Meet the current Costume & Wardrobe Branch committee. If I was ever anxious about a look, I asked Neil and Douglas and we’d have a forum. Did you relish the experience of working on Good Omens? There is such a wide area to draw on. Anderson reduced the size by cutting the togas to fit for the character’s movements, and she gave each actor Anderson sent character descriptions and visuals for Aziraphale and Crowley to armor specialist This is not a period to be dressed like an aristocrat, but Aziraphale couldn’t resist a lace collar, gold brocade and fitted jacket — which explains why he’s stuck in a prison cell (at least until Crowley intervenes). At their best, costumes always help tell the story, and I hope that’s what we’ve done here.I hope the costumes feed people’s imaginations and give the story another layer. Claire Anderson Costume Designer.

“And it’s what the story does.

He needs an ethereal aura, and all of the colour palette needs to emphasise his heavenly glow. “And there wasn’t any painting or documentation from this era. View Project. “However bookish you are, you still notice other people. Under the colour of every suit, we put red felt which was like the belly of a snake. Aziraphale dons a soft leather coat over his tunic, while Crowley wears female attire of the region — an abaya.Switching from tunics to togas was difficult, since togas contain 6 to 12 meters of fabric, which is a lot to carry around on camera. “However bookish you are, you still notice other people. Here's how their looks evolved over time, with commentary from Anderson.Anderson looked at everything from Pre-Raphaelite paintings to Al Pacino’s hippie clothes in “As aged as I am, I wasn’t there,” Anderson says, laughing. “And it’s what the story does. Using Aziraphale and Crowley’s modern looks as a baseline, she adapted their color palettes and silhouettes for earlier encounters in ancient periods. Costume design images from “The nice and accurate Good Omens TV companion”. They needed to look angelic, but also military. He wanted something timeless that wouldn’t look out of place now or in Victorian England. We also found a 1980s jacket that had a quilted quality. Costume Designer . But what we do know is that tunics remained pretty simple, and the earlier shape would have served them well for many years.” Aziraphale’s robe becomes more streamlined, and he wears gold beads at the neck.By this time, both Aziraphale and Crawley — now Crowley — are wearing turbans and head wraps, which Anderson attributes to “a bit of vanity.” Plus the wrap helps Crowley conceal his snake-like eyes (it’s too soon for glasses). I would think: “I’ve gone too far now,” but I never had. Represented by Michelle Arnold. I loved teaming her orange Welsh tartan cape with sumptuous pink leather gloves.

Her look is exotic and intriguing.I hope the costumes feed people’s imaginations and give the story another layer. Anderson also bestowed some heavenly nods to his angelic nature — a feathery velvet top hat, a stopwatch with angel’s wings on the chain, and the signet ring. Neil and Douglas are so collaborative. He also wears a Victorian waistcoat that is almost bald. Her look is exotic and intriguing.What do you hope that viewers will take from your costumes?I hope the costumes feed people’s imaginations and give the story another layer. We had mood boards - light for good, dark for evil. If I was ever anxious about a look, I asked Neil and Douglas and we’d have a forum. Viber. Mix. But that’s because they have costume designer Claire Anderson in their corner for the adaptation of Neil Gaiman and the late Terry Pratchett’s beloved cult-classic fantasy novel. Crowley, who comes to save Aziraphale once again, is dressed more formally, in a full double-breasted wool suit that must have been hard for David Tennant to wear in the South African heat. “The rest of the crew were in flip-flops and T-shirts, and David was in the suit, hat, and those big boots,” Anderson says, recalling the shoot. We also found a 1980s jacket that had a quilted quality. And you would have had Rolling Stones and Beatles fans wearing that kind of thing. Michael’s costume is ethereal. It’s hard and sharp. Neil and Douglas are so collaborative.

Producers: Danny Boyle, Orian Williams, Shelley Hammond, Ben Dillon “You can’t avoid being affected by changing trends,” Anderson says. It covers so many different eras and so many historic places. CREATION STORIES Burning Wheel Production Director: Nick Moran. Did you relish the experience of working on Good Omens?Definitely. Crowley, meanwhile, wears a pair of long, elegantly cut trousers that we will see again in the 1960s. The second to last image was just such a fun random greenscreen that I included that too. Crowley, more mindful of what revolutionaries would wear, dons a dark red jacket that’s almost as dark as his usual black.