The costumes in a particular TV show or movie can be the gateway to getting the audience to buy into the world. They add so many layers and detail to characters and can influence the emotion and audience in any scene.
Some costumes that really stood out to me are from the recent show Joan, and they were done by seasoned costume designer Richard Cooke.
Richard’s meticulous design for Joan is rooted in extensive research and a deep dive into her character evolution, inspired by Joan Hannington’s autobiography, I Am What I Am. Fashion magazines, vintage photographs, and authentic period clothing breathed life into Richard’s vision.
The 90 costumes crafted for Sophie Turner’s portrayal of Joan showcase Richard’s ability to maintain a cohesive wardrobe across a vast spectrum of styles. His work is a testament to his dedication to capturing the essence of Joan’s remarkable life through fashion.
Check out our interview with him below.
Editor’s note: the following interview is edited for length and clarity.
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No Film School: You have over 30 years of experience in costume design. How has your approach evolved over the years, and what drew you to Joan?
Richard Cooke: When I graduated from art school in 1995 with a degree in costume design, I thought I was a costume designer, but I wasn’t. It’s taken years of ‘hands-on’ experience, working every position within a costume department to get there. You name it, I’ve done it, and it’s ultimately led me to where I am today. With each job, you learn something new, whether in terms of knowledge, practical skills, or something about yourself; you’re forever evolving, which I think is exciting and why I can’t imagine having any other job.
There were several factors that drew me to Joan. The Director Richard Laxton, with whom I have a great creative working relationship, an amazing and quite fantastical true story, the 1980s and the opportunity to work with Sophie Turner.
NFS: What was it about Joan Hannington’s story that resonated with you and inspired your design choices for the series?
Cooke: What resonated most was that Joan was a real and complex person, so it was important to show all facets of her personality; Mother, Lover, Liar, Thief, with each aspect requiring careful and considered treatment.
In the beginning, with Joan as a Mother, I used softer colors and fabrics that were reflected in her daughter Kelly’s clothes to create a bond. As a Lover, it was about introducing a new sensuality and allure through silks, satins and stronger colors. As Liar and Thief, it’s about disguise, transformation, a growing confidence but also about layers of protection.
NFS: Can you describe your process for developing Joan’s character through her costumes? What key elements did you focus on?
Cooke: At the heart of the creative process is the relationship with the actor. I first met Sophie four weeks before filming, but leading up to our initial fitting, we swapped emails and mood boards to make sure we were on the same page. thankfully, we were!
Mood Boards are vital in conveying initial thoughts, and they are something I really enjoy. The scripts were broken down, and once I had a schedule, I began to prioritize what was first up. We filmed out of sequence, so we developed very different sides of Joan in terms of costume at the same time.
We knew there were initially 100 different looks across the six episodes, so we devoted a wall just to Sophie and marked up each episode and scene, and as we completed each outfit, we put them in sequence, which was hugely helpful in seeing Joan’s evolution and creating a story in terms of color, silhouette and fabric. It also helped to be able to stand back and see how Joan’s costumes related to the other cast members and SA’s.
NFS: How did you balance the glamorous aspects of Joan’s life as a jewel thief with her struggles as a mother in your designs?
Cooke: There was a very clear evolution in Joan’s clothes, and it was important to recognize the shifts that were needed and when.
We first meet Joan in a provincial seaside town wearing denim, sweatshirts, white stiletto heels and clothes any young person would have worn at the time. A present of a tacky (faux) fur jacket that her partner Gary gives her is seen as the height of sophistication.
The first ‘shift’ in look comes when she moves to London and works in her sister Nancy’s hair salon who gives her a make-over. It’s the first step in Joan’s evolution and realizing the possibility of something more and a new life.
With her ‘jewel thief’ looks, there’s a considerable gear shift. We enter the world of high-end fashion labels such as Thierry Mugler, Armani, Versace, YSL, Claude Montana etc. It’s about creating an illusion and a fantasy—it’s the ultimate in dressing up, and Joan enjoys it.
NFS: You mentioned extensive research involving fashion magazines and old photographs. Can you share some specific influences that shaped Joan’s wardrobe?
Cooke: It was really important to understand society at the time as it was a melting pot, particularly in London. Islington, where the bulk of the story was based, had a great cross-section of people: New Romantics, Punks, Mods, City Professionals, Working Class, Bohemian types, etc. The Getty Images Archive was invaluable, as were regional London newspapers where we searched through back copies of the ’80s, looking at stories and photos of real people.
Initially, for Joan, I looked at photos of the real Joan Hannington to give me a sense of who she was. Local Kent papers proved an invaluable source for getting a feel of community. I then expanded the search to pop culture magazines such as Smash Hits before moving on to more fashion-orientated references from old clothing catalogs and high-end publications such as Vogue and Cosmopolitan. Being a kid in the ’80s I was even able to look through my old photos.
NFS: How did real-life clothing from the era inform your designs, and what challenges did you face in finding the right pieces?
Cooke: Vintage pieces were a vital part of the process. When designing a period show, I use as many original garments as I can to create an authentic feel. Luckily there’s still a lot of 80s clothes around, but body shapes have changed, and they don’t always fit, so it was a case of blending existing clothing with custom pieces.
Of the initial 100 costumes that Sophie wore, just over half were true vintage pieces sourced from shops, markets or online. For the remaining costumes it gave me the perfect opportunity to make costumes inspired by clothes from the era, a designer’s dream.
NFS: What do you hope viewers will take away from Joan’s journey as reflected in her costumes?
Cooke: I hope people have an understanding of the complexity and contradictory nature of Joan as a person. There’s a lot of ‘light and shade’ in Joan and her clothes. I hope that I’ve been able to help bring her to life and make her relatable to a contemporary audience.
When I showed the real Joan Hannington Sophie’s wardrobe, it was incredibly gratifying to hear that she thought the clothes were ‘spot on’ and she either wore or would have worn all them. I couldn’t have had a better endorsement than that!
NFS: Is there a particular costume or moment from the series that you are especially proud of? Why does it stand out to you?
Cooke: There are two costumes that really stand out for me.
The first is the outfit Joan wears to buy her engagement ring, which is a joyous moment in the show. Joan wears an emerald green silk jumpsuit with a V-neck cut to the waist, a fabulous faux fur jacket, and gold stilettos, which were inspired by the glamor of Studio 54. This is Joan unapologetically saying, “This is me”.
The second is Joan’s wedding outfit, which was inspired by various Bianca Jagger looks. We didn’t want a wedding dress, so I decided on a cream three-piece trouser suit with a wide-brimmed hat. At the last minute, I added a fairly big cream and black stripe organza shirt front and bow, which pulled everything together. This was a nod to My Fair Lady as Boisie (Joan’s husband) takes Joan under his wing and, to a certain degree educates her. It’s the closest I’ve ever got to being truly happy with a costume, and when I saw Sophie dressed on the day of filming, I had a tear in my eye, as much from relief as from pride.
Author: Jason Hellerman
This article comes from No Film School and can be read on the original site.
