Costume Designer Creates Custom Lab Coats for Lessons in Chemistry Series
Mirren Gordon-Crozier has collaborated with Brie Larson on four projects over the last decade, starting with the actress’ breakthrough role in the 2013 independent drama Short Term 12. When the costume designer learned that Larson’s next leading role was in a period TV series, she was taken aback. “I almost fell to the ground,” she recalls.
What excited Gordon-Crozier the most about joining the project was the time span from 1949 to 1957 covered in Lessons in Chemistry, the Apple TV+ adaptation of Bonnie Garmus’ novel where Larson portrays Elizabeth Zott, a chemist turned cooking show star navigating societal norms and personal challenges. Gordon-Crozier discussed with THR the distinctive style of that era and the narrative conveyed through Zott’s wardrobe in the series.
Were there real-life figures that inspired the series’ fashion direction?
Absolutely, but it was their casual attire off-camera that influenced us, rather than their on-screen looks. We studied what Grace Kelly, Lauren Bacall, and Audrey Hepburn wore in their leisure time and used those as a basis for creating shapes and silhouettes.
The series kicks off with Zott wearing pants to the set of her show, causing some commotion. Can you elaborate on that decision?
There was a strict dress code that many women had to adhere to, especially in her laboratory workplace. While she may have preferred to wear pants, she had to comply with the skirt-and-saddle-shoes dress code to maintain her job. So when she finally had the chance, which marked the moment she took charge, she boldly appeared in trousers, a rare sight on television. It was a pivotal moment.
How did you determine the progression of Zott’s wardrobe as she goes through personal and professional transformations?
We utilized a lot of color for this, particularly various shades of green. With each new phase, we integrated green tones, even if it was just a subtle hint in a print. Her color palette remained consistent, but her style evolved. Initially, she wore more masculine prints. I sourced vintage vests from the boys’ section at Western Costume because I couldn’t find what I wanted in the women’s department. I strived to go beyond conventional choices, much like she would. It was a delicate balance for her to fit in with both men and women without causing any disruptions.
As she ascends as a successful TV host, her style evolves, and she incorporates her lab coat into her looks, leading to more experimentation. We custom-made all her lab coats, drawing inspiration from Christian Dior. Reflecting on an exhibit I saw in Paris, I envisioned an array of fabulous white coats instead of the standard lab coat.
How much of the wardrobe was sourced versus created?
We sourced a lot of knitwear as it’s challenging to make. However, we handcrafted all her lab coats and many of her skirts. The biggest challenge was sourcing period-appropriate fabrics and textiles. Some fabric stores carry deadstock fabric from the 1950s, which is essential for making multiple garments. A pleated skirt, for example, requires a significant amount of fabric, typically five yards, and finding the right fabric with accurate color combinations from that era is crucial.
Women’s fashion wasn’t known for comfort during that era. Did you attempt to address this at all?
The discomfort of the clothing adds depth to the characters, especially someone like Fran (portrayed by Stephanie Koenig), who is very uptight. I believe she relished the layers and the constraints they imposed. The discomfort also influences posture and stance, especially when wearing heels and slightly uncomfortable garments, mirroring the challenges women faced at that time. Brie embodied Elizabeth’s willingness to deal with the discomfort, despite her initial reservations.
What accomplishment are you most proud of achieving with the wardrobe?
I could go on endlessly about the lab coats, as it’s gratifying to work within set parameters yet explore creative possibilities with collars, belts, finishes, and trims.
This article first appeared in a June standalone issue of The Hollywood Reporter magazine. Click here to subscribe.