Tony GilroyThe critically acclaimed series Andor It takes audiences back to the five-year time window prior to the tragic events in Rogue Oneto show the voyage made by Cassian Andor (Diego Luna) became the man who was willing to sacrifice his life to ensure that the Death Star’s plans fell into the right hands. While Andor Focused on a full cast of characters, Cassian was the heart and soul of the series, with the final three episodes centering around his imprisonment inside Narkina 5’s Imperial factory facility. Across the ten episodes currently broadcast, Andor It showed a wide range of cultures, including the Dhani people of Aldhani, the industrious denizens of Ferrix, and the lost people of Kenari. All of these vibrant communities have been brought to life by the ingenious fashion designs of AndorFashion designer Michael Wilkinsonnwho Collider had the opportunity to speak with prior to the episode 10 premiere.
During the conversation with Wilkinson, he talks about how his past projects have influenced his approach Andor, how he carefully chose the colors, textures, and patterns associated with each planet the series goes to, why he was unable to use pre-existing costumes to match Gilroy’s vision for the show, and how the wardrobe each character wears is designed to hide their true nature. Wilkinson also confirmed that he will return for the second season, which is set to begin filming at the end of the month.
Collider: I’ve obviously looked at your resume, and you’ve done many great projects and a variety of them. So I’m just curious, was there anything that you learned in some of the previous films that you worked on that you brought with you Andor?
Michael Wilkinson: I think the most important thing, probably, is telling the whole story. I feel like when you’re working on this long format series, the story arcs are really long, and it runs for 12 episodes, so that’s nine hours. This is roughly like three or four gifs. So you really have to be very clear about the storytelling that you’re doing with your costumes. So things like create. We spend a lot of time creating different boards for the different worlds we go to. So when you cut from Ferrix to Aldhani, from Coruscant to Narkina 5, they’re all carefully curated platforms of textures and colors and things so that the information is really clear to the audience.
We’ve done a lot of thinking about distinguishing planets. It helped us think about what the climate was like on the planet, what the raw materials were, so we could really think long and deep and make that very authentic to the viewer. We thought about cultures on different planets. How developed is the culture, what technologies do they have for making their clothes and things. So all of this exploration really helps identify seven or eight different planets that we’ve been to, and I think my experience with motion pictures has really helped me with that identification.
I’m very impressed with Mon Mothma’s wardrobe, and pretty much all of the Chandrilans in general, they’re gorgeous, and a lot of her costumes seem to fit well with her surroundings. And so I was a little curious to see, what went into those design choices and make sure they looked roughly part of the sets that they were working on as well.
WILKINSON: Well, it’s really important to collaborate with the production designer. I had a great time working with Luke Hull, our wonderful production designer, and we were in each other’s pockets about the color palettes and what I was just talking about, the cultures, the climates, the materials they would have on hand to build their worlds and their interiors and architecture and costumes. So we’ve already ordered that very closely. And so we always worked together. I think you can clearly see it in places like The Embassy where Mon Mothma is just a beautiful sea of creams, ivories, and oyster tones, and it really came together nicely.
I’ve noticed that throughout the series, Cassian is layered. He’s got that really cool tunic, and then of course he’s wearing ponchos when they’re wearing Aldhani. Then when he goes to Nyamos for the first time, and he has much lighter material, he’s on vacation, and he gets arrested right away. And that was an interesting contrast seeing how his clothes also looked combined with the situation he was in. So I was interested to know if there were any different ideas thrown in for this scene in the details, or what went into Nyamos’ costume design aesthetic.
WILKINSON: I’m really glad you noticed that because it was really one of the things that really attracted me about this project, was the idea of disguises and all the really main characters, Mon Mothma and Cassian and Bex, they all use their clothes to hide their true selves because they live in a world where it’s dangerous for them to They reveal their true nature. With Cassian, I have this conundrum of design. I have a leadership personality that should disappear, not draw attention to itself, hiding in its clothes. But since he’s our lead actor, he still has to be convincing, have some swagger, and be something the audience is drawn to.
So his costume arc over 12 episodes of hiding in his clothes, his layers, bonding over the cold ferix, he’s a mess. It spoils things. He is forced to borrow money from people. It doesn’t really bring shit together. He’s not the hero we know and love Rogue One. But as he progresses through the season, you see him shed the layers a bit, his silhouettes become a little more tailored, lines get longer, his shoulders become squarer, and he subtly transforms into the hero we know and love. Rogue One. So that was my thinking behind his costumes.
Curious to know what is the hardest outfit to design or settling on the perfect one for them?
WILKINSON: I think the prison costumes for Narkyna 5. We spent a lot of time wearing them because we knew we were going to see a lot of them in there over the course of two or three episodes. We know we have seen hundreds of men in this uniform, and we would have seen every square inch of them. But I have to say I’m really happy with the way they turned out. I feel like we wanted them to feel disposable, that they got out of that weird tissue paper they tossed away at the end of the day and got a new one the next day. But we wanted a little bit of that old, vintage graphic from the ’70s that we see him putting on the arm, the orange one, to make it pop, so the guards can spot it easily. But again, they blend into the white walls in an interesting way. So Luke and I worked really hard on those scenes, I was worried it was going to look a little boring but actually, there are some of my favorite sequences in the entire series.
she’s amazing. I was going to ask you about those costumes, so you answered that question for me. But I’m curious, when you work with an established scientist like star Wars, What is the acquisition process to fill in the background fashion? Is there a warehouse? star Wars A warehouse somewhere where you can order costumes in a box to where you shoot? Or are you already modeling everything that happens in the background as well?
WILKINSON: Those are good questions today.
I’ve worked in costume design in the film industry, so I was really excited to talk to you.
Wilkinson: I knew something was going on here. You know the questions to ask. I think what really excited me about starting this project, though, was this sense of having, or working with, the amazing language of fashion. star Wars Globalism. There has been a long line of great fashion designers who have shared their visions about star Wars The world since 1977. So it was interesting to give my perspective on this whole world, of course. But yeah, when you sign on as a stylist, there is a back catalog of outfits from past products to view and get inspired by. It was a challenge because we wanted to show Tony’s vision for the series [which] She was very specific. He didn’t want it to feel like a space opera, on top of very bold design choices. He wanted to be very subtle in the nuances, and have a more detailed and original approach to the costume story.
So a lot of the costumes that were available as background costumes weren’t quite right for our field. So we launched a massive build. We made a lot of prototypes. We’ve had hundreds and hundreds of costumes made in a lot of them, I think [there were] About five different workrooms, here in the UK and Europe. So we created our own inventory of all the different planets. But it was fun, like I said, to have the inspiration and starting point for the costume language that was available to us from previous productions.
Behind the scenes is always amazing to me. Like I said, I’ve worked in movies and TV before. I think the dhani was a bit too far for you in terms of where it was filmed. What was the process like to wear all of it? Was it really getting things out early? What did it look like? I love sharing that behind-the-scenes feeling with our readers.
Wilkinson: All of the main costumes are made in our studio here in London. Much of the background costumes were made in various workrooms across the UK and Europe. Then even things that were made abroad were brought back to the studio.
Everything goes through a very complex process of aging and malaise. Nothing wears like straight workroom floor. All given interesting textures and age, so it has a lovely, authentic, and worn-out quality to it. Then we shipped all of these costumes over to Scotland where we were filming, and we were working with a lot of performers who were local to Scotland. We had a team of people sent in there to fit and create all these wonderful characters in the background, the uniform, and the Dahani Mountain Bedouin culture. We installed a whole bunch of characters for this sequence. But the main characters are prepared and prepared in our London studios.
Will she return for a second season, too?
Wilkinson: I’ll be back. We’ll be back on that shoot in a couple of weeks. So she is very busy here at the moment.
What was the process like, starting to design costumes for the second season?
WILKINSON: I have to say, it’s been a great process because we want to take things further than the first season, of course, we want it to be more powerful for the audience. So we’re building on what we learned from Season 1, but every day we’re also challenging ourselves to move forward and make sure we’re creating a compelling and powerful experience for Season 2 viewers.
Andor Streaming now on Disney+. For more information on the show, watch our interview with Andy Serkis down below: