“So my approach was doing as many renderings as you can imagine, talking to John [M. Chu, the special’s director], and hearing his perspective. Also, all of these conversations were happening without knowing our cast. I didn’t know the body types I was working with either.” “I thought about it, I called her back and was like, ‘Why don’t we do some hand painting? Truly do something that is visual, and we’re not hiding it. Just go full out and that’s where the whole, you see the print on her apron.’” “There is not a single piece that we overlooked. Everything down to choosing the right buckles for every shoe, whether you see it or don’t from head to toe, the supporting cast, and all the dancers. Everybody was thought through from the piece of jewelry to the lack of jewelry to every single trim piece that went into Shania’s costumes.” “So it took me months and I can’t tell you the amount of swatches that we had to look at for it to be the right yellow. I would pin [swatches] into my dress forms. We did everything on muslins — first, just to get our cuts and our styles. I bought all my cutter fitters’ books about corseting from back then. Somehow in the midst of it, I got so inspired by the story of the rose in the film and the softness and the elegance and kind of this evolving love story that really surrounds this flower.”
