The Sly Feminism of the ‘Wicked’ Costumes
From the dazzling period costumes in West Side Story and Harriet to the looks in the magical world of Wicked, Academy Award-nominated costume designer Paul Tazewell has shown that few artists weave as much versatility into their creative DNA. “I love period work and telling stories connected to history. What excited me about Wicked was designing a world rooted in period silhouettes while also creating a fantasy,” he says.
For the monumental task of transforming the beloved Broadway hit into two films, the designer says he drew upon a wealth of inspiration: “Wicked was about digging deep into where the original story came from. With the L. Frank Baum book, the 1939 film, Gregory Maguire’s Wicked and the Broadway musical, you’ve got four distinct expressions of the same story.” Maintaining the essence of the show while putting his own spin on it, Tazewell introduced a fresh perspective without entirely modernizing it. “We stayed true to the play’s visual language,” he says, “but added layers that reflect the characters’ emotional journeys.” Tazewell had an even more personal connection to the Oz universe, noting that “I used to watch it every year. It’s part of my visual memory bank, and it shaped how I see icons.” This familiarity contributes to the feeling of the costumes as both nostalgic and original.
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One trademark of Tazewell’s Wicked work lies with his rootedness in character, bringing depth and nuance to the film’s fantastical wardrobes. Two standout costumes — Cynthia Erivo’s Elphaba witch hat and her Emerald City dress — reflect this philosophy. “I make design decisions specific to the character and their story, thinking about what choices they would make and how that relates to their identity,” he explains. “For Elphaba and Glinda, it’s all about balancing their relationship and how their costumes evolve along with them,” set against a world of light and dark contrasts.
Ariand Grande’s Glinda bubble dress and the use of pink pay homage to the original Glinda, Billie Burke, from 1939’s classic The Wizard of Oz, while emphasizing more modern notions of femininity. “The fabric has that same translucent quality, but we gave it a more sculptural, modern interpretation,” Tazewell says. “It’s all fantasy clothing, but I wanted to create a new icon — something fresh for these characters.”
Inspired by “bubbles floating into the sky,” Glinda’s dress is a technical marvel. Beneath the gown is a crinoline layer reminiscent of a petticoat, topped with iridescent organza. “It has hooping to create structure and functions like a traditional hoop skirt,” Tazewell says, describing the engineering challenges he confronted. “I placed stiff nylon netting cut into spiral shapes and twisted into cones to give the gown lightness.”
The dress, adorned with beads, crystals and sequins, evokes a sense of whimsy. “It had to feel weightless, as if it were floating on air. There was a lot of engineering involved to ensure it moved gracefully when Ariana Grande wore it,” Tazewell continues. Inspirations also include the timeless elegance of Grace Kelly and Dior’s 1950s skirt suits, adding a touch of vintage glamour to the designs.
When crafting Elphaba’s wardrobe, Tazewell took more than a few risks, leaning into the character’s darkness and individuality. Having collaborated with Erivo on Harriet (the two share a love of fashion), Tazewell notes that “Elphaba may be marginalized and ostracized, but that doesn’t mean she lacks personal style. I wanted to make bolder choices for her — a reflection of her inner world.”
The result is a Victorian-inspired silhouette rooted in 1890s fashion, paying tribute to the original Wicked Witch of the West (Margaret Hamilton in the 1939 film). The designer drew from organic elements — mushrooms, fungus and Fibonacci spirals — to inspire the earthy textures, such as micropleated fabric and felted details. Says Tazewell: “There’s a whimsy in the way her bodice embroidery and puffed sleeves interact; and how the skirt moves when she spins, I always think about how she would take up space and move through the world.”
Tazewell notes that a governing philosophy of his designs is the choices made by those who wear them. “For every character, I live vicariously through their story,” he says. “Their needs influence my investment in the work. I want to infer a quality of life for them, one that becomes real once the actor steps into the costume and fully inhabits the role.”
This story first appeared in a December stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
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