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The Who What Wear Podcast
Paul Tazewell Returns! The Wicked: For Good Costume Designer on the Significance of Silhouettes and Creating Reality Within a Fantasy
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- [00:11]
A
Welcome to the who what where podcast, your direct line to the designers, stylists, beauty experts, editors and tastemakers who are shaping the ever evolving world of fashion. I'm who what Where Editor in Chief Kat Collings and Today Senior Fashion and Social Editor Tara Gonzalez is chatting with costume designer Paul Tazewell. Paul Paul is the costume designer behind the fantastical bubble filled world of Wicked. The finale of the two part saga Wicked For Good just came out in theaters with Cynthia Erivo and Ariana Grande reprising their roles as Elphaba and Glinda. Paul tells us how he transformed the witches wardrobes to reflect how they're perceived by the citizens of Oz versus who they really are. He shares how Glinda's style was influenced by Audrey Hepburn and Marie Antoinette and discusses why he used knee high boots and sweeping capes to create a powerful silhouette for Elphaba in the final film. Plus he tells us how he put his own twist on the iconic pieces we know across interpretations of Oz, like Dorothy's crystal shoes. It's all coming up on who, what Where.
- [01:21]
B
Paul, thank you so much for taking the time to chat with me today. I saw Wicked For Good over the weekend so I really can't wait to get into the costumes which were mesmerizing and incredible. So for Wicked For Good you were building off of the characters in the universe that you had already outfitted in Wicked. But of course a lot has changed since then and Elphaba and Glinda had gone through a bit of a journey and grown quite a bit. So how did you start to think about approaching that change and how it would be reflected in their costumes?
- [01:49]
C
When we pick up with Wicked for Good, we are about a year after Elphaba jumps through the window with cape and hat and broom in hand and sings defying gravity. This is that climactic moment where she is really taking hold of all of her power, all of her self confidence and everything that will then define her from that point on. When we open up to Wicked for Good, we see that she has evolved into this heroic figure represented by a sweeping coat and trousers that we set up as far as part of her silhouette In Wicked Part 1 in Shizu, she's got some really dramatic shoes and a broad brim pointed hat that is an expansion of the original hat that we have her in all to set up this organic but self empowered woman that she's matured into. For Glinda, we realize how she has become, you know, a bird in a cage. I mean she's Become a propagandist figure of goodness. You know, she's instated by Morrible and the wizard, albeit dressed impeccably in an elegant kind of Hollywood glamour. And then they maximize that by gifting her a bubble for transportation. And then she follows that by, you know, adding a fairy princess dress or her uniform of good, which is this sparkling bell shaped skirt and bodice that's encrusted with glass beads and crystals and very magical. Topping it off with a sparkly tiara that has imagery that's bubbles as well. So you see this high contrast between these two characters that we've left in the first film and how they then have realized themselves that's informed by their choices and how they're living with those consequences as they walk through life or as they fly through life.
- [03:46]
B
You had just touched upon Elphaba is perceived as evil despite wanting to actually help the people of Oz.
- [03:52]
C
That's right.
- [03:52]
B
And she's wearing all black in her typical witch garb. But as you had mentioned, her sweeping coat and trousers was supposed to be like, kind of empowering. So I'd love to hear a little bit more about striking that balance of representing both who she actually is, but then also how others perceive her.
- [04:09]
C
Sure. I would say that the strongest point of view that's in operation is how the silhouette that I put Elphaba in for Wicked for Good is nostalgic of the original Wicked Witch of the west from the 1939 film. I mean, that's the archetype, what we popularly hold onto as our idea of what a witch is. I've taken that and I've reformed that into more of a power figure. I think that because we've got a coat that has texture that feels organic, which aligns her with nature and also with the animals that she's advocating for. There's something that is more badass about her look as opposed to just being a turn of the century dress in black. The coat is slightly reflective because it's made out of a waxed, which is a fabric that's kind of like a raincoat. Thematically, this idea of water and how water is supposed to melt her, just kind of infusing as much as possible the Easter eggs or themes that carry us back to the original idea of what her story is. But then Cynthia Erivo wears it so beautifully. You know, when you think about the hat and how the sweep of the hat creates a great swagger, the way that she wears it and the collar of the coat and it's slightly Lifted the of the coat overall as well, gives her great stature. The heel of the boots and the height of the boot, which is a knee high boot, as well as how it sweeps around her legs, all accentuating this idea of power, this idea of athleticism, this idea of being a savior really, for the group of animals. So I think that it is how I balance that. Creating her as an attractive person who happens to like black versus someone who is vilified. So it allows for them to see a silhouette and make their own interpretation of it, meaning the citizens of Oz. It allows for them to only look as far as the surface that's being presented from a distance. Even if most of the time you're seeing her on a broom and making these assumptions that this is this evil character that's flying around. And you see it represented in all the propaganda, the posters and flyers that are all, all the way through Oz. I think that that's what is interesting in the design is creating a multi layered character that is making choices for different kinds of reasons. Much of it comes down to her love of Oz, really, and wanting to preserve the beauty and the inclusivity that was originally a part of the Oz community and now is being destroyed by the wizard and by Morrible. Contrasting that with Glinda, who is playing everything by the rules and is presenting a Persona that is all loving and all polite. And it gives you a different sense of what is it to be good and what is it to play by rules that you don't necessarily believe or that are not well considered for the humanity of your community. So I think that there are very real issues that both of them are grappling with, as well as how they relate to each other and how do they preserve their love for each other.
- [07:28]
B
To kind of go back to Glinda, as you had said, there's like a very calculated sense of perfection to the way that she presents herself and puts herself together. What kind of details did you ensure that her outfits had to kind of have that almost too perfect sheen to them, which I think really comes across.
- [07:43]
C
So well for so many of Linda's looks. I was tapping into the idea of Hollywood glamour that you see represented in films of Audrey Hepburn or Grace Kelly. You know, you see just the fragile nature of how femininity was presented in that period. Tapping into what are those ideas within that silhouette, you know, with the sweeping skirt, the tonality of pink and lavender and blue and then sparkle. Those are all qualities that give you this magical sense of beauty, of romanticism, of femininity that's kind of Glinda's superpower. That is her secret sauce is. Is that she presents a Persona that's very enticing for the Ozians. And I'm using those silhouettes in a very intentional way in order to create that kind of Persona for Ariana Grande as Linda. I'm also thinking about Glinda as a Marie Antoinette figure or someone who is caught not having full agency in what her choices are and really just being seen as this beautiful figure. So that, you know, again, is represented in the kind of fabrics that I'm using where they're all very translucent, layer upon layer of tulle and all of the sparkling and glitter and foiling that we're doing in all of her clothes. And then folding in some of the things that you will have seen in the first Wicked film. Like butterflies, like images of bubbles, sparrows. I was trying to evoke this idea of everything that is airborne, everything that feels ungrounded, everything that feels artificial. I think that then plays itself out in all of her dresses. Even her wedding dress has spirals of butterflies that trail around her hem and then all the way down a 25 meter veil. Just continuing to put forward this very curated quality of femininity that Linda personifies.
- [09:46]
B
Yeah. And I would love to touch a little bit more on the scene where she almost gets married. Her wedding dress was really incredible. And as you have been saying, she has such a particular. And it really reflects her personality and her role in society, of course. And so when it came time to decide what her wedding dress would be like, what went into that design and how did you land on the kind of dress that she was gonna wear?
- [10:08]
C
Well, I knew that it needed to stand up to Lynda's position within Emerald City. And it is, you know, kind of equivalent to a royal wedding. And we've seen those royal weddings with Kate and William, and we know what that feels like. And then to reinterpret that event as a fantasy event, it's like, what would Glinda actually choose? What is her dream wedding dress? When she glams up, it tends to be this kind of bell shaped silhouette and a very nipped waist. And then one of the things that we did intentionally was to keep her as open as possible because we wanted to see the vulnerability of Glinda and what happens to her within that whole going from feeling beautiful to really being crushed and allowing for Ari to really play beyond that. I think the fact that there isn't a lot going on around her shoulders and her arms, but that we lean into a very simple, asymmetrical sweetheart neckline. We're focused on her and her face and her expression and where she is in that moment.
- [11:18]
B
There's this sheer pink gown that Glinda throws on over her wedding dress in the scene with Elphaba. And it's like a really fun detail because it speaks to kind of how intentional she is to her clothing and her image and the way that she's always thinking, like, I have something to slip on just in case I need it. So I'd love to kind of hear about that choice and why she didn't just stay in the wedding dress. Why was she like, I have a little something else.
- [11:41]
C
We first see her in her wedding dress. She's partially dressed. She's checking off all the boxes. Something old, something new, something borrowed, something blue. It's a play on that she has her own Ozzie and version of that that she suggests. But she is in the underdress that will then become the full wedding dress. At that moment when she's in the underdress of the wedding dress, she's visited by Elphaba. I wanted to make sure. And I was always very conscious of this, is to create balance between those two characters because they always enter into scenes from the same level. They are two sides of the same coin, if you will. And so seeing Elphaba's black silhouette against Linda's white silhouette, they both are pretty much occupying the same amount of space. You know, it allows for you to see them very much in the same light. And it was a little wink to the popular peignoir that she wears pink. And, you know, it has spirals of tulle, and she's hanging from the chandelier and she's climbing on the floor and, you know, scooting around. This is the serious version of that. It was a lavender lace that has a butterfly pattern with within the lace. I love how all that came together. And then the skirt is a lavender tulle skirt that lays on top of it. So it becomes this veil that lives on top of the underdress of the wedding dress in a way that it's almost like a dust cover, or it's like this frivolous element that beautifies the silhouette. It moves really beautifully within the wonderful number. And that's what I love about what it does to the both of them, is when you see them waltzing together within that number is, again, the. They're basically the same silhouette. And similarly, if you look back to when they first came to Emerald City, they were in the same silhouette as well. So we're recreating that moment for them, you know, when they first met the Wizard. We're recreating them as more mature women. And time has passed, choices have been made, they've made adjustments in how they see the world. And I think that is very much expressed in the quote unquote they're wearing.
- [13:54]
B
Absolutely. And I feel like something that's always fun when you're watching a film and you're getting to know these characters is to think about where they're getting their clothing from. And obviously in the wicked world, there isn't necessarily like a beacon's closet or a buffalo exchange or do our flagship.
- [14:08]
C
No, they couldn't do that.
- [14:10]
B
Probably.
- [14:10]
C
Maybe a beacon's closet.
- [14:12]
B
Maybe you're right. Maybe that, you know, where did you. When you're putting together these characters, where were you thinking that Glinda and Elphaba get their clothing?
- [14:20]
C
I would say that Glinda's clothing is bespoke and she has access to anything. The fact that the wizard has manifested this bubble machine, this transporter, obviously she has access to the best tailors and beaters of Emerald City in many ways. The access to the amazing costume shop that we had in London when we were building all these costumes at her fingertips, I would say with Elphaba, what was in operation is the idea that she never goes back to her home in Munchkinland. She jumps out of the window and she leaves shiz behind and that life behind. And she goes into exile in the forest. And you can see represented within her lair, there's a loom there. So she could potentially be weaving and crafting her own fabric. Also, when you look closely at the sweeping coat, it is an upcycled version of the trench coat, the raincoat, it's hanging over the bicycle. When she takes the lion cub to the forest with Fiyero, and we do see it as part of a montage when she is wearing it. This idea that she can manifest these things, you know, whether she is using a spell because she has the Grimory or she's actually manufacturing these things on her own. I mean, she comes from Munchkinland. So that is the land within the world of Oz. That's the land of makers. I mean, they are the ones that are creating things. You see it represented in their clothing. You know, all of the hand knit items that are part of those silhouettes. Also that is the community that is farming the tulips in order to make Paints and dyes. So she knows how to manifest things as part of the Munchkinland culture. And this idea that the dress that she wore into Emerald City to meet the wizard, that's still what she has on. It's just shredded into a tunic that she's then added trousers to and these badass boots. And then with the additional sweeping coat and the cape, all those elements add to this really striking figure that she has created for herself, you know, and she's well aware of that Persona that she's trying to project versus what they have on the posters. When Fiero comes to her lair and they're going into into this intimate moment, then you start to see who is she underneath all of this. You have an opportunity to see what her underwear looks like and that's been hand knitted. And you see the robe that she's created for herself, which is a recreation of the roots and vines that are surrounding her in her space, where the yarns are kind of untied off and you're kind of trailing behind her, but there's this undulating knitted pattern, a hand knitted robe that it's almost as if she's wearing her surroundings within her layer. I think that that's a really beautiful image to see her because you actually engage with her skin very directly. I mean, you see that she's fully green. You see that she is very proud of her skin tone, really. And I think that says something about her, that she would reveal that kind of vulnerability to Fiyero. And I think that's done very clearly.
- [17:43]
B
Yeah, that was such a beautiful moment. It said so much without like her saying anything at all. Just showing her skin and being in that really intimate, revealing moment was so beautiful.
- [17:52]
C
That's what's so wonderful about the story. Overall, it's my job to show the emotional arc of these two amazing women to see how they make choices about how they'll represent themselves and how that image shifts as they mature into who they truly are. And each of those choices are very reflective of where they are in that moment in time.
- [18:16]
B
Obviously, like we said at the beginning of the film, time has passed. They're already so different. But then by the end of Wicked for Good, they've once again gone through such a transformation and been through so much. So for you, how significant were the final looks that we see them in? And what did you want to make sure really like came across in the final things that we see them in?
- [18:35]
C
Where Elphaba ends up is she's a fully realized woman. She moves to a place where she is done with the Persona that she is being vilified for, and also done with the good work that she has been about up until this time. So being able to lay down the uniform of a Wicked witch, to then take on something that can be softer, that still speaks to who she is, I think. But it is a way that we've not seen her before, you know, it. So it suggests a very clear evolution of who she wants to be and how she wants to walk through life. And then for Glinda, it is taking hold of what's been presented to her as her calling, how she transformed this idea of goodness, how she makes it an honest and true mission and a way of guiding and leading Ozians in an authentic way. So when she reappears in the pink bubble dress that we've already been presented with in Wicked Part 1, because this whole journey has been a flashback, we see how she arrived at that place. She puts down the classic version of Glinda, which is informed by the glinda from the 1939 film played by Billy Burke. That silhouette, that's very classic. It's very clean and simple. It's beautiful. Bodice, all sparkly. Moving to a silhouette that pushes forward in a very modern way, but feels like she's taken hold of her power. Especially when we see her walk to her bubble and she twirls her wand in a way that, you know, she's made peace with the fact that she's in a very powerful position and moves forward in a very confident way. And, you know, I think that silhouette that feels otherworldly is absolutely appropriate for that moment. And then we see her as this modern view of Glinda as she moves to the end of the film.
- [20:42]
B
Yeah. And also something that was really exciting from Wicked for good was that we got to see Dorothy and the Tin man, the Cowardly lion and the Scarecrow.
- [20:51]
C
Yes. You know, those were amazing characters to re envision the idea of the Tin man and the transformation of the Tin man, which is so magical, going from Bach into the Tin Man. The silhouette was based on the wonderful wizard of Oz book. Those illustrations from the turn of the century is what I was drawing from. Those are the illustrations that have the funnel for the hat and the barrel for the body. And John M. Chu's idea was to have elements within the room where that transformation happens in Nessarose's office area in Munchkinland. And there are silver and tin items that are on the shelves of this room that was the intention of the design was that we see how a silver and tin pitcher comes together to be a forearm, and then andirons become other parts of the Tin Man's body. There's jugs and cups that have handles that become ears, you know, the funnel that becomes his hat. So all of these elements are mutating and transforming into this Tin Man's body. You know, it's a really wonderful moment. That was beautifully made. The costume was actually made by an artisan. The only element that was VFX or CGI was the joints, because we couldn't get rid of Ethan Slater's joints so that it could look more mechanical. But. But the rest of the costume is one that he actually wore. His face. That's all prosthetics. It's not a CGI presentation. And that's in keeping with what Jon M. Chu was asking for from Nathan Crowley, the production designer, and from myself, that everything is tangible, everything is analog. You can actually touch it and relate to it, and it allows for the audience to immerse themselves into this world that feels as real as possible. And all the choices that Alice Brooks made as well, our cinematographer. We have this sense over the two films that this world could possibly exist somewhere in our universe. And it's because everything is real that is presented except for the animals. The animals were manifested. And with the animals, I was a part of creating those costumes or what clothing pieces as well, and figuring out how can the animal on all fours actually get into any of these clothes and investigating what does it require as far as closures, buttons or hooks or buckles. When they don't have an opposing thumb, they're doing it with hooves. And we saw that represented with Dr. Dilleman in Wicked Part 1. But just how that continues to be the case, what they hold onto when they are fleeing Oz into the impossible desert. I think that we're always trying to. Or I was always, always trying to create a reality for everyone's story, even within the scope of a fantasy presentation.
- [23:52]
B
No, I love that you put yourself in the mind of the goat and being like, okay, if you were to get dressed, how would this actually work? They're talking animals, they're wearing clothing, but it's still grounded, as you said, in this reality. I think that really helps bring the whole universe together in this special way.
- [24:06]
C
That was definitely the hope and then something, too.
- [24:08]
B
I'd like to kind of talk about Dorothy's or the famous Wicked Witch's shoes. It's funny because I did see some people online Were like, I wonder why they made the shoes silver. And I know that it's because in the original book, the shoes were silver and they only changed them. Ruby.
- [24:22]
C
Right.
- [24:22]
B
For the technicolor of the 1939 film. I loved the iteration that you did for this film. I thought they were so stunning. I was like, I want these shoes. So I'd love to hear about. Why did you decide to reference back to the book what went into the design of Dorothy's shoes?
- [24:37]
C
I was tapping into the original silver shoes from the wonderful wizard of Oz. Except for the 1939 film. Those rubies slipped don't appear in the Wiz and they don't appear in the book. The other iterations of the wizard of Oz, they tend to be silver. So I thought that it would be more interesting. Also, it involves legal issues as well as far as the ruby slippers and the two different studios that were creating these films. But I thought that using the silver and crystal would allow for it to resonate more directly to the tornado that was created. I mean, when you look at the shoes, the heel creates a tornado. And as it spirals up, the imagery that wraps around the foot is like the winds of a tornado. And the fact that it's going to create the demise of Nessa Rose, the house falling on her, you know, all of those are just a witty way to tell that story. You pair that with the striped socks. It's not the same striped socks of the 1939 film. You know, so familiar with that stick out from under the house. I still have them as part of Nessa Rose's wardrobe when she reveals the shoes, so that we have at least that nod to the world of the wizard of oz from the 1939 film. And those same shoes go on to Dorothy carrying that storyline. When Glinda gives the shoes over to Dorothy, you know, we see that Dorothy still has those blue bobby socks similar to what Judy Garland wore with the ruby slippers. So it creates a similar silhouette. It's just shifted to be an original view for our film and our point of view. And as well, the Dorothy dress, it's that blue and white gingham. But the silhouette is one that is based on in a turn of the century dress of a little girl. So I'm trying to balance all of the imagery that is encapsulated within the world of the wizard of Oz and then making use of it, manipulating it so that it's more meaningful for us as we tell the story.
- [26:52]
B
Yeah. And it looked incredible. So thank you. Amazing. And obviously, you also made history at the last Oscars by being the first black man to win an Oscar for Best Costume Design. And I know the only other black designer to win in that category was Ruth Carter, who I know that you are friends with. And you guys came up around the same time. What does that achievement mean for you? And how did it feel in that moment to also make that kind of history on such a public platform? Also, your outfit was amazing.
- [27:19]
C
Ah, thank you.
- [27:20]
B
You looked incredible.
- [27:21]
C
Well, that alone, I would say that, yeah, that was a life changing moment to receive that kind of acknowledgement and that validation, even after 35 years being completely devoted to this industry, whether it is live performance or film. And then to receive that kind of public acknowledgement for my work will always be the highest point for me. I am so honored to join Ruth in that. You know, we're paving ground for others that look like us and otherwise to see us as an inspiration, but then to pave ground for young people that will come after us. And I think that that's so very important. It defines what I prioritize as I move through life. As much as I embrace and acknowledge that I am the first black man to receive an Oscar for costume design, I also want to continue to expand and to be seen as just a very talented costume designer and then a very talented designer with a design brain that can expand into other forms that might be reflective of personality, but maybe it's real personality. I embrace all of the good that receiving the Oscar provides, and I hope that it also provides the expansion that I'm hoping for.
- [28:50]
B
Sure. Absolutely. Well, you're just so incredibly talented. I feel like there's lots to come. So.
- [28:55]
C
Yeah. Thank you. Thank you.
- [28:56]
B
Of course. And then I know in your award speech too, you had thanked Cynthia and Ariana for being the muses for these characters. And I'd love to hear about how maybe their real life Personas inspire the looks of the characters.
- [29:09]
C
Most definitely they were inspired by both of those beautiful women. I think that having the privilege to spend the amount of time that I did with both of them mostly in fittings, we were probably meeting with them at least three times a week, and each of those fittings would be at least three hours each. That's a significant amount of time to talk about who these characters are, how they see these characters, and how I could help to underline how they want to play those roles. I come in, I design what their overall track of clothing will be for the two films, create sketches and work with concept artists to Create a fully realized version in two dimensions of what those will be. It isn't until I have a conversation and engage with each of the actors the process of bringing it to life with the excellent tailors, excellent makers, excellent decorators, all of those things. But it's when I'm engaging in an intimate way with. With how they want to play the role so that I can make sure that it aligns with all the decisions that they're making in how they are crafting their character. That's what is so exciting for me, was being on that creative side, establishing. Okay, so how will we adjust your body silhouette so that it informs who these women are? How can I choose colors that work for your skin tone or the skin tone that you are going to become as far as shape, silhouette? How can I emphasize our idea of Glinda or our idea of Elphaba? And how much skirt do we want? How much train do you want? You know, those capes, there are amazing silk and velvet capes that we created that only Cynthia could throw them around in the way that she does. I mean, she's a master at connecting with what she's wearing. The same for Ariana, you know, those moments where she's in her boudoir in her apartment, and she comes down the stairs and she's in this significant dress, you know, this Glinda dress, and then she collapses onto the stairs and it surrounds her in the perfect romantic way. You realize she's in complete control of her clothing, you know, and what it means for her. And I get to be a part of that. And that is so exciting to be able to establish all these things.
- [31:45]
B
Yeah. And it's also just incredible to kind of see Cynthia and Ariana, their press tour, and the way that they lean into the looks of their characters, I feel like, is so fun. And then to kind of see people going to the theater, leaning into the costumes that you've made and doing their own takes and nods to them, I feel like, is just really exciting. Everyone's enamored by it, you know.
- [32:02]
C
Sure. And that's what was so wonderful, to see them on red carpet. And how the inspiration from the costumes have that transformed within their own world, because each of them are fashion icons. They wear contemporary clothing in such beautiful and creative ways. They are expressive through clothing, and it's just an honor to have the adjacency of the two of them that are so smart about how they dress themselves and very, you know, courageous about how they dress themselves as well, which then in turn speaks to the characters that they were playing. Because the reality is that what you see on screen is so much a part of them. You're seeing these real women. They're telegraphing it through the lens of a character. That is the gift that Wicked is. And for me, you know, I'm operating from the same place where there is so much of me and my sensibility and how I see the world up on the screen. And that's what I gift to the fans of Wicked and everyone that is embracing the films that we've created. Yeah.
- [33:09]
B
And thank you so much for that on behalf of everyone. And before I let you go, I know that you have a really exciting exhibit opening up at the Griffin Museum of Science in Industry in Chicago. Could you tell our listeners a little bit about it and what they can expect to see if they see it in January?
- [33:26]
C
Well, the Griffin Museum of Science and Industry in Chicago, it is the biggest science museum in North America. And they approached me because they wanted to get a different view of the world of costume design. So we start just asking the question, what is costume and what is fashion? And we showcase a look that I collaborated with Thom Brown for Janelle Monae for the Met Gala, which does ride that fine line between costume and fashion. And then we move into what my development as a child, what some of the most inspiring things were for me visually, and then move into a retrospective of my career and work that's been significant design wise for my career. And then on to a full room of Wicked Part 1 costumes so the visitors can get up close and personal with each of those costumes and just gain more depth in how things were created, what they look like up close, how they're fabricated. What I have been about really, in this part of my career is to raise up and shine a light on the world of costumes so that we value collectively the world of costumes and what they bring to the art of storytelling. Because I think that it's a very powerful medium to use. And it operates because it's all visual, but it says something very specific about who characters are and how we choose to show up. And I think that just showing as much as possible what it takes to design costumes and who is a part of making those things happen has become very important for me.
- [35:03]
B
Well, everybody has to go see Wicked for good. And obviously they already are. And then in January, we go to Chicago and we see your exhibit.
- [35:10]
C
Yes, it opens on January 19th and then it runs until Labor Day day.
- [35:14]
B
I just want to say thank you so much again. I know that you have so much going on, but I so appreciate you, so inspired by your work and by the film and this world that you've created and costumed. So thank you so much again. This is so great.
- [35:27]
C
Well Tara, thank you. It was so beautiful to talk with you and share a little bit more of Wicked for good and some of my background.
- [35:41]
A
A huge thank you to costume designer Paul Tazewell. Make sure to subscribe to our show wherever you listen to podcasts so you don't miss an episode. And while you're there, I'd also be so grateful if you'd rate and review us. If you have guest suggestions or any other feedback, please drop us a line@podcastwhowhatwear.com or you can find us on social at whowhatwear. See you next Wednesday on the who what Where Podcast. This episode was produced by Hilary Kerr, Summer Hammerhous, and Natalie Thurman. Our production assistant is Raven Yamamoto, our editor is Code Takasuki Chernevan. Our audio engineers are at Glen Canyon Audio and our music is by Jonathan Leah.