#janie bryant my beloved

[madmensideblog]

Costume designer Janie Bryant on Salvatore Romano

“[Sal] is in the art department. So I figured, ‘This man probably gravitates toward flamboyance.’ I just imagined him to be in suit separates, because I felt like he was a person who would understand how to coordinate all those elements. It was really just in those details. Like a flounce of his pocket square, or a little bit more floral detail in his tie, the fleur de lis in his vest. The big part of it was also the suit separates, because I just felt that he’d be coordinating his outfits in the morning. Still done very conservatively, he wasn’t trying to rat himself out. He does have a flair for dressing. And I felt like that also because he was the art director, there might be a kind of lenience in how he dresses for work.”

[madmensideblog]

“Peggy Olson was all about her ensembles. This sage green jacket is the perfect neutral for her when paired with her ivory hat. It’s sweet and sophisticated, just like our girl Peggy.“ — Costume designer Janie Bryant

[madmensideblog]

Costume designer Janie Bryant on Betty

“Betty Draper was inspired by my grandmother. She was the image of perfection. Luckily, I think my grandmother and grandfather were very happy and had lots of fun, unlike Don and Betty! Also, Grace Kelly. I have a lot of pictures of Grace Kelly on my inspiration board. I love that image of her because, to me, Grace also seemed quite cool. You could never really get under the surface of that woman, of that character. Even in her movies, there is always that distance. Beautiful distance. Betty Draper is like that to me.”

[madmensideblog]

Costume designer Janie Bryant on Ginsberg

“He’s a total eccentric. To illustrate that point, I wanted everything he wore to feel very mid and matched. The clothes [referring to the outfit pictured in the first gif] are all ill-fitting, wrinkled, and disheveled. I intentionally made the sleeves on his jacket too short. He’s the kind of guy who would wear hand-me-downs and shop at Salvation Army. His shirt was from the early 1950s. The madras plaid jacket was also from earlier. And the tie was from the mid-60s when ties started to become wider... He has probably never put on a shirt, tie, and jacket in his whole life. When he pulls together this random outfit, he really is trying to appear professional.”

[madmensideblog]

Costume designer Janie Bryant on Joan

“She has some progressions, but her figure really is suited for that fifties design and silhouette. Christina [Hendricks] and I always joke that Joan buys her clothing two sizes too small. It’s always about accentuating her hourglass. I’ve always seen her as this character who asserts herself in a very feminine way in the office. And she understands how to use those assets. She really holds onto that late-fifties moment. I always thought Joan’s style icons would be Marilyn Monroe and Sophia Loren. Those women who always exude sexiness.”

[madmensideblog]

Costume designer Janie Bryant on Stan

“Stan has sort of evolved into this counter-culture character... He's really had a shift from what I always envisioned him to be, almost the classic American coach, to a hippy in a way... I think he always thought of himself as being very cool, and it's just translated as time has moved on."

“Bryant says that her friends have been calling her about how sexy he is this season.”

[madmensideblog]

“I found this blue cashmere swing coat on Magnolia in Burbank and inside it was this gorgeous Asian embroidered silk lining. This was clearly a coat custom-made for someone in the late '50s and it is what Betty was always trying to portray: perfection. It became such a staple piece and was worn many times over the course of the first three seasons of the show.” — Costume designer Janie Bryant (x)

[madmensideblog]

Costume designer Janie Bryant on Lane

“The use of the color red is about him being from Great Britain. You’ll notice accents of red in Lane’s ties, vests, and cufflinks. His character is very meticulous and buttoned-up and I show those qualities through his very tailored suits and color-coordinating vests, single and double breasted.“

[madmensideblog]

“In season [four] when Betty and the kids move out of the Draper house, there's a scene where Sally is in this blue and grey plaid dress. That was a vintage dress that Sally wore. And then I designed a dress for Betty that's blue and grey plaid, and there's a scene where Betty goes up to Sally's bed and lays in it wearing that dress. It's so beautiful. I love that they mimic each other and it's such a beautiful pairing between Sally and Betty, and really how Betty is almost childlike when she goes up to Sally's room. I love those costume moments of Mad Men when it all works out and aligns.” — Costume designer Janie Bryant

4.12 Blowing Smoke 4.13 Tomorrowland

[madmensideblog]

Costume designer Janie Bryant on Sally

“For the first couple of seasons of Mad Men, my idea behind Sally's costume design was really about Betty's narcissism and expressing her taste onto Sally. So they wore very similar things: little cardigan sweater, floral blouses, cigarette pants, shirtwaist dresses. As seasons have gone by and there's been more turmoil and frictions between the personalities of Betty and Sally, I really wanted Sally to transition into a color palette that opposed Betty's. So Sally wore a lot of oranges and greens and navys and reds. All of the colors that Betty would never wear. I always felt like that was a part of Sally becoming more independent and really illustrating the turmoil of their relationship.“

[madmensideblog]

Costume designer Janie Bryant on Bob

“Bob is whimsical in his own way, and I always wanted him to wear colors that were always just a little off. I felt like that was just part of his personality. He’s always saying these funny quirky lines and has this funny way about him, so I loved the idea of him having colors that were just a tad… off. You do get a sense about him that he’s very much the overt the people-pleaser. He’s really fun to dress.”

[madmensideblog]

Costume designer Janie Bryant on Pete

“So, [the outfit pictured in the bottom right gif] is a costume that Pete Campbell wears in 7.01 when we first see him. It really signifies the change that we see in Pete from being in California. So much of the sixties is about this preppy, collegiate period. Pete Campbell is a character who is a part of that very WASP-y culture, but this is a fresher, lighter, more casual Pete Campbell.”

[madmensideblog]

Hair department head Theresa Rivers on Shirley

“Shirley’s look — I guess I would describe it as a cross between Angela Davis and Diana Ross. She is our first African-American woman on the show with an afro, which is a huge statement at that time, and she’s in a corporate setting.”

Costume designer Janie Bryant on Shirley

“Shirley may have joined the show in later seasons but her character’s style made a huge impact on screen. For her, I loved vibrant prints and peter pan collars, and I included the collars in her costume design really frequently. It was something I had done with Peggy when she was a secretary in the early seasons, and I felt like it was a subtle way to show the parallels between Shirley and Peggy’s characters. However, her prints were always much more daring than what Peggy used to wear, and I wanted that to differentiate them that way.”

[madmensideblog]

Costume designer Janie Bryant on Trudy (From a special feature called Design of a Decade)

“When we first see Trudy, she is this very fashionable character and she is buying designer clothing. She has the income from her family. She is a young, beautiful woman who wants to stay within the times. She has a costume design change of really becoming more old fashion. Matt really loved that idea that Trudy really was mimicking Betty in that way of becoming this suburban housewife and how that sort of suddenly happened to Trudy as well.“

[madmensideblog]

Costume designer Janie Bryant on Peggy

"Peggy's costume design has changed over the seasons. Her silhouettes have changed with her storyline. As her character has changed and grown her costumes have been helping to tell the story of this amazing character's journey. Peggy was basically fresh off the secretarial boat when she landed her job at Sterling Cooper in 1960. I wanted her costume design to reflect the innocence and youth of her character, so to me that was all about plaids, polka dots, pleats, and Peter Pan collars with bows. Peggy is also a character who is old fashioned so her costume design is never about being avant garde or high fashion in any kind of way. One of my favorite costumes of Peggy's is her pant suit that she wears at the end of season six. By Peggy wearing pants in the office we can see how far she has come professionally and that time has passed."

[madmensideblog]

Costume designer Janie Bryant on Jane

“I love [the white jumpsuit in the bottom left gif] ... It’s ivory silk crepe that is so divine and delicious, you can’t even believe the way that fabric feels...it’s just so Jane Sterling--very dramatic. I love that she’s the character who has nothing to do all day except work to plan her outfits, her outings, her hair and her makeup. I always imagine her sitting around eating bon bons.”