Though most of the costumes were built from scratch, in some cases Sequeira's team turned to vintage sellers to bring the characters to life. Hesitant to reveal the methods used by his team of "magicians," Sequeira would only say they pulled it off in part by dyeing, sanding and over-washing the clothes.
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"Some of the garments on the series were literally finished the day before we shot them, and we had to infuse 20 years or 10 years of life into a garment to have it look natural." "Once the costume is built out of the shop, I take it to the aging department where we would then turn it into something that had some life and had some age and wear, so it didn't really appear to be just made," Sequeira said. Sequeira worked with a team of five cutters, who make the patterns for the clothes and cut the fabric, 12 people who sewed the costumes and a fabric buyer. The episode spans decades, from the Edwardian era to the 1930s, with costumes that include tailored waistcoats and a witch's tattered dress, complete with branches, twigs and tree bark. Sequeira, who's been in the business for decades and nabbed costume design Oscar nominations for his other collaborations with del Toro, "The Shape of Water" and "Nightmare Alley," said his team juggled numerous episodes contemporaneously, shooting one episode while preparing costumes for others.Īlong with assistant costume designer Ann Steel and costume supervisor Heather Crepp, Sequeira received the nod for the episode "Dreams In The Witch House," the Lovecraftian tale of a man's quest to reunite with the twin sister he watched die as a child. "We were able to really branch off into a completely different colour palette, and each director came to us with a different vision." "And then we had the opportunity of being in a kind of otherworldly retro contemporary," he added.
"There were certain stories that were part of the same genre, the same thread of being Lovecraft," said Sequeira, referring to the American horror and sci-fi writer H.P. The variance also gave him the opportunity to flex multiple creative muscles, creating most costumes from scratch and sourcing some pieces from vintage sellers in Hamilton. It was really this ebb and flow of different periods," Sequeira said Wednesday, hours after being nominated for an outstanding period costumes Emmy. "It'd be like the old movies where you see 1950s racks going one way and then 1920s racks coming in. Instead of bringing a single period to life, the Canadian costume designer was tasked with making garments that situated characters in different decades for the Netflix horror anthology "Guillermo del Toro's Cabinet of Curiosities." HAMILTON - Luis Sequeira is no stranger to creating costumes firmly rooted in the 20th century, but his latest Emmy-nominated project presented a unique challenge.
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