‘Wicked’ Costume Designer Paul Tazewell

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This is Fresh Air. I'm Tanya Mosley.

In Wicked for Good, when Glinda descends from her bubble in iridescent blue and lavender, or when Elphabus sweeps through the sky for the first time in a weathered trench coat and trousers, their looks aren't just dazzling us.

They're an integral part of the story, telling us who these women have become and the choices they've made.

My guest today, costume designer Paul Taswell, is one of the visual architects of that world.

For more than 30 years, his designs across Broadway, television, and film have shaped how we see stories, from the worn revolutionary textures of Hamilton to the saturated palette of Westside Story.

Taswell won the Academy Award last year for his work on Wicked, and during his acceptance speech, he paused to acknowledge the significance of that moment. I'm the first black man

to receive the

Costume Design Award

for my work on Wicked.

I'm so proud of this. Thank you, Mob and Emma, so much.
Thank you everyone in the UK for all of your beautiful work. I could not have done this without you.
My OSEAN muses,

Cynthia and Ariana, I love you so much.

All the other cast, thank you, thank you, thank you for trusting me with bringing your characters to life. This

is

everything.

Taswell's work now continues in the next chapter of The Wicked Universe with Wicked for Good, which picks up where the first film left off.

Elphaba, played by Cynthia Arrivo, is now on the run, branded as the Wicked Witch, while Glinda, played by Ariana Grande, rises as the face of a new Oz.

The film also stars Jonathan Bailey, Bowen Yang, Michelle Yeo, and Jeff Goldblum as the Wizard of Oz, and Coleman Domingo joins the cast as the voice of the cowardly lion.

Paul Taswell grew up in Ohio, a kid who loved to perform and gradually found his way into costume design. Since then, he's won two Tony Awards for Hamilton and Death Becomes Her.

And in addition to his Oscar win for Wicket, he's also earned an Emmy in 2016 for The Wiz Live. And Paul Taswell, welcome to Fresh Air.
Thank you. It's so good to be here, Tony.

We're going to get into Wicket for Good, but I could hear you sort of chuckling when you were listening to your acceptance speech. It's still like a surprise for you when you listen to it.

Oh, my God, completely.

It's just so out of body. And that whole experience was so out of body.
I mean, although I, you know, I trained to be a performer, that's not what I do.

So it's not what I, you know, kind of carry forward. You know, so it's always a surprise when I have to get up in front of millions of people and say something that's coherent.

And because I was so moved, I mean, that's one of the things that I I was chuckling about. I was like, oh, I forgot to say,

I forgot to say thank you to all the other cast. I mean, it wasn't that I forgot.
I just, you know, just like listing all of them off. And, you know,

it minimizes the impact that it's had on me creatively to say that it was, you know, just to say that it was life-changing. I think that it really

has affected my life in great ways.

Well, one of the ways that it's affected your life is that you're now a name. It's very few times, I mean, where we've been able to name people who set the worlds behind the movies.

We're often talking to the performers or we're talking to the directors or the producers. But as a costume designer, especially for Wicked, I mean, it's such an integral part of the storyline.

And from right from the start of this second film, we're watching your work. We're watching these two women step into their new personas.
Glinda as the good witch, Elphaba as the wicked witch.

And the costumes are really working to tell that story.

Elphaba's elaborate dress from the first film at the end, it's now shredded into a tunic, and Glinda is wearing this blue and lavender instead of that signature pink.

Walk me through what you were trying to communicate with those opening looks.

I see my work as a costume designer to be one of a storyteller, you know, and I'm telling a silent story that reveals itself adjacent to the performances of the characters.

Throughout these two beautiful films,

I was giving context to what their backstory was. I mean, for each of our principal characters, Alphaba and Glenda, where they came from.

With Elphaba,

we have been left at the very end of the first film, Wicked Part One, with defying gravity. And she's in her very best dress, dressed to meet the wizard wizard for the first time.

And she's also paired that with her pointed hat.

And when she jumps out of the window with the velvet cape that she's added on and her broom, we realize that she's completely self-empowered. I mean, she has arrived and has taken hold of

her own power. So to enter into the beginning of Wicked for Good, we get this sense that she has never really gone back to society.
She's stayed in exile.

And a way of expressing that was to keep her in the same dress, but because she has been out there, you know, she's advocating for animals, saving animals really, and taking down lines of guards that, you know, we see at the very beginning where they're all laying the Yellowbrook Road, she has become a huge force and kind of a superhero.

So I wanted to relay that with her silhouette but also to show the weathering of her garments. So it's the same cape that we saw at the end of Wicked Part 1 in Defying Gravity.

The lining has come out of it, it's starting to fray, and it just adds to the texture of who she is.

The same with her coat, the sweeping coat that she's upcycled from a raincoat, but the idea that she has taken just a few things into the forest and then she's recreating herself as this heroic image paired with the pants that we have and also her knee-high boots.

So, you know, in setting that up, I'm making choices about what is the silhouette going to be?

How does it potentially align or become nostalgic of the 1939 film and that Wicked Witch of the West, so that we're always threading, you know, all of these ideas of the Wizard of Oz and Oz, you know, just the Ozian sensibility, all together and wrapping it up in a way that makes sense and says something more, as I was saying, says something more about the characters as well.

You know, one of the things I'm so interested to know is, I mean, both of these films, one and two, were shot simultaneously.

And Cynthia Arrivo was on the show a few weeks ago, and she told us that she created scents.

So she created perfumes, smells that she could help differentiate the days that she was shooting for each of the films since it was happening.

For your role, you had to know Alphaba's entire journey before you started shooting.

When you're designing across two films like that, knowing where a character ends up, how does that change the way you approach, I mean, really the very first costume?

Well, it's the way that I approach any production.

You know, if I was doing a musical, I would be figuring out my characters from the beginning to the end because that's how the audience is going to experience them.

And then I need to make choices that are consistent as I'm telling that story.

The same for Wicked, it was about clothing and style and how the different groups, like the Munchkinlanders versus the Uplanders, which is where Glinda's family is from, versus the Winkies or Kiyamako, which is where Fiero is from.

Each of those very specific sensibilities, but together they help to define each other. I mean, they're consistent by, you know, silhouette.

It's by, you know, the shapes of sleeves and the shapes of skirts and the kinds of textures that I use.

I needed to make a world that would be plausible within itself so that you believe in it as an audience member.

You're able to, you know, it doesn't, you know, I'm not going to throw a, you know, a bunch of scenes with sneakers in it unless it's a very specific OSEAN sneaker.

You know, because that's why, you know, everything in this world needed to be bespoke. I mean, it was all created specifically for this world.

How did you come to the decision to have Alphaba wear trousers?

Something happened just to my design brain when John M. Chu said that he was casting Cynthia Arrivo.

And this is after looking at a number of different Alphabas, and I was actually privy to some of those audition tapes just to see where his mind was.

But to then see that he was thinking of putting Cynthia in that role, one, I had already worked with Cynthia in Harriet, and I knew her range.

I mean, I knew, I, you know, I fully understood her connection to clothing, how she develops a character, but I knew that she would be able to go to a place

that would use the agility of wearing trousers as a means of

athletic expression and power. The ability to move allowed for her to

navigate the world in a way that was more expansive than being in a skirt and jacket all the time, which is how I set her up. I mean, she enters into the world of shiz dressed in black.

You know, and that was another part of the equation:

why does she wear black? And there were many conversations that John M. Chu and I had, the director, you know, around how do we define why she is wearing black?

And I made the decision that, well, she lost her mother very early in life.

She was in mourning, so she wore that color, you know, signifying mourning.

And then to adopt that as a way to pull herself apart from the rest of the community, which we see, you know, presented, you know, when she's a little girl and, you know, how the other children in the neighborhood make fun of her.

And that holding on to that armoring that's created by wearing black, it felt real in a way because you think about high school students or young students who dress in black or in a very goth way to make themselves feel special or to

create a separation from the rest of those bullies that might be hurting them,

just to create some significance in their personality.

This is so fascinating what you're saying because

In that way, the black stands out because I would guess that black is one of the hardest hardest colors to make visually interesting.

But up against this colorful world, I mean, it feels like that texture and that detail in her costumes also show up in the black. Thank you for mentioning that.

I mean, that was, again, another element is that she's side by side with Galinda, Glenda.

who is always dressed in pink or in light tones, and they are often very feminine and feminine fabrics, light, airy, elegant, beautiful, those things that are desirable.

I made the decision that there had to be balance. And then it just continues to expand.
You know, I was talking about how Cynthia was cast.

You know, it was the first time that a black woman had ever been cast in that role, which was surprising because the whole point of the story is that she is

you know, being ostracized or vilified or, you know, that she's othered because of the color of her skin. Now, it's a direct connection to

the racial structure of even our country. There are so many similarities in the emotional story for a person of color and how that relates to Alphaba.

I want to ask you about something that

fans have also noted, that there is one steamy, very intimate scene in the film between Alphaba, you know where I'm going, and Fiero, played by Jonathan Bailey.

And Alphaba is wearing this long gray chunky wool sweater. It is such a specific choice.
Why?

Just lately, people have talked about it.

They call it the sex cardigan.

It came out of, you know, very literally an organic decision of what does Alphaba have access to?

And living alone, what choice would she make when she's, you know, looking for a robe, some way to be protective and warm? And the sweater is one of comfort.

When you put someone in a cardigan or in a sweater, what you're doing is you're creating, you know, there are many different

connections that we have. Sometimes it's a hand-knit sweater, so

you're connecting it to the person who actually made it,

which might be a mother or a grandmother or an aunt. So that gives you comfort.
You know, you think about a boyfriend sweater.

And that, again, is there's the idea of an oversized, comfortable, something that you could wrap in, how it makes you feel.

You know, that's a note.

I mean, like, but like intimate time with the man that you've been secretly loving forever

to put on a sweater. What does it signify? It's operating as her robe for that moment and for the, you know, her in exile.

And she is making a softer choice alone in her surroundings of roots and vines and all the elements that are around her.

And you can imagine that, because she's crafting all of that.

She's got a loom in her live space, in her treehouse, where she's weaving her own clothing. She's manifesting all these things from the elements that are around her.

And the sweater is just in keeping with that. Now, indeed, you could say, well, you know, why wasn't it a black,

slinky penoir? But where would she get it? Like, why would she have it? Why would she get that? Or why would she even have it?

Because it's not like she's, she's at that moment, she's not thinking about Vieiro. She's thinking about saving.

I mean, she angsts some about the love that she has, but she's not expecting that he's going to arrive, and therefore she's got her special sexy penoir that she'll pull out.

I mean, that's very much in line with Glenda, but why would she have that? I think that it just follows through with reasonable choices that

define who a character is and what is important for them, where their priorities are.

And I felt like the underwear that we have her in, which is very sexy underwear, it's all knitted as well. And it's revealing of her skin.

It's short. You see her legs and her arms, her stomach even, to use both.
And then they're together and they're actually using the rope as a blanket. So again,

it's a much more organic connection to clothing and how the characters relate to it. It wouldn't be realistic that she'd have a little black lingerie in this forest.

As much as everyone wants her to have, yes.

Okay, Paul, I want to go back to your childhood because

the 1939 version of The Wizard of Oz with Judy Garland, it's a tradition for many families to watch it. And growing up, your family would watch it on Easter.
Absolutely.

Do you know why your family made it an Easter tradition to watch?

I think that that was when it actually played. Because

this was before there was VHS tapes. As I have it in my memory, it was annually that my three brothers, myself, and my two parents would sit and we would experience The Wizard of Oz.

And it became very

informative. I mean,

for me as a designer,

the idea of visual magic, when you think about, most specifically, going from sepia tone in Dorothy's house to Technicolor when she enters into Munchkin Land.

I mean, that's one of the most magical transitions

that I can remember. So I have that in my bank of imagery as I think about, you know, other projects that I'm designing.
There are other films as well.

I mean, if you think about Willy Wonka and the Chocolate Factory, or you think about Mary Poppins or Cinderella Disney.

I mean, so at that time, all of those magical stories, all those movies were folded into our, you know, just our family culture, you know, and what we would watch for entertainment.

Were there things about the costuming in The Wizard of Oz, even back then when you were a young boy, that you noticed?

For instance, I'll just say, you know, with Glenda the Good, it would be part of my daydreams to think about me dressed as her, you know, holding a little wand.

I just wonder for little Paul, what were there any moments that you would think about?

Well, I dressed as Glinda. I mean, yeah.

No, but

I think that I was transfixed by that costume, just to understand

what's going on in that, you know, that fairy princess dress. And, you know,

it's very classic. You know, it is an archetype of who Glinda is, but then who, you know, when you think of the Good Witch of the North, that's the image that comes up.

It's this bell-shaped skirt, tight waist. full sleeves, sheer, lots of sheer layers, and then sparkle.

And, you know, so just understanding, so what are those qualities that

allow for us to think this about this character? And then to adopt that and transform it into the Glenda that I created, the pink bubble dress that is actually Glinda's moment of coming to power.

Our guest today is Oscar-winning costume designer Paul Taswell. We'll be right back after a short break.
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Your mother taught you to sew when you were around nine years old. That's right.
What made you want to learn? You know, I think that I was always transfixed by crafts and working with my hands.

And my mother, you know, I was always, you know, right at her side, you know, as she would draw and paint.

Or early on in my life, she was making puppets and doing puppet shows with her sister and with my older cousins.

They would create these puppet shows for libraries in and around Akron, for the schools and for the church.

And so I was really fully connected and engaged with what they were doing and that kind of crafting. And so in some way that fed into

my

desire to create, to work with my hands. I think that creating clothing was just the next step.

You know, my mother had a singer sewing machine and she would set it up and she would make costumes and clothing for us, you know, my brothers and myself. Also, she was making things for herself.

And then, you know, it was just a skill that I wanted to have so that I could start to create things for myself. So I would make dashikis and different kinds of clothing, you know, shorts.
And,

you know, it's just a way of, you know, it was an activity.

It really sounds like your family was pretty creative in one way or another. It seems like almost everyone was an artist.
We were definitely surrounded within my family.

I mean, my grandmother was a painter.

My dad, you know, also, he loved model trains. So I remember for a period of time, he had this huge model train table

where you would have little

model houses. You'd create a little town and then the train would ride around it.
And then there was the element of live production.

I mean, they would take us to productions of musicals that were in the Akron and Cleveland area. They encouraged us to join the drama club.

And my brothers and myself, we were all Suzuki violin or cello students. So culture was really big.

My grandmother had studied at Oberlin music and she was a piano teacher and piano player.

And so, you know, it was just a part of our family culture that we were expressive in that way.

Your great aunt was also the president of Bennett College. That's right.
Which is an HBCU in Greensboro. That's right.

She was there when the sit-ins happened.

So she was very much connected with ANT and, you know, just how the women, because Bennett is a girls' school and ANT was a boy's school at that time, or largely male. So they would work together.

But at that time, you know, there was just a lot of navigating what was going on in the city and

how to be an activist at that time. It was a serious time.

I'm thinking about the aesthetics for the time because, okay, when you were a very young boy, the civil rights movement was so defined by that visual language of respectability.

So the suits and the press dresses and the carefully composed presentation. But by the time you were a teenager, I mean, there was a whole different aesthetic that was emerging.

And where did you fall for yourself? Where did you see that?

Where did you sit with your aesthetics and also the way that maybe you were thinking about it?

I think that I was engaging with both, really. You know, I remember when my mother cut her hair to become an afro.

So making the decision that she was no longer gonna going to press her hair and grow it long, but she was going to cut it and have it curl up into an afro and go with a natural style.

And my grandmother was, you know, completely against it. I was against it even.

It was like because of that change. But then, you know, that was a.

I mean, you know, I think that it was just a romantic alignment with

that long straight hair and

just how much white culture had infused itself into how black people were making choices about how they were going to show up.

But wearing jeans to school, I was in grade school at a time where you weren't allowed to wear jeans to school and girls weren't allowed to wear slacks

unless it was snowing outside and they just needed to walk to school and then they would change out of them. So I experienced all of that and then that shift into a much more casual style.

But I was still brought up by grandparents and parents who, you know, my dad was a research chemist at Firestone and he dressed in a suit every day and tie. We all dressed up for church.

You know, so there was a formality about what we were taught.

But, you know, how I design is very much informed by, you know, the portraits of my family through the ages, from the turn of the century and before up until that contemporary time, and seeing how my family chose to present themselves, which was usually in a formal way, especially if it was going to be for a photograph.

Right. Do you have a lot of photographic evidence that you guys have a lot of?

I do, I do, yeah. We've kept a lot of it, yeah.

You know, and that has informed, you know, when I remember, you know, a photograph of my great-grandmother and my great-grandfather and my grandmother as a little girl and grandaunt that you were talking about who was president at Bennett, it was a beautiful turn-of-the-century family with, you know, my great-grandmother had this large hat and my great-grandfather had this amazing Homburg on.

And, you know, so that sparked my interest in period clothing.

in my home and then how it expanded into researching, you know, so what was, you know, she was wearing a corset, obviously, and her clothes were created in a very specific way, and my great-grandfather's clothes were tailored in a very specific way according to the period because they were dressing to

armor themselves up for the world. I mean, they were, you know, they wanted to be seen in a certain light.

kind of black families who have arrived.

They've migrated from the south and they've now arrived to the north and they are respectable people with dignity and the idea of

you know you've got one pair of shoes and you make sure those shoes are shined when you're going out into the world just downtown because you want to be seen in a certain light by both you know the black community and the white community you know you're going to put forward your dignity by what you're wearing on your body and that became a really powerful message for me and you know i still think about it.

That's how I show up. I show up in a very intentional way.

You show up in a very simple black way. You love black clothing.
I do tend to,

well, I try to, you know, that

energy that it takes to put together clothing, I use professionally.

So if I can have a uniform, and I know that, you know, I know what I'm going to wear when I go out. You know, lately it's been a navy blue turtleneck and navy blue trousers.
It's tone on tone.

I know that I can look good and not have to worry about being

fashion forward. I mean, it's only if I'm doing a red carpet or something like that that I want to make sure that, you know,

I show up in, you know, something that makes a mark. Otherwise, I kind of want to recede.

Well, the thing about it is, and I hope I'm not overstating this or stepping into a territory that I don't really know, but when you were talking about Elfabo wearing all black and the reasons why and what it signified, in many ways, I was just wondering, is that how you think about yourself and your own style?

Well, I do have to say that Elphaba is the main character of Wicked, the Wicked films, that I align myself with.

There's a sensibility about her and how she walks through life, both as an introvert and one that is a listener.

Also, she's with Nessa Rose, she's a people pleaser in a way. You know, she's working to combat the fact that she's been othered by taking care of other people, making sure that other people are okay.

You know, before Wicked was even in my life, and that's a part of my own

personality.

But then the draw to

armor is definitely a part of my personality because I dress according to how I want to be seen, whether it's an interview with a person that I've never met or

it's going out on a red carpet.

I'm dressing in a way very conscious of how I might potentially be seen.

And that's what all of us do, really. We're just not as intentional, but we're not thinking about it quite as much.
You might say, well, I like this, I don't like that.

This is my style, this isn't my style. But you're also making choices about how you, or what that is, is making choices about how you want to show up for a specific moment.

Aaron Ross Powell, you know, know, as a black man, I mean, you're hyper-visible, and I mean that literally because when you're a black man in predominantly white spaces, you stand out, you're seen, it's just what happens, you know.

So, that has to factor into how you understand the way people interpret what you wear and how you present yourself and what you say.

Do you remember when you became conscious of that?

Early, early on,

maybe

junior high.

You know, I wasn't aware of, you know, growing up in Akron. And, you know, Akron, it has its racist moments, areas, you know, just how that dynamic, especially when I was coming up.

I mean, there are certain areas that you didn't go into.

There was also the time that the original Roots, the novel was created, and then the television series happened. So that was

in our home. For the roots.

Yeah, for Roots. And all this this is folding in, and I'm trying to figure out who am I and

how can I

be true to myself and embrace all that I am drawn to. Because I was operating with two different things.
One, that it tended to be more feminine than masculine.

It tended, you know, because I was drawing and painting and making puppets and creating clothing. So all those were seen as more feminine.

And then, you know, I couldn't get around being a black man or a black boy. You know, that was how I was seen as well.
So, you know, navigating that,

you know, when you think about it, when I think about it, you know, just sitting here with you, it's like, well, that informs why I'm doing what I'm doing because I'm actually trying to control how people see other people before they've said anything.

Let's take a short break. If you're just joining us, I'm talking to Oscar, Tony, and Emmy-winning costume designer, Paul Taswell.
We'll continue our conversation after a short break.

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Okay, you have been living in the world of Oz for a really long time in various different ways. We talked about the Wizard of Oz as a child.

And in high school, you designed costumes for your school's production of The Wiz. That's right.
What do you remember about that experience and what drew you to design rather than to perform?

At that time, I had not let go of performance. But in 1978, The Wiz came out as a film.
Yep. The one with Diana Ross and Michael Jackson, Nipsey Russell was in it,

and Richard Pryor and Lena Horne.

And that was hugely formative for me visually, you know, to see, again, to see black faces in this epic film rendered in great style and amazing music by Quincy Jones.

He did all the orchestrations for that. It blew my mind.

To see that kind of expression of disco iconography represented as the Emerald City world, you know, because I knew The Wizard of Oz from 1939, but then to see it told in our, you know, my cultural language was, you know life-changing it was like oh yeah well of course you know this all works beautifully you know or like the I think they call them the winkies in in the film those people in the factory that are working for Evelyn when they unzip out of their bodies and the skin falls away and then there are these beautiful

fancyator Harlem dancers

and you see their brown skin and you know just you know that was again mind-blowing. It was magical.
Then, because I went to a magnet school in Akron,

part of that was that there was a performing arts program within that school. And at that time, I wanted to be an actor, singer, dancer.
That was my hope and drive.

And I found theater through a production of Westside Story that I was in maybe two years before.

So at 16, my teacher, Arnold Thomas, he realized that I was very interested in costume design,

and he offered me the project of designing all the costumes for this production of The Wiz

that they were going to do in the spring. Now, I also auditioned for The Wiz as well, and I was given the role of the wizard or the whiz

in that production as well. Yeah, so I was designing the costumes and also in the production at the same time.
Yeah,

but

I was in heaven. You know, I loved creating these fantasy characters through my lens.
Now, it was greatly informed.

When I think about what I created, I was very much inspired by, or you could say, copying the film.

But

it transformed into what we could actually manifest. Thankfully,

my mother, my dad, my brothers,

they all chipped in.

Oh, it was a family affair. At the end, yeah, yeah, yeah.
But much of that time, I was creating them on my own.

Were you creating, like, designing and then sewing them and putting it all to everything? Yeah, the only thing that I didn't sew was my white suit that my mother made for me as the whiz.

So she made my white suit. It was a double-breasted suit I love.
I love it. It was a shark skin suit and a white cape with green lining.

Oh, my God.

You know,

there was a gold lame pleated cape and dress that was designed, that I designed for Glenda.

That was my continuing evolution of problem solving and the creation of worlds that I continued to fall in love with. Once I graduated, I ended up going to Pratt Institute to study fashion.

And the reason I wanted to be in New York was because I wanted to continue to pursue an acting and dancing career.

But I

didn't create a bond with the world of fashion at that time, so decided that I really wanted to get back into costume design.

And for that, I went to North Carolina School of the Arts in Winston-Salem, North Carolina. And while I was there, I made the conscious decision that I would

put myself whole hog into becoming a costume designer because I was still grappling with how can I be seen

in the way that I want to be seen as a performer? You know, how can I get the roles of a leading man in a musical on Broadway in the way that I want to do that?

And will I ever be able to? Because the climate at that time was just, it didn't feel as inclusive. It wasn't.

Well, let's slow down a little bit because you left Akron for New York City. This was around 82.

I mean, what a time to be in the city. You're 18, you're away from home for the first time, you're discovering yourself, but you also are kind of coming to grips with maybe

you won't be a performer, maybe you will go into this other direction. Was there something pivotal that happened during that time period that really solidified that for you?

I mean, one of the things was just how difficult it was to,

you know, because I was trying to double major and it seemed like at every turn I wasn't able to merge both of them together and what was really encouraged was my design ability,

meaning I was getting a lot of encouragement, I was excelling very quickly, it was in the direction of costumes. And I made a decision my junior year

that I would devote myself to costume design and live vicariously through other characters, you know, where I might not be cast in certain roles because of how I looked.

As a designer, I could be anyone.

I could live through that process of character development and what they would wear. It just so happens that I wasn't going to be on stage playing the role.

Let's take a short break. If you're just joining us, I'm talking to Paul Taswell, the Oscar-winning costume designer, whose work includes Hamilton, Westside Story, and the new film Wicked for Good.

We'll be back after a break. This is Fresh Air.

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Your Broadway debut was in 1996, but Hamilton in 2015 was the moment when the world saw your work. And the costumes, as in all of your productions, do so much storytelling.

The The way the revolutionaries are earth tones and the British are in jewel tones. The way that final dress is both like a mourning and a triumph.

And how did you and Lynn Manuel Miranda approach the visual language of that show?

I mean, I would give it up to, and I love working with Lynn. We work together on In the Heights first.

But I also want to throw in and acknowledge Thomas Kahle, who was the director of both In the Heights and of Hamilton.

Because it was Thomas Kale that I was directly engaging with for the overall production. You know, I had a large body of work that I did between Bring Into Noise, Bring Intefunk, and Hamilton.

And all of that work defines where I was creatively as a designer to be able to step into Hamilton and do what you were suggesting, which is being in control of the imagery that I was using as it relates to these characters that we know,

you know, our forefathers and the world around them, but to show it through the lens of a

modern voice.

and making choices about silhouette and very directly research silhouette and where it's useful and movement as well.

And that's where my, you know, my background background in dance, that's, you know, I'm always infusing that into my design because it just becomes part of the performance.

You know, the extension of a costume or fabric from the body and how it connects to and is reactive of how the body moves is paramount for me because you get an emotional

result from that.

When you think about Westside's story, let's say, or even in Hamilton, where you have the winner's ball and because the turntable is turning and the women are moving in a circular manner, the skirts then sweep around in a way that becomes very romantic.

And

the ensemble of ladies in those skirts, so they've gone from being soldiers into being these women in this ball.

And when they're lifted up and they're swirling around, it creates this really magical, romantic moment that you are swept into.

And that's in support of the three primary women that we're looking at, which is the Schuyler sisters, and then experiencing Eliza's, you know, her transformation.

And then we go into Angelica and how she remembers that moment. You know, so all those things are very visceral for me.

And I become very emotional about it.

Are there any funny moments, though, when you thought a garment might work out and then you practice it and you learn, not so much. This is actually not going to work, you know?

I know my life is full of that, but it's, you know, you have to have trial and error, you know, and so I build into the process a period of R ⁇ D to fail, you know, to make bad choices.

There are probably seven different versions of the alphabet hat that I created. Wow.
One, because I wanted to figure it out. I wanted for it to be able to collapse.

I wanted for it to live within the design rules that we had created for the film, to somehow be a very original version of a hat.

Was it going to be straight and pointed up, you know, in a symmetrical way, or was it going to curve? And, you know, just a little blip is, as John M.

Chu would describe how he was planning on starting the film, it was going to be a close-up of the hat that you really couldn't see what it was.

You really didn't know if it was a mountain or a building or

what that structure was. So that defined why it spirals around.
But then the spiral became definitive of everything around, like it resonates throughout the film.

And you see that usage of spiral defines our world of Oz.

Paul Taswell, this has been such a pleasure to talk with you. Thank you so much.
Oh, so great to talk to you as well. Thank you.

Paul Taswell is an Oscar Emmy and Tony Award-winning costume designer, known for his work on Hamilton, Westside Story, and the new film Wicked for Good.

Tomorrow on Fresh Air, Pulitzer Prize-winning photojournalist Lindsay Adario.

A new documentary explores the intersection of her all-consuming and dangerous work in conflict zones and her life at home as a wife and a mother. I hope you can join us.

To keep up with what's on the show and get highlights of our interviews, follow us on Instagram at NPR Fresh Air. Fresh Air's executive producer is Danny Miller.

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