Magic by Design: Behind the Seams of Wicked with Costume Designer Paul Tazewell

Podcast: Dressed: The History of Fashion
Episode: Magic by Design: Behind the Seams of Wicked with Costume Designer Paul Tazewell (Dressed Classic)
Date: November 13, 2025
Host(s): April Callahan, Cassidy Zachary
Guest: Paul Tazewell, Costume Designer

Episode Overview

This episode of Dressed: The History of Fashion offers a vibrant and in-depth conversation with Paul Tazewell, the acclaimed costume designer behind the new film adaptation of Wicked. Listeners are taken behind the scenes of his creative journey, his approach to bringing the magical world of Oz to life, and the meticulous artistry involved in costume design for both stage and screen. The discussion explores Tazewell’s personal art history, the evolution of his career, his design philosophies, and the joyful collaboration behind Wicked’s spectacular costumes.

Key Discussion Points & Insights

1. The Cultural Legacy of Wicked and Its Adaptations

[02:43–04:29]

• Wicked is adapted from a 1995 novel—a reimagining of the classic Wizard of Oz story—featuring the backstory and friendship between Elphaba (the Wicked Witch of the West) and Glinda (the Good Witch).
• The musical, debuted in 2003, and now the two-part film starring Cynthia Erivo and Ariana Grande, remains hugely popular, with deep fan attachment to its visuals.

2. Paul Tazewell’s Career & Approach

[04:08–13:47]

• Tazewell’s formidable résumé includes Broadway classics (*Hamilton*, The Color Purple, Suffs) and films (Harriet, West Side Story).
• Although he did not design Wicked's original Broadway costumes, his fresh vision for the film is informed by decades of groundbreaking work and a focus on representing marginalized stories.

Quote:

“I just wasn't seeing reflected people that looked like me being in leading male roles in musicals... I thought that my longevity would be more possible with the world of costume design.”
—Paul Tazewell, [11:57]

3. Early Memories & Inspirations

[09:28–12:18]

• Early childhood inspiration: “a bed sheet ripped off of my bed on a Saturday morning” as a homemade toga.
• Disney’s Cinderella—especially the transformation scene—profoundly shaped Tazewell’s fascination with clothing as “magical transformation” and metaphor for self-evolution.

Quote:

“How clothing changes who you are and how you represent yourself and how you take up space... the idea of that kind of magical transformation has always been a part of just how I imagine fantasy and designing in that way.”
—Paul Tazewell, [10:52]

4. Evolution as a Designer & Representation on Stage

[13:17–16:48]

• Tazewell’s repertoire includes many stories centering people of color, due in part to social realities in theater—yet he played a key role in milestone productions (“Noise Funk,” “Caroline, or Change,” “Hamilton”) that redefined representation.

5. Designing for the Stage vs. Designing for Film

[17:48–21:01]

• Whether designing for real historical figures (Harriet Tubman) or iconic fictional characters (Elphaba), his approach always involves close analysis of the director’s vision.
• For historical work: “What serves the way that we want to tell the story given the style ... the music and the language?"

6. Deep Immersion & Empathy in Process

[21:52–25:57]

• Tazewell physically retraced Harriet Tubman’s journey to understand her world for the film Harriet. Grounding his process in empathy, he seeks out personal connections to character arcs and uses visual references to shape costume evolution.

Quote:

“I step into the shoes of a character to make choices about what they're going to wear that feel accurate to a person's choice ... that is the reality of dressing ourselves.”
—Paul Tazewell, [22:24]

7. Honoring Tradition While Creating Something New

[26:56–32:07]

• With Wicked, Tazewell balanced respect for the original Oz imagery (novel, 1939 film, Broadway show) with a new vision fitting today’s audience.
• He interrogated: How do the scenes make me feel? How can I evoke those feelings through new visuals?
• The approach is organic and emotion-driven, not just intellectual.

Quote:

“I was so glad to hear that both John [Chu] and the producers were very much interested in recreating, redefining what our visual world would be for Oz. That said, acknowledging the fan base... I thought it was important to be able to pull them in in a way that felt... familiar and comfortable in the world that we're creating.”
—Paul Tazewell, [29:40]

8. Visual Language & Hidden Meanings in Design

[38:09–44:40]

• The specificity of detail in film costumes versus stage: For film, “every single detail,” down to Elphaba’s pinky rings, has meaning; everything is visible on camera.
• Nature is a key symbolic motif—spirals, pleating, asymmetric designs—which inform both aesthetic and narrative elements.
• Asymmetry and individualized details in Shiz University uniforms underscore character uniqueness.

Quote:

“Nature was one of my first inspirations for the world ... timelessness, quality that you can’t pin down to a specific year ... Elphaba is in control of the elements—she’s in control of gravity, and so therefore connected to nature.”
—Paul Tazewell, [39:33]

9. Character Evolution Through Clothing

[44:40–49:20]

• Elphaba’s black clothing is rooted in personal grief: a child in mourning for her mother. Her emotional evolution and shifting silhouettes mirror her internal journey.
• Glinda and Elphaba’s parallel costume trajectories visually reflect the arc of their relationship.

Quote:

“She is emotionally stunted because of that trauma... so when we first meet her as a little girl she's dressed in completely dressed in black but that black... is very intricate... leaves that spiral around her pinafore…”
—Paul Tazewell, [45:16]

10. The Power of Collaboration

[49:37–55:40]

• Tazewell managed a team of 130 artisans across four countries, crafting over 1,000 costumes.
• Emphasis on synergy, creativity, and joy—each team member’s perspective enriches the work.
• The design environment was physically and emotionally immersive, with specialized rooms for Elphaba and Glinda’s costumes creating atmospheric inspiration.

Quote:

“I could never do it alone... That's what brings me joy, is opening it up and collaborating in different ways ... because they bring insight that is additive.”
—Paul Tazewell, [50:37]

11. Director & Cinematographer Collaboration

[56:53–58:41]

• Director Jon Chu and cinematographer Alice Brooks were highly engaged in documenting every detail, ensuring that Tazewell’s work was fully visible on film, including intricate footwear and subtle embroidery.

12. Emotional Resonance & Personal Connection

[60:14–61:57]

• The story of Elphaba is, for Tazewell, a deeply personal metaphor for experiences of difference, acceptance, and resilience—paralleling his own journey as a person of color.
• The friendship at the heart of Wicked is a “wonderful love story” with universal resonance.

Quote:

“This story speaks to me so directly because it speaks of a person who is different struggling to be seen ... my connection to Elphaba's story is reflective of me as a person of color in our country and the structure of our social world here.”
—Paul Tazewell, [60:22]

Notable Quotes & Memorable Moments

• On magical transformation in clothes:
  “That kind of magical transformation has always been a part of just how I imagine fantasy and designing.” – Paul Tazewell [10:52]
• On choosing costume design as a career:
  “I thought that my longevity would be just more possible with the world of costume design.” – Paul Tazewell [11:57]
• On empathy in his design process:
  “I step into the shoes of a character to make choices about what they're going to wear that feel accurate to a person's choice.” – Paul Tazewell [22:24]
• On spirals and nature in design:
  “The spirals are there also the asymmetry... the world of mushrooms... this energy that is synergistic, that is moving and flowing around us...” – Paul Tazewell [39:33]
• On collaboration:
  “I could never do it alone. That's what brings me joy, is opening it up and collaborating in different ways ... because they bring insight that is additive.” – Paul Tazewell [50:37]
• On Elphaba's costumes as storytelling:
  “She is emotionally stunted because of that trauma... so when we first meet her as a little girl she's dressed in completely dressed in black but that black... is very intricate... leaves that spiral around her pinafore…” – Paul Tazewell [45:16]
• On the personal meaning of Wicked: “The story speaks to me so directly because it speaks of a person who is different struggling to be seen … my connection to Elphaba's story is reflective of me as a person of color in our country…” – Paul Tazewell [60:22]

Important Timestamps

• [02:43] Overview of Wicked’s legacy and adaptation
• [06:30] Tazewell reflects on joining the Wicked film, method dressing, and press experience
• [09:28] Early clothing memory: bed sheet toga and magical transformation
• [13:17] On building a career and impact on theater representation
• [17:48] Designing for historical figures vs. fantasy characters
• [21:52] Immersing in Harriet Tubman’s world and research process
• [26:56] Negotiating new visuals for Oz while honoring tradition
• [38:09] On the importance of detail in film costuming
• [39:02] Nature, spirals, and texture as world-building devices
• [44:40] Elphaba’s black clothing and personal storytelling in design
• [49:37] The joy and necessity of collaboration for large-scale productions
• [56:53] Close partnership with director and cinematographer to showcase costumes
• [60:14] The personal resonance of Wicked and its message for Tazewell

Conclusion

This episode offers a masterclass in costume design as storytelling, both technically and emotionally. Paul Tazewell’s insights highlight the power of clothing to shape narrative, convey character arcs, and reflect deeper social contexts. Whether discussing the inventive textures inspired by nature, his collaborations with massive teams, or the personal meaning he draws from Wicked's themes, Tazewell engages with both humility and brilliance. The conversation is essential listening for anyone passionate about the art of costume and the ways that fashion, identity, and magic braid together on stage, on screen, and in life.