you speak to what the motivation is between the varying silhouettes and how you use them for different moments? |
'''T/S:''' Can you talk specifically about how you go about designing for Mary from episode to episode and scene to scene? Her costumes always tell a wonderful color and texture story, but they also move wildly in silhouette from what looks very historic- corseted bodice, long sleeves, and full skirt, to very body conscious dresses that fit the bust, waist, and hips very closely, to un-corseted almost peasant style bohemian looks. Can you speak to what the motivation is between the varying silhouettes and how you use them for different moments? |
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− | '''MMP:''' “For me, Mary is the ideal woman to design for- there is dichotomy innately in her of a lover and a warrior. The lace and the leather as I like to put it. This may be an age-old duel, but I find it very current. I know of so many strong women who have this pull- one day you're feeling romantic and soft and want to wear something feminine and delicate. The next day you may have an important meeting and want to come across as strong and confident, so you wear your favorite black blazer. That's Mary. So when we see her in vulnerable moments with Francis or her ladies I like to play around with peasant blouses, lace dresses, embroidered corsets, etc. And when she is dressed to intimidate or stand her ground I like the structured gowns with lots of black leather and metallics. I like to treat Mary's layers and heavy textures as her armor. She has to protect herself, especially after her rape, and she would do so through her wardrobe. I'm most attracted to heavily beaded fabrics. I've been fortunate to find great Indian fabrics that do the trick. We make these into bodices and corsets for her. They're heavy and annoying to wear but Adelaide Kane (who plays Mary) is such a great sport. She's game for anything.” |
+ | '''MMP:''' “For me, [[Mary Stuart|Mary]] is the ideal woman to design for- there is dichotomy innately in her of a lover and a warrior. The lace and the leather as I like to put it. This may be an age-old duel, but I find it very current. I know of so many strong women who have this pull- one day you're feeling romantic and soft and want to wear something feminine and delicate. The next day you may have an important meeting and want to come across as strong and confident, so you wear your favorite black blazer. That's Mary. So when we see her in vulnerable moments with Francis or her ladies I like to play around with peasant blouses, lace dresses, embroidered corsets, etc. And when she is dressed to intimidate or stand her ground I like the structured gowns with lots of black leather and metallics. I like to treat Mary's layers and heavy textures as her armor. She has to protect herself, especially after her rape, and she would do so through her wardrobe. I'm most attracted to heavily beaded fabrics. I've been fortunate to find great Indian fabrics that do the trick. We make these into bodices and corsets for her. They're heavy and annoying to wear but [[Adelaide Kane]] ''(who plays Mary)'' is such a great sport. She's game for anything.” |
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'''T/S:''' Queen Catherine often feels like the most historically costumed of the lead characters- beautifully tailored, rich fabrics, and always gorgeously framing her face and neck. What was the inspiration and motivation behind how you costume her, and how has that evolved over the series? |
'''T/S:''' Queen Catherine often feels like the most historically costumed of the lead characters- beautifully tailored, rich fabrics, and always gorgeously framing her face and neck. What was the inspiration and motivation behind how you costume her, and how has that evolved over the series? |
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− | '''MMP:''' “Yes Catherine de Medici is the most historically accurate from our principle characters. She's also the strongest and I really feel this is represented in her wardrobe. I love using strong necklines and cinched waists, which emulate the shape of what we would see in the 16th Century. I am so fortunate designing for Queen Catherine because of Megan Follows. I find you really can't keep your eyes off Megan- her performance is engaging. She's not afraid to sometimes "take one for the team" as I like to say and wear shapes that may not be the most flattering, but work so well for Catherine. We especially saw this in Season 1 as she was in an un-happy marriage and had it out for Mary. She was a bitch. She required a wardrobe that was strong, formal, and conservative at times. Now that Henry is dead and she is re-discovering her sexuality as well as her role at French court, we've been able to play with her silhouettes and fabrics. We keep her a bit more casual and in more body-con shapes. It feels a bit more medieval. I love anytime the writers give Catherine a love interest or sex scene. Middle-aged woman are sexy! It seems the networks are afraid of that, but Megan and I are not.” |
+ | '''MMP:''' “Yes [[History's Catherine de' Medici|Catherine de Medici]] is the most historically accurate from our principle characters. She's also the strongest and I really feel this is represented in her wardrobe. I love using strong necklines and cinched waists, which emulate the shape of what we would see in the 16th Century. I am so fortunate designing for [[Queen Catherine]] because of [[Megan Follows]]. I find you really can't keep your eyes off Megan- her performance is engaging. She's not afraid to sometimes "take one for the team" as I like to say and wear shapes that may not be the most flattering, but work so well for Catherine. We especially saw this in [[Season One|Season 1]] as she was in an un-happy marriage and had it out for Mary. She was a bitch. She required a wardrobe that was strong, formal, and conservative at times. Now that Henry is dead and she is re-discovering her sexuality as well as her role at French court, we've been able to play with her silhouettes and fabrics. We keep her a bit more casual and in more body-con shapes. It feels a bit more medieval. I love anytime the writers give Catherine a love interest or sex scene. Middle-aged woman are sexy! It seems the networks are afraid of that, but Megan and I are not.” |
[[File:Fashion Style's of Reign 7.jpg|thumb|center|500px]] |
[[File:Fashion Style's of Reign 7.jpg|thumb|center|500px]] |
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'''T/S:''' Can you talk about the motivation between the various silhouettes and styles behind Mary’s ladies? What was your initial vision for each girl, and how have their costumes changed with their characters through the season? |
'''T/S:''' Can you talk about the motivation between the various silhouettes and styles behind Mary’s ladies? What was your initial vision for each girl, and how have their costumes changed with their characters through the season? |
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− | '''MMP:''' “I wanted Mary's ladies to each have their own unique style and incorporate elements of contemporary trends, but in no way overpower Mary. Lady Kenna read as a social climber with a desperate approach for wealth and a title. But once they cast Caitlin Stacey who has a very natural, hippie vibe I decided to play her in a more relaxed, bohemian wardrobe. I love it because you're not always expecting Kenna do say and act as she does, especially when she's wearing chiffon layers and flower crowns. But hippie chicks can want fame and stature too. Lola was always the romantic. She was my heroine and I wanted her in a warm, feminine palette- lot's of burgundies, purples and floral prints. Anna Popplewell has this remarkable period face and body. I always tell her she needs to do a 1940s film after Reign, and there is definitely a ‘40s influence in her wardrobe- structured bodices with strong shoulders, tiny waists, and dramatic skirts. Greer has perhaps had the biggest transformation from all of the ladies. She started out as a young woman constantly trying to keep up her stature. I showed this through her impressive gowns and jewels. She was always done up and very formal. I love the gem tones on her, especially the deep blues and emerald greens. Now, however, she's lost everything and exiled from the castle. I've been keeping her in her most subdued pieces from her closet and playing lots of natural colors to work with the earth tones we see in the village.” |
+ | '''MMP:''' “I wanted Mary's ladies to each have their own unique style and incorporate elements of contemporary trends, but in no way overpower Mary. [[Kenna|Lady Kenna]] read as a social climber with a desperate approach for wealth and a title. But once they cast Caitlin Stacey who has a very natural, hippie vibe I decided to play her in a more relaxed, bohemian wardrobe. I love it because you're not always expecting Kenna do say and act as she does, especially when she's wearing chiffon layers and flower crowns. But hippie chicks can want fame and stature too. [[Lola]] was always the romantic. She was my heroine and I wanted her in a warm, feminine palette- lot's of burgundies, purples and floral prints. [[Anna Popplewell]] has this remarkable period face and body. I always tell her she needs to do a 1940s film after [[Reign]], and there is definitely a ‘40s influence in her wardrobe- structured bodices with strong shoulders, tiny waists, and dramatic skirts. [[Greer]] has perhaps had the biggest transformation from all of the ladies. She started out as a young woman constantly trying to keep up her stature. I showed this through her impressive gowns and jewels. She was always done up and very formal. I love the gem tones on her, especially the deep blues and emerald greens. Now, however, she's lost everything and exiled from the castle. I've been keeping her in her most subdued pieces from her closet and playing lots of natural colors to work with the earth tones we see in the village.” |
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− | '''T/S:''' The menswear is spectacular! You’ve stepped into a fairly common costume trend of taking men out of ill-fitting historic hose and using a fitted trouser instead. You’ve then cranked up the volume! For Francis the combination of rock star style leather pants and studded belts with wonderfully gentle poet shirts is fantastic. And King Henry wears a lot of elaborate leatherwork doublets and jackets, mixed with gorgeous thick knit turtlenecks. Can you talk to us about your inspiration behind the menswear of the series and how it has evolved over the series? |
+ | '''T/S:''' The menswear is spectacular! You’ve stepped into a fairly common costume trend of taking men out of ill-fitting historic hose and using a fitted trouser instead. You’ve then cranked up the volume! For Francis the combination of rock star style leather pants and studded belts with wonderfully gentle poet shirts is fantastic. And [[King Henry]] wears a lot of elaborate leatherwork doublets and jackets, mixed with gorgeous thick knit turtlenecks. Can you talk to us about your inspiration behind the menswear of the series and how it has evolved over the series? |
− | '''MMP:''' “We have a lot of fun with the menswear, especially with all of the leathers. There is an incredible store here in Toronto called Fauk Leather, and they just have the most delicious leathers and suedes. The leather pants have pretty much become a staple for our men. They all have 5 or 6 pairs because they tend to split them open when horseback riding. Toby Regbo (who plays Francis) has a natural rock 'n' roll vibe, so he can wear the leather doublets and pants incredibly well. We started him very simple at the beginning of Season 1 to give ourselves room to grow as he takes on the role of King. He tried so hard not to be the kind of King his father was, so I purposely kept his wardrobe very different from Henry's. Where Henry was flamboyant and typically regal in rich reds and gold, I kept Francis in black and metallics. This also was done intentionally to keep him and Mary in complementing palettes. But now as Francis has matured and inevitably become a dictating King, I am incorporating more elements of Henry's past wardrobe. Many more furs and velvets and rich colors. We also stretched from just the doublet for Francis. I wanted him to become more and more imposing, but he's still so young, so this was a challenge. I decided to build him longer frock coats to be worn open over vests. This helped build him up so to speak. Obviously the frock coat wasn't introduced yet, but this was liberty I decided to take.” |
+ | '''MMP:''' “We have a lot of fun with the menswear, especially with all of the leathers. There is an incredible store here in Toronto called Fauk Leather, and they just have the most delicious leathers and suedes. The leather pants have pretty much become a staple for our men. They all have 5 or 6 pairs because they tend to split them open when horseback riding. [[Toby Regbo]] ''(who plays Francis)'' has a natural rock 'n' roll vibe, so he can wear the leather doublets and pants incredibly well. We started him very simple at the beginning of Season 1 to give ourselves room to grow as he takes on the role of King. He tried so hard not to be the kind of King his father was, so I purposely kept his wardrobe very different from Henry's. Where Henry was flamboyant and typically regal in rich reds and gold, I kept Francis in black and metallics. This also was done intentionally to keep him and Mary in complementing palettes. But now as Francis has matured and inevitably become a dictating King, I am incorporating more elements of Henry's past wardrobe. Many more furs and velvets and rich colors. We also stretched from just the doublet for Francis. I wanted him to become more and more imposing, but he's still so young, so this was a challenge. I decided to build him longer frock coats to be worn open over vests. This helped build him up so to speak. Obviously the frock coat wasn't introduced yet, but this was liberty I decided to take.” |
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'''T/S:''' TV production schedules are tight! Can you give us an idea of your timeline from receiving script to when the costumes go before the camera? How are you sourcing fashion, finding rentals, and creating such beautiful custom pieces in that timeline? |
'''T/S:''' TV production schedules are tight! Can you give us an idea of your timeline from receiving script to when the costumes go before the camera? How are you sourcing fashion, finding rentals, and creating such beautiful custom pieces in that timeline? |
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− | '''MMP:''' “I was a bit naive in thinking Reign would be shot on a different model than other network shows because it's a period show- but no, we shoot an episode in 8 days, and 22 episodes a season! We shoot two tandem days an episode to get inserts and such. It's borderline insanity. There are very few (if any) period shows that shoot as many episodes as we do a season. When you take that combined with our ten principle characters who have on average about 3 changes an episode, it's quite a few costumes. We currently have 2 cutters and 7 seamstresses to keep up with the volume, but it's still not enough. By the time we get a script, have a meeting with the director and ADs, and start designing our builds, we have about four of five days to turn pieces over in the shop. |
+ | '''MMP:''' “I was a bit naive in thinking Reign would be shot on a different model than other network shows because it's a period show- but no, we shoot an episode in 8 days, and 22 episodes a season! We shoot two tandem days an episode to get inserts and such. It's borderline insanity. There are very few ''(if any)'' period shows that shoot as many episodes as we do a season. When you take that combined with our ten principle characters who have on average about 3 changes an episode, it's quite a few costumes. We currently have 2 cutters and 7 seamstresses to keep up with the volume, but it's still not enough. By the time we get a script, have a meeting with the director and ADs, and start designing our builds, we have about four of five days to turn pieces over in the shop. |
[[File:Fashion Style's of Reign 14.jpg|thumb|center|500px]] |
[[File:Fashion Style's of Reign 14.jpg|thumb|center|500px]] |
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<center><sub>Costume shop and talented construction team - Reign - Costume designer Meredith Markworth Pollack</sub> </center> |
<center><sub>Costume shop and talented construction team - Reign - Costume designer Meredith Markworth Pollack</sub> </center> |
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− | Our shop is so strong there's no way we could do what we do without them. I do repeat costumes but try not to do so too often because I know our viewers like their eye-candy. Since my busy schedule rarely allows me to leave the studio, I often shop on-line. Canadians think I'm crazy; it's just not a thing here. But coming from the states and loving sites like Net-A-Porter, Outnet, and Shopbop, I am constantly scouring the web for gowns, jewels, and shoes. Designer and couture gowns work so well on our leading ladies, especially Marchesa, McQueen, Valentino, D&G, but obviously we're on a budget- so I have to pick and choose carefully. There really is a vibrant, creative energy in our costume shop. There are 24 of us all together, plus specialty dailies that will help with breakdown, background, or sewing. It's a well oiled machine at this point!” |
+ | Our shop is so strong there's no way we could do what we do without them. I do repeat costumes but try not to do so too often because I know our viewers like their eye-candy. Since my busy schedule rarely allows me to leave the studio, I often shop on-line. Canadians think I'm crazy; it's just not a thing here. But coming from the states and loving sites like Net-A-Porter, Outnet, and Shopbop, I am constantly scouring the web for gowns, jewels, and shoes. Designer and couture gowns work so well on our leading ladies, especially Marchesa, [[Alexander McQueen|McQueen]], Valentino, D&G, but obviously we're on a budget- so I have to pick and choose carefully. There really is a vibrant, creative energy in our costume shop. There are 24 of us all together, plus specialty dailies that will help with breakdown, background, or sewing. It's a well oiled machine at this point!” |
[[File:Fashion Style's of Reign 15.jpg|thumb|center|500px]] |
[[File:Fashion Style's of Reign 15.jpg|thumb|center|500px]] |
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[[File:Fashion Style's of Reign 16.jpg|thumb|center|500px]] |
[[File:Fashion Style's of Reign 16.jpg|thumb|center|500px]] |
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− | <center><sub>Beaded fabric for new Mary cape (left). Vintage wedding dress ombre dyed for Princess Claude (right) <br/> Reign - Costume designer Meredith Markworth Pollack |
+ | <center><sub>Beaded fabric for new Mary cape ''(left)''. Vintage wedding dress ombre dyed for [[Princess Claude]] ''(right)'' <br/> Reign - Costume designer Meredith Markworth Pollack |
</sub> </center> |
</sub> </center> |
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'''T/S:''' I love the work you are doing, even though I was extremely skeptical at first. And I think there are many people married to historical accuracy that this show is simply not for. What do you say to people that disagree with the show’s approach or who don’t quite understand the purpose behind this type of hybrid? What do you think this style of costuming adds to a storyline that a ridged adherence to a specific time period would have missed? And what has creating this new language of storytelling been like for you as an artist? |
'''T/S:''' I love the work you are doing, even though I was extremely skeptical at first. And I think there are many people married to historical accuracy that this show is simply not for. What do you say to people that disagree with the show’s approach or who don’t quite understand the purpose behind this type of hybrid? What do you think this style of costuming adds to a storyline that a ridged adherence to a specific time period would have missed? And what has creating this new language of storytelling been like for you as an artist? |
||
− | '''MMP:''' “What I found interesting in the first reviews of Reign were some critics saying that we doubted the intelligence of our viewers, but that's not the case at all. It's actually the opposite. I like to think our viewers understand what we are creating- that we are not confined to the exact historical dress but find innovative ways to replicate the shapes and fabrics. It's very postmodern. There will always be haters, and I understand, like I said- it’s not for everyone. But it's also incredibly creative and innovative. Creating an Instagram for the costume shop has been so fulfilling. Fans are constantly reaching out and sharing their inspirations and personal takes on the costumes. That's what it's really about. Knowing that the look we have created inspires women and men alike to think outside the box and try new styles on themselves is truly rewarding.” |
+ | '''MMP:''' “What I found interesting in the first reviews of [[Reign]] were some critics saying that we doubted the intelligence of our viewers, but that's not the case at all. It's actually the opposite. I like to think our viewers understand what we are creating- that we are not confined to the exact historical dress but find innovative ways to replicate the shapes and fabrics. It's very postmodern. There will always be haters, and I understand, like I said- it’s not for everyone. But it's also incredibly creative and innovative. Creating an Instagram for the costume shop has been so fulfilling. Fans are constantly reaching out and sharing their inspirations and personal takes on the costumes. That's what it's really about. Knowing that the look we have created inspires women and men alike to think outside the box and try new styles on themselves is truly rewarding.” |
[[File:Fashion Style's of Reign Meredith Markworth Pollack.jpg|thumb|center|500px]] |
[[File:Fashion Style's of Reign Meredith Markworth Pollack.jpg|thumb|center|500px]] |
||
− | <center><sub>Costume designer Meredith Markworth Pollack</sub> </center> |
+ | <center><sub>[[Meredith Markworth-Pollack|Costume designer Meredith Markworth Pollack]]</sub> </center> |
− | A huge thanks to Meredith and the team at The CW for their insight and images. I am truly impressed by the work they are producing, especially on such a challenging timetable. Season 1 of the series is currently available on Netflix, if you're brave enough to put your doubts aside and be taken a brave new |
+ | A huge thanks to Meredith and the team at [[The CW]] for their insight and images. I am truly impressed by the work they are producing, especially on such a challenging timetable. [[Season One|Season 1]] of the series is currently available on Netflix, if you're brave enough to put your doubts aside and be taken a brave new |
'''Reign airs on Wednesdays on [[M3]] at 8 P.M. and Thursdays at 9 p.m. on [[The CW]].''' |
'''Reign airs on Wednesdays on [[M3]] at 8 P.M. and Thursdays at 9 p.m. on [[The CW]].''' |
Revision as of 00:32, 29 January 2015
Tyranny of Style - Meredith Markworth Pollack
High-Fashion Historic Hybrid - The Costume Design of Reign
Fashion Style's of Reign Meredith Markworth Pollack The CW’s Reign, based loosely on the life of Mary Queen of Scots, has taken a decidedly modern approach to the retelling of this historic drama. And the costumes have played a huge part in this adaptation. Maddening to period purists, the show has purposely created a high-fashion hybrid, weaving in current fashion with historic styles. As a costume historian, I initially found it hard to settle into, as referenced by my first review after only one episode. However, I am thankful I took the time to revisit the show, plunging further into the storyline and costume journey. The show has proven an excellent fantasy hybrid, fascinatingly mixing period costumes for the background and older characters, but letting loose in reimagining the main and younger characters.
I recently had the chance to talk with costume designer Meredith Markworth Pollack about her process in desconstructing this period, and reimagining it for a new audience. She shares with us great insight, and is even forgiving of my initial judgments!
Tyranny Of Style: Can you talk to us about the early conversations with the creators of the series about this hybrid of historic and contemporary costumes?
Meredith Markworth Pollack: “I first spoke to the show's creator Laurie McCarthy and the director of the pilot Brad Silberling as I was wrapping out the second season of Hart Of Dixie. I had a phone interview with them as they were already in Ireland prepping and I pretty much jumped on a plane two days later. They explained to me that Mary and her ladies should feel "of the times" but with modern elements like fabrics, accessories and hairstyles. They kept saying, "think Free People" and I admit I was scratching my head. But as we spoke more and exchanged references and tears I started to understand what they wanted. It wasn't the constricting, neck-ruff wearing Elizabethan fashion we would associate with the period. It was a romantic approach, still with impressive gowns and textiles but with a more relaxed feel. Being very familiar with the CW network and their strong relationship with fashion and fans- it was presented from our first conversation that there would be contemporary elements- elements that the fans could emulate on their own. They wanted the fashion of Reign to be a movement. I showed up in Ireland with Tiger Curren my assistant and we had two weeks prep before we started shooting. I basically didn't sleep the entire time. I just kept thinking, "Holy shit what have I gotten myself into." When you aren't limited to only portraying the historical version- the door is wide open, and that took a moment to define. In a way it's more fantasy than anything else. We created a look and defined the rules ourselves.”
T/S: How did you first set about creating the visual costume language of the world of Reign in those early episodes?
MMP: “I realized very quickly the way to blend the historical and contemporary was all in the palette and textures. I figured if the costume looked like it belonged, then most people wouldn't question it. I didn't want anything too bold or new looking that it would take you of the element. It was important to me in my process to start with the history. Still today when I am creating a new design, I like to start with a historical image and then tweak it to make it Reign. Once the pilot got picked up and I knew I was moving to Toronto, I spent the next couple of weeks researching and collecting tears. I made a board for everything. There was a Romantics board with the bohemian, [[free Free People vibe. There was a Couture board with basically all Mary, Catherine de Medici, Diane de Portiers, King Henry II, Francis II, etc. I pulled costumes first in Los Angeles at Warner Bros, Western and Palace. The women’s rentals were easy to come by, but I soon realized I had nothing for the men. I then jumped on a plane to Rome and went to Tirelli. I knew that was the best house for men’s costumes of the period. That was a dream. I was blown away, and as I walked in to the atelier they said "Oh you just missed Sophia Loren!" It couldn't have been more Italian. I didn't have time to go to Angels but we ended up renting quite a bit from there as well. We are so lucky in Toronto to have the Stratford Shakespeare Festival close by, and rent costumes from there. Toronto also has a thriving vintage scene and I loaded up on gowns, jewelry and shoes. I have shoppers in New York and Los Angeles sourcing fabrics for us as well. We constantly need new fabrics and I often order from Europe and India too.”
T/S: A large portion of the show is historically accurate- especially the older characters and the background players that ground us in the time period, and then you’ve gone wild with the leads, especially the younger characters. Can you tell us what rules/parameters you have set for yourself and your team in creating the broad visual world of Reign, and how has that early vision evolved with the show?
MMP: “After the pilot it became apparent that keeping the background in a more historical correct look just helped define the tone of the show. There are definitely liberties taken with said accuracies but since the volume of BG is so high (at least 200 per episode), it's actually easier and more efficient to dress them in a historical manner. In general we use rentals on our BG and the rentals are re-creations from the period. It actually takes more money, time, and effort to create a blend with contemporary elements than strictly historical. We've kept the same standards for our nobles and elders, including Queen Catherine and King Henry. The idea to push the boundaries with Mary and her ladies worked story wise as well since they had come from Scotland to France; with them they brought their avant garde fashion sense. I worked with the showrunner Laurie McCarthy to define the general rules of the dressing- no neck ruffs, no hip rolls, and no pumpkin shorts!”
T/S: Can you talk specifically about how you go about designing for Mary from episode to episode and scene to scene? Her costumes always tell a wonderful color and texture story, but they also move wildly in silhouette from what looks very historic- corseted bodice, long sleeves, and full skirt, to very body conscious dresses that fit the bust, waist, and hips very closely, to un-corseted almost peasant style bohemian looks. Can you speak to what the motivation is between the varying silhouettes and how you use them for different moments?
MMP: “For me, Mary is the ideal woman to design for- there is dichotomy innately in her of a lover and a warrior. The lace and the leather as I like to put it. This may be an age-old duel, but I find it very current. I know of so many strong women who have this pull- one day you're feeling romantic and soft and want to wear something feminine and delicate. The next day you may have an important meeting and want to come across as strong and confident, so you wear your favorite black blazer. That's Mary. So when we see her in vulnerable moments with Francis or her ladies I like to play around with peasant blouses, lace dresses, embroidered corsets, etc. And when she is dressed to intimidate or stand her ground I like the structured gowns with lots of black leather and metallics. I like to treat Mary's layers and heavy textures as her armor. She has to protect herself, especially after her rape, and she would do so through her wardrobe. I'm most attracted to heavily beaded fabrics. I've been fortunate to find great Indian fabrics that do the trick. We make these into bodices and corsets for her. They're heavy and annoying to wear but Adelaide Kane (who plays Mary) is such a great sport. She's game for anything.”
T/S: Queen Catherine often feels like the most historically costumed of the lead characters- beautifully tailored, rich fabrics, and always gorgeously framing her face and neck. What was the inspiration and motivation behind how you costume her, and how has that evolved over the series?
MMP: “Yes Catherine de Medici is the most historically accurate from our principle characters. She's also the strongest and I really feel this is represented in her wardrobe. I love using strong necklines and cinched waists, which emulate the shape of what we would see in the 16th Century. I am so fortunate designing for Queen Catherine because of Megan Follows. I find you really can't keep your eyes off Megan- her performance is engaging. She's not afraid to sometimes "take one for the team" as I like to say and wear shapes that may not be the most flattering, but work so well for Catherine. We especially saw this in Season 1 as she was in an un-happy marriage and had it out for Mary. She was a bitch. She required a wardrobe that was strong, formal, and conservative at times. Now that Henry is dead and she is re-discovering her sexuality as well as her role at French court, we've been able to play with her silhouettes and fabrics. We keep her a bit more casual and in more body-con shapes. It feels a bit more medieval. I love anytime the writers give Catherine a love interest or sex scene. Middle-aged woman are sexy! It seems the networks are afraid of that, but Megan and I are not.”
T/S: Can you talk about the motivation between the various silhouettes and styles behind Mary’s ladies? What was your initial vision for each girl, and how have their costumes changed with their characters through the season?
MMP: “I wanted Mary's ladies to each have their own unique style and incorporate elements of contemporary trends, but in no way overpower Mary. Lady Kenna read as a social climber with a desperate approach for wealth and a title. But once they cast Caitlin Stacey who has a very natural, hippie vibe I decided to play her in a more relaxed, bohemian wardrobe. I love it because you're not always expecting Kenna do say and act as she does, especially when she's wearing chiffon layers and flower crowns. But hippie chicks can want fame and stature too. Lola was always the romantic. She was my heroine and I wanted her in a warm, feminine palette- lot's of burgundies, purples and floral prints. Anna Popplewell has this remarkable period face and body. I always tell her she needs to do a 1940s film after Reign, and there is definitely a ‘40s influence in her wardrobe- structured bodices with strong shoulders, tiny waists, and dramatic skirts. Greer has perhaps had the biggest transformation from all of the ladies. She started out as a young woman constantly trying to keep up her stature. I showed this through her impressive gowns and jewels. She was always done up and very formal. I love the gem tones on her, especially the deep blues and emerald greens. Now, however, she's lost everything and exiled from the castle. I've been keeping her in her most subdued pieces from her closet and playing lots of natural colors to work with the earth tones we see in the village.”
T/S: The menswear is spectacular! You’ve stepped into a fairly common costume trend of taking men out of ill-fitting historic hose and using a fitted trouser instead. You’ve then cranked up the volume! For Francis the combination of rock star style leather pants and studded belts with wonderfully gentle poet shirts is fantastic. And King Henry wears a lot of elaborate leatherwork doublets and jackets, mixed with gorgeous thick knit turtlenecks. Can you talk to us about your inspiration behind the menswear of the series and how it has evolved over the series?
MMP: “We have a lot of fun with the menswear, especially with all of the leathers. There is an incredible store here in Toronto called Fauk Leather, and they just have the most delicious leathers and suedes. The leather pants have pretty much become a staple for our men. They all have 5 or 6 pairs because they tend to split them open when horseback riding. Toby Regbo (who plays Francis) has a natural rock 'n' roll vibe, so he can wear the leather doublets and pants incredibly well. We started him very simple at the beginning of Season 1 to give ourselves room to grow as he takes on the role of King. He tried so hard not to be the kind of King his father was, so I purposely kept his wardrobe very different from Henry's. Where Henry was flamboyant and typically regal in rich reds and gold, I kept Francis in black and metallics. This also was done intentionally to keep him and Mary in complementing palettes. But now as Francis has matured and inevitably become a dictating King, I am incorporating more elements of Henry's past wardrobe. Many more furs and velvets and rich colors. We also stretched from just the doublet for Francis. I wanted him to become more and more imposing, but he's still so young, so this was a challenge. I decided to build him longer frock coats to be worn open over vests. This helped build him up so to speak. Obviously the frock coat wasn't introduced yet, but this was liberty I decided to take.”
T/S: TV production schedules are tight! Can you give us an idea of your timeline from receiving script to when the costumes go before the camera? How are you sourcing fashion, finding rentals, and creating such beautiful custom pieces in that timeline?
MMP: “I was a bit naive in thinking Reign would be shot on a different model than other network shows because it's a period show- but no, we shoot an episode in 8 days, and 22 episodes a season! We shoot two tandem days an episode to get inserts and such. It's borderline insanity. There are very few (if any) period shows that shoot as many episodes as we do a season. When you take that combined with our ten principle characters who have on average about 3 changes an episode, it's quite a few costumes. We currently have 2 cutters and 7 seamstresses to keep up with the volume, but it's still not enough. By the time we get a script, have a meeting with the director and ADs, and start designing our builds, we have about four of five days to turn pieces over in the shop.
Our shop is so strong there's no way we could do what we do without them. I do repeat costumes but try not to do so too often because I know our viewers like their eye-candy. Since my busy schedule rarely allows me to leave the studio, I often shop on-line. Canadians think I'm crazy; it's just not a thing here. But coming from the states and loving sites like Net-A-Porter, Outnet, and Shopbop, I am constantly scouring the web for gowns, jewels, and shoes. Designer and couture gowns work so well on our leading ladies, especially Marchesa, McQueen, Valentino, D&G, but obviously we're on a budget- so I have to pick and choose carefully. There really is a vibrant, creative energy in our costume shop. There are 24 of us all together, plus specialty dailies that will help with breakdown, background, or sewing. It's a well oiled machine at this point!”
Reign - Costume designer Meredith Markworth Pollack
T/S: I love the work you are doing, even though I was extremely skeptical at first. And I think there are many people married to historical accuracy that this show is simply not for. What do you say to people that disagree with the show’s approach or who don’t quite understand the purpose behind this type of hybrid? What do you think this style of costuming adds to a storyline that a ridged adherence to a specific time period would have missed? And what has creating this new language of storytelling been like for you as an artist?
MMP: “What I found interesting in the first reviews of Reign were some critics saying that we doubted the intelligence of our viewers, but that's not the case at all. It's actually the opposite. I like to think our viewers understand what we are creating- that we are not confined to the exact historical dress but find innovative ways to replicate the shapes and fabrics. It's very postmodern. There will always be haters, and I understand, like I said- it’s not for everyone. But it's also incredibly creative and innovative. Creating an Instagram for the costume shop has been so fulfilling. Fans are constantly reaching out and sharing their inspirations and personal takes on the costumes. That's what it's really about. Knowing that the look we have created inspires women and men alike to think outside the box and try new styles on themselves is truly rewarding.”
A huge thanks to Meredith and the team at The CW for their insight and images. I am truly impressed by the work they are producing, especially on such a challenging timetable. Season 1 of the series is currently available on Netflix, if you're brave enough to put your doubts aside and be taken a brave new
Reign airs on Wednesdays on M3 at 8 P.M. and Thursdays at 9 p.m. on The CW.
E-Onlin - Laurie McCarthy
Let the fallout begin. In tonight's fall finale, Reign's royals will deal with the impact of the harrowing attack on the castle in last week's episode, which found Mary (Adelaide Kane) at the center of a controversial rape storyline after a failed assassination attempt on Francis (Toby Regbo). And showrunner Laurie McCarthy told E! News that the fallout from the shocking attack will affect many of The CW drama's relationships. Here's what's ahead for some of Reign's major pairings in tonight's midseason finale and beyond. And yes, McCarthy confirmed that fans will see an open marriage this season. (Of course, she wouldn't divulge the couple.) Mary and Francis: Mary and Catherine: But that doesn't mean Catherine will be making like Sears and showing off a softer side. "She's ruthless, she's cunning and she's protective of her own power and the power of her children," McCarthy said. "I wouldn't say that this is going to soften her character, but it's definitely paid off a dynamic between Catherine and Mary that has really become a familiar dynamic." (Plus, expect to see King Henry's ghostly return, which we exclusively reported, completely shake up things for Catherine.) Lola and Lord Narcisse: Bash and Kenna: "They are two very different people who deeply love each other, but their differences are going to rise up. We have a new character coming to town in the form of Antoine (Conde's brother, played by Ben Aldridge), who's introduced in the 10th episode, and he's going to play a role in what will be a great test of their marriage. Kenna has a thing for kings; I think that won't go away." Greer and Castleroy: |
Entertainment Weekly - Laurie McCarthy
After a story leaked months ago that Reign was working on a rape storyline that involved Mary, fans immediately took to Twitter to share their thoughts on the idea. More than 1,000 viewers signed a petition hoping to stop the writers before they could film the scene. But in tonight’s penultimate episode, Mary was raped by a Protestant who entered the castle in a failed assassination attempt against Francis. In a painful scene, one of the Protestants revealed himself to be the father of the minister who was murdered last week. And as payback, he decided to attack Mary while another guard held her down. As the title of the episode indicated, it was an act of war and one that will undoubtedly end with the Protestant’s death, particularly after Mary tasked Francis with the job of finding the men that did this to her. But regardless of what happens next, we got Reign showrunner Laurie McCarthy on the phone to talk about the shocking twist and explain why the writers felt it was an important scene.
I’ll admit that I didn’t want to watch the episode, but by the end of it, I thought that scene created such a great dramatic moment between Mary and Catherine, and I loved that it gave us a new angle on the life of a royal, of her having to put her country before herself. When this plot leaked a couple months ago, there was a lot of discussion about it on Twitter. Someone even started a small petition. Did that at all affect how you all handled this? Surely, some people will say, “Why couldn’t they have found another way to make Mary have this turning point in her life?” What do you say to them about why you chose to do it this way? What were the discussions around how you wanted to film the scene? I think we wanted to film it in a way that made it clear that this was happening. My other concern was that it was really portrayed as an act of violence. It was very important to me that it wasn’t eroticized in any way, shape, or form, that it really was an act of hatred and violence and really powerlessness and rage. Moving forward, how will this change things for Mary and for the show in general? I feel like what I’m happy about is that what comes out of that episode is really this deep bonding between Mary and Catherine. To be honest, that’s the thing that gives me tears and a knot in my throat is the two of them shouldering the trials and tribulations of their situations together. Anything else you want to add? Reign airs on Wednesdays on M3 at 8 P.M. and Thursdays at 9 p.m. on The CW. |
TV.com - Jonathan Keltz
Unfortunately, actor Jonathan Keltz is forever holding his peace about tonight’s nuptials, though he’s already hinted that the wedding might not go down as expected. Below, Keltz takes TVLine into Leith’s pre-wedding headspace, weighs the possible outcomes of Greer’s big day and previews the star-crossed lovers’ future at French Court. TVLINE - I’ve got to say, I’m not thrilled about the way Greer and Leith’s relationship has progressed. TVLINE - Am I foolish for holding out hope this week, that he might stop her wedding? TVLINE - That’s so many possibilities. Reign Greer WeddingTVLINE - And there’s more than just feelings to consider; there’s also that whole political/religious mess, right? TVLINE - Let’s say Leith fails, and Greer marries Castleroy, what’s next for him? Who is Leith outside of that relationship? |
TV.com - Megan Follows
If you watch Reign, chances are you love Queen Catherine, perhaps the most badass mother-in-law of all time. Portrayed by Megan Follows (Anne of Green Gables), Catherine serves as equal parts adversary and mentor to Mary, who's still figuring out what it really means to be a queen. I chatted with the actress about Catherine's motivations, the murdered King Henry, Nostradamus, and growing up in a haunted house; here's what she had to say.
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TVLine.com - Megan Follows
“Catherine wants to exude a lot of stability by indulging in quite a showy Coronation, even though we’re up against the critical situation with food shortages and political unrest,” Megan Follows explains. “Francis and Mary aren’t impressed by her impressive display of showmanship; she believes that, even if you’re in serious trouble, you don’t let anyone know that.”
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TVLine.com - Craig Parker
TVLINE - I know we met Narcisse last week, but in your own words, can you introduce us to him? TVLINE - And he’s no fan of Mary’s. TVLINE - Narcisse is being described as the “big bad” this season. Is that fair? TVLINE - I’m told told Narcisse has a healthy sexual appetite. Can you confirm? TVLINE - You sound like you’re describing Catherine to a T. What can we expect from those two? |
TVLine.com - Adelaide Kane & Laurie McCarthy
BABY BLUES: MO KASH, MO ‘PROBLEMS’: GHOST WORLD: HEY DUDES: SCARY MARY: WEDDING BELLS: A CLOSE SHAVE: DEADLY TRIANGLE: |
TVLine.com - Toby Regbo
And baby makes… four? Yes, Francis is facing a complicated — not to mention deadly — future when Reign returns Thursday and star Toby Regbo says we’ll be lucky if the young king doesn’t go “completely mental” in Season 2. (Like father, like son, right?) “I’m on my way to meet my baby that’s just been given birth to by my wife’s best friend, so it’s a rather convoluted and complex relationship that I’ve been thrown into at the last minute,” Regbo admits. “Coupled with that, there’s the plague that’s ravaging the land, so it’s pretty messy.” TVLINE: Will Francis be a hands-on dad? I’m trying to picture him changing diapers and it’s not working. TVLINE: Catherine seems worried that Lola could disrupt Francis’ marriage. Does he really still have feelings for her? TVLINE: Have you worked with a baby before? TVLINE: That baby’s mother must have had to sign a contract before it was even born! TVLINE: Those interactions probably come off looking pretty authentic, though, since Francis is also totally new to the baby world. TVLINE: Speaking of baby dolls, how’s Francis’ relationship with Bash in Season 2? TVLINE: Francis also makes a new friend in Season 2 — Conde, I believe. What’s he all about? TVLINE: Lastly, I know Francis doesn’t want to be anything like his father. How can he hope to make that happen? |
JustJaredJr.com - Torrance Coombs
The talented Torrance Coombs opens up to JJJ about tonight’s season two premiere of Reign in this brand new interview! The 31-year-old Canadian actor talks to us about Bash’s mission to “maintain order among the chaos” in wake of The Plague that sweeps the castle. Meanwhile Torrance also teases some brotherly moments ahead, as Francis (Toby Regbo) begins to lean on Bash even more amid pressures of being king. Check it out! JustJaredJr.com: With the arrival of the plague, is it safe to say everyone is in danger? JJJ: Because he was warned about it and killed The Darkness anyway, is Bash feeling any guilt? JJJ: With Francis gone and this hysteria going on, does Mary lose control of everything? JJJ: Does Mary lean on Bash at all? TC: You know what? Not particularly. But Francis starts to lean very heavily on Bash, to the point that he’s like his deputy, to help him with some of the dirty business he can’t carry out himself – and to be his eyes and ears on the ground, and watch his back. JJJ: We saw a nice hug between Francis and Bash in the finale. Will we see more brotherly bonding moments ahead? JJJ: Does Henry’s death still weight heavily on him? JJJ: We saw Bash and Kenna share “I love you’s” in the finale. Where to we find them in the premiere? JJJ: What is Catherine up to during all of this? JJJ: If you could give Bash any piece of advice going into season two, what would it be? |
TheWrap's “Drinking With the Stars - Adelaide Kane
|CW's “Reign” has Mary ruling France without husband Francis and her portrayer Adelaide Kane is pretty upset about it. During interview for a new episode of TheWrap‘s Drinking With the Stars, Adelaide Kane revealed that Mary will always try to do the right thing, but the fact that Francis (Toby Regbo) now has an illegitimate child with her lady-in-waiting Lola (Anna Popplewell) will be a source of tension for the newly-crowned rulers of France. “It's pretty much her only job, to get pregnant and have babies,” Kane said of Mary's royal duties. “Having the baby around is almost rubbing her nose in the fact that she hasn't had a child yet, and that's going to be very painful for her.” Meanwhile, Mary hasn't forgotten about what led to this whole mess in the first place — Francis and Lola sleeping together. “She's trying to make the best of it with Lola, Lola's still her friend,” said Kane. “It's been brought up with Francis once or twice, but I think there's still a conversation that needs to happen. Maybe a few glasses should be thrown and a casual slap across the face is required. She hasn't blown up about it yet and I really want her to!” Mary's unrelenting nobleness in the face of all adversity has Kane wanting the queen of France and Scotland to blow off some steam. “I want to break something,” Kane joked. “Everyone else gets to break things and I never get to break anything … I want to have an episode where she's channeling Queen Catherine (Megan Follows) and is all sassy.” Kane also discussed what she calls the show's “stealth feminism,” by referring to the checklist which highlights gender bias in media. “We pass the Bechdel test almost every week!” she cheered. “Not many shows can do that, not many movies can do that, full stop. We get a lot of flack for being, essentially, a costume melodrama — we're a little soapy and campy, which is okay, I love it — but I have to say we're like a stealth feminist show. We also have really healthy, normalized versions of female sexuality.” The show is also known for scenes of Mary taking charge and Francis taking a back seat, which Kane revealed she's discovered fans are really into. “There are a couple of great gifsets on Tumblr of those scenes,” she laughed. “Where Francis is like ‘So turned on right now.’ Every time Mary exercises her power, Francis is so into it! He's like, ‘Yeah, that's my woman!'” Reign airs every Wednesday at 9 p.m. ET on M3, and Thursday at 9 p.m. ET on The CW. |
Real Style - Jonathan Keltz
Jonathan Keltz does an interview with Real Style on October 1st, 2014 Real Style: Tell us about Season 2 of Reign. Real Style: How does Leith change this season? Real Style: Greer could possibly be in your future? Real Style: What was it like kissing Celina Sinden (Greer) Real Style: What’s your favourite part of working on Reign? Real Style: You would never guess that it was shot in Toronto. Real Style: What’s your favourite part about Toronto? Real Style: What are your plans when you’re done shooting Reign? Real Style: That would be nice. |
TVLine.com - Meredith Markworth-Pollack
On Reign, the lush, creative costuming - which evokes everything from historical portraiture to Alexander McQueen's couture to Stevie Nicks's witchy wardrobe - is almost as engrossing as the show's courtly drama. An unmistakable combination of historical dress and contemporary high fashion, Reign's outfits (especially the outfits worn by Mary, Queen of Scots, and her ladies-in-waiting) help mark the show as one of the most distinct period dramas out there. I asked Reign wardrobe designer Meredith Markworth-Pollack how she developed the series' unique take on Renaissance style, what elements make a dress fit for a (TV) queen - and whether any of the show's looks will be showing up in a mall near you any time soon. TV Fanatic: How did you develop Reign's unique, specific fashion look? What were the inspirations? There were no rules or boundaries. I had to set them. I started with mood boards for each character, with both historical and contemporary images. I wanted the show to look like a painting, with each character complimenting the next. I knew the only way to do this, especially with using contemporary pieces, was to keep a rich yet muted palette. Any synthetic colors or textures would take the viewer out of the world we created.
TVF: What parts of designing for a period-specific show are more fun than designing for a show set in the modern day? What parts are more difficult? TVF: How did you decide exactly how historically accurate to make the show's look? What inspired you to keep some genuine Renaissance fashion elements, and discard others in place of more modern elements? TVF: Which (if any) modern-day designers do you take inspiration from when designing--especially when designing the dresses for Mary and the Ladies. TVF: Any chance you'll do a line of Reign-inspired fashion for the public, a la the Pretty Little Liars collection? |
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