Behind the Seams of “Wicked for Good” with Costume Designer Paul Tazewell

Dressed: The History of Fashion
Air Date: November 19, 2025

Episode Overview

This episode of Dressed: The History of Fashion takes listeners behind the scenes of “Wicked for Good”—the much-anticipated sequel to Wicked—with celebrated costume designer, Paul Tazewell. Hosts April Callahan and Cassidy Zachary welcome Tazewell back to the show for an in-depth look at his award-winning approach to costume design, collaboration, and world-building for one of today’s largest cinematic spectacles. Tazewell provides a masterclass in how costumes shape story and character, delving into process, craftsmanship, and the remarkable team effort required to bring Oz to life.

Key Discussion Points and Insights

1. Oscar Win & Recognition ([05:28]–[06:45])

• Opening with Warm Congratulations: April and Cassidy congratulate Paul Tazewell on his Oscar win for Wicked.
  • Quote: “It has been a really remarkable year, like none other that I’ve had… the energy of the award… is what I carry with me from day to day... I do it to share it.” (Paul Tazewell, 05:40–06:05)
• On Receiving the Oscar: Paul reflects on the power of industry acknowledgment and the lasting sense of validation it brings.

2. Costume as World-Building & Character Evolution ([06:45]–[11:05])

• Costume Sets the Scene: Costumes are integral to narrative, visually cueing character and plot progression before any dialogue.
  • Quote: “Costume design can build a world before a word is spoken.” (April Callahan, 06:45)
• Elphaba and Glinda's Journey: Describes the continuity and transformation of the principal characters, reflecting story and emotion via color and silhouette.
  • Elphaba’s costume evolves from her “best dress” to a repurposed, tattered ensemble—symbolizing her growth and activism.
  • Glinda’s look embodies her role as a pawn of political power: opulent, contained, yet symbolic of entrapment.

3. Reinventing the Iconic Oz Characters ([11:05]–[14:35])

• Tackling Dorothy, the Scarecrow, Tin Man, and Cowardly Lion:
  • The challenge of honoring longstanding archetypes while weaving them into a new visual narrative.
  • Paul traces inspiration back to L. Frank Baum’s original illustrations and details the transition of minor characters (e.g. Bach becoming Tin Man).
  • Quote: “You have to make sense of how did they get to where they are... I’m trying to manipulate silhouettes from real time into the fantasy character.” (Paul Tazewell, 11:34–13:50)

4. The Design Process: Research, Collaboration & Vision ([16:20]–[22:17])

• Process Unveiled:
  • It begins by reading the script repeatedly and meeting with the director to align visions.
  • Amasses wide-ranging visual imagery for inspiration—nature, abstract patterns, iconic art—and distills them into mood/lookbooks.
  • Collaboration is key: Working closely with production design, cinematography, other departments, and the director (Jon M. Chu).
  • Design development for Wicked spanned 9–12 months prior to preproduction.
  • Quote: “It’s a collective of sensibilities that creates what the world is… that also makes it exciting as well.” (Paul Tazewell, 21:48)

5. Scale & Sophistication: Thousands of Costumes, Tonal Shifts ([22:17]–[24:00])

• Thousands of Costumes: Both films (Parts 1 & 2) required a staggering output, reflecting the maturation of core characters and increased emotional stakes.
  • Quote: “They are in the thousands…I’ve seen it written.” (Paul Tazewell, 22:23)
• Emotional Realism Within Fantasy: Costumes enable the audience to believe and engage with the very human stakes of the characters.

6. The Team of Artisans & Specialized Craftsmanship ([27:03]–[39:27])

• Highlighting Key Workshops:
  • Tailoring Team Led by Ruth Monji: Engineering original silhouettes (like the origami sleeve for the Emerald City Gatekeeper), achieving remarkable feats of construction.
    • Quote: “She brings an understanding of silhouette and engineering within the world of tailoring that then takes what I had asked her to do... to the next level.” (Paul Tazewell, 27:40)
  • Collaborative Creative Energy: The workshop was a “Charlie and the Chocolate Factory space,” where craftspeople (tailors, drapers, embroiderers, milliners, 3D print specialists, etc.) could inspire and inform each other.
  • Hand Embroidery for Glinda’s Bubble Dress: Multi-layered, intricate work performed on completed garments for seamless effect, balancing artistry with technical excellence.
    • Quote: “It was this multi-layered froth of goodness... one of the most spectacular fairy princess dresses that I’ve ever seen.” (Paul Tazewell, 33:44)
  • Machine Embroidery by Tuan: Crafted custom striped uniforms for Shiz students, each uniquely modular and carefully engineered for cohesive group identity yet individual expression.

7. Integration and World-Consistency ([30:55], [37:55])

• Departments Interacting for Consistency:
  • Each specialty team’s work was visible and influential to others, resulting in a uniform yet intricate visual language for the world of Oz.
  • Elphaba and Glinda Rooms: Siloed for specialization but interconnected for creative exchange.

8. Attention to Visual Details and Camera Collaboration ([34:18])

• Lighting as a Design Element:
  • Costume teams did both on-set and in-shop lighting/camera tests to ensure colors, textures, and silhouettes translated on film as intended—especially critical for black-on-black and highly embellished costumes.

9. Leadership, Supervision, and Credit ([42:56]–[46:07])

• The Full Costume Department:
  • Highlights the vital roles of the costume supervisor (Dulcie Scott), principal assistants, and background team—handling scheduling, fittings, budgeting, background character consistency, and interfacing with vendors and craftspeople.
  • Rental, refashioning, and total creative oversight: principal and background teams worked in tandem, with Tazewell making final decisions for the cohesive vision.

Notable Quotes & Memorable Moments

• On the Energy in the Costume Shop:

  • “That created its own kind of energy, this amazing Charlie and the Chocolate Factory space. It fed off each other, and that was really great.” (Paul Tazewell, 31:26)

• On Being Part of Oz’s History:

  • “To have the opportunity to have my work out there and be seen globally and to be acknowledged for it as well—all of it is a privilege... to now be a part of the history and culture of the Wizard of Oz. It’s pretty amazing.” (Paul Tazewell, 46:38–47:16)

• On Team Collaboration:

  • “Every bead, every thread, every detail tells a story of craft, collaboration, and design excellence.” (April Callahan quoting Tazewell, 14:42)

Timestamps for Key Segments

• [05:28] — Paul Tazewell reflects on his Oscar win
• [07:57] — Evolution of Elphaba and Glinda’s costumes
• [11:05] — Approaching classic Oz characters (Dorothy, Scarecrow, Tin Man, Lion)
• [16:20] — Paul’s step-by-step design process, from script to workshop
• [22:17] — Total number of costumes and the demands of dual-film production
• [27:04] — Team structure and Ruth Monji’s tailoring leadership
• [32:45] — The embroidery team and the construction of Glinda’s bubble dress
• [36:01] — The modular, inclusive design of the Shiz uniforms
• [38:18] — Role and achievements of machine embroiderer Tuan
• [42:56] — Role of the costume supervisor and assistant teams
• [46:38] — Paul on the privilege and meaning of contributing to Oz’s legacy

Additional Insights

• Paul’s Commitment to Transparency:
  • Highlights his frequent, candid social media “behind the seams” posts—something he encourages more designers to do to spotlight team artistry and craft.
• The Village of Makers:
  • Up to 150 craftspeople, including specialists for everything from embroidery to 3D printing, worked under one roof—plus outside cobblers for custom shoe production.
• The Importance of Emotional Resonance:
  • The visual language of costumes—color, patterns, materials—serves to make characters’ emotional journeys legible and relatable to audiences within a fantasy framework.

Conclusion

Paul Tazewell's return to Dressed offers unparalleled insight into the art and logistics of blockbuster costume design. This episode stands as an inspiring testament to meticulous research, creative risk-taking, and the power of collaborative craft. Tazewell explores not just Ozian fantasy, but the deeply human realities—labor, vision, teamwork—that underscore every inch of fabric seen on screen.

For images, updates, and extended behind-the-scenes content, follow @PaulTazewell and @dressed_podcast on Instagram, and visit hellodressedhistory.com.