“I didn’t need to overpower her with particulars, as a result of in the end she’s very sort of punk and really down-to-earth,” Turzanska says. “However from that very, very first bodice—which is bark material, the fiber beneath the tree—there was a little bit of uneven, natural embroidery by way of her clothes, particularly by way of her bodices. There’s at all times one thing sort of weaving by way of.”
Agnes can also be, Turzanska provides, “principally sporting vegetation, beginning with the literal [bark cloth] after which flax or linens with these little embroideries. So she’s very related to nature and appears virtually like she got here out of it.”
The place textures, colours, and silhouettes evoking the pure world outline Agnes’s clothes—which, Turzanska notes, are “worn with none understructure,” as if the character is willfully disregarding the sartorial guidelines and mores of the interval—Will’s belong very a lot to the world of man. Additionally they borrow far more actually from the Elizabethan period and particulars from the Bard’s actual life, in addition to drawing from O’Farrell’s portrayal of Will’s father, a once-successful glove maker, as a violently embittered man.
Turzanska and her workforce used iron gall ink, the preferred ink throughout Shakespeare’s time, to dye Will’s clothes into quite a lot of blues and grays that additionally seem within the different Shakespeares’ clothes. As Will trades the padded, protecting doublets and flowing shirts of an single playwright for extra tailor-made, restrictive garb that appears to harden with him, the shades progressively lighten till the dominant coloration is ash. On the identical time, quilted strains and laser scratching on leather-based evolve into more and more pronounced slashes, achieved by way of a period-accurate method referred to as pinking.
