Nina Ayres' Enchanting Costume Design Elevates 'Carnival Row' in its Second Season
In the epic final season of Carnival Row, Nina Ayres, the Emmy-winning costume designer, brings life to the fascinating world of the show, where love and loyalty are put to the test. In this exclusive interview, we delve into Ayres' creative process and design aspects of season two.
CN (me): Hey Nina, season two of Carnival Row has been insane, and the costumes you've created add an incredible depth to this captivating world! What was it like diving into this fantastic show, blending your vision with it, and creating something new alongside the team?
Nina: I'm thrilled to be here, CN! I'm a massive fan of your podcasts, so it was such a blast to join this show! I loved season one, and I adore the historical/fantasy genre, so I was beyond excited when asked to take on the role of costume designer for season two.
To start, I needed to fully immerse myself in the influences and style of the first season, ensuring continuity for the characters and their costumes as we moved into season two. Thankfully, many members of the Czech costume team were from the first season, so I had a solid starting point. Once I got the scripts, I started researching, conceptualizing, and designing new outfits for the existing characters and the many new additions.
My walls were covered in mood boards featuring various creatures and worlds, filled with fabric samples, reminders, and dye samples. It was essential to evaluate how each group would be distinguished and then evolved and refined. I had a blast collaborating with the amazing heads-of-department, like Nick Dudman, the MUFX designer, and Franceso Pegoretti, the hair designer. Their work was truly breathtaking, and I loved seeing how their creations enhanced the characters even further.
CN: Throughout season two, Vignette and Philo go on vastly different paths while trying to save the row. How did you capture their evolving personas and missions through wardrobe choices?
Nina: For Philo, we decided to keep his iconic look, given he stands out on the row. I created new garments for him, maintaining his unique style. Since he suffered considerable clothing loss throughout the season, we had the opportunity to introduce several new waistcoats and trousers. Ultimately, he gets an entirely new outfit in episode ten, but no significant changes mark a shift in his thought process or new discoveries.
Vignette, on the other hand, embraces each change wholeheartedly. We begin with outfits very similar to the previous season, but with some adjustments. When she gets arrested and escapes, she's given new clothes from Aisling's wardrobe, symbolizing her desire to return to her Fae traditions and emblems. As she progresses through her struggles, she receives new fighting gear, with the unique Fae spiral embroidered into her coat's sleeve.
CN: Tourmaline takes an exciting new path this season. How did you plan her wardrobe to reflect her transformation?
Nina: I designed an outfit for Tourmaline to kick things off, serving as a transition from her old role. I kept the familiar oranges and reds, while making the look more everyday. Unfortunately, due to changes in the storyline caused by the COVID-19 pandemic and flashback scenes requiring her to wear that outfit, I couldn't move on from it. However, I enjoyed the chance to invent ways for her to accessorize and customize her clothes, such as the apron, extra cuffs, and cape, all of which helped her blend into the Haruspex world.
Later on, I got to give her a new outfit—a blue suede, orange leaf-patterned felt costume, perfect for her shamanistic role. By the finale, she wears a darker costume for the ceremony, mirroring Vignette's but with a subtler vibe to showcase their unique personalities.
CN: Millworthy changes positions drastically this season, going from a theater background to a politician. How did you merge his past and new position through his clothing?
Nina: Millworthy drew inspiration from the poets, artists, and philosophers of that era. I designed his costumes to meet the standards of the Burgue parliament, just barely. Each costume had subtle feather motifs to reflect his love for the Fae, especially in honor of Aisling. I chose loose ties, collars, and other accessories to convey his bohemian aesthetic. He also carried his velvet waistcoat, black satin frock coat, and silk necktie, always giving him a distinctive style.
As Millworthy's role changed and he went back and forth between the Row and the Burgue, his clothing adapted, with only minimal changes to blend in. After the Bleakness Keep episode, he adopted the feather motif more prominently and regained a new deep mulberry suede frock coat, reminiscent of his theater days. When reunited with his beloved Kobold blunderbusses, he returned to some of his old costumes, including his iconic "theater cloak" from season one.
CN: What were your inspirations for the Pact, and what did you hope to convey through their wardrobe?
Nina: I chose red as the symbol for the Pact, representing strong, flamboyant colors that connote bloodshed and wealth. Given that their style needed to differ from the Burgue, I decided to adopt an Indian continent aesthetic. This was partly influenced by the British empire colonies of that era. I used gold or silver metallic brocade and a longer style tunic, symbolizing their wealth and power.
CN: The New Dawn is distinct from both the Pact and Burgue in both look and attitude. What inspired the New Dawn, and what did you want their wardrobe to convey?
Nina: I sought a fresh palette for the New Dawn, desiring to represent hope and growth. Hence, I decided on green as their symbol, proving the perfect backdrop for Ragusa's hot climate. I wanted to establish a sense of unity and allegiance through their outfits, while limiting visual differences between characters based on gender or species. I used a check pattern, combined with green, as a way to create a work-ethic type of vibe that added to their revolutionary spirit.
CN: The leader of the New Dawn, Leonora, possesses a unique personality. How did you express this through her wardrobe?
Nina: Leonora, being a shrewd and powerful woman, didn't use her clothing to convey wealth or power. Instead, her outfits contrasted sharply with those of the Burgue. I dressed her in the same checks, patchwork, and green sequins as her comrades to ensure she could easily blend in and go unnoticed. She constantly defied expectations, appearing unassuming but possessing a strong understanding of the power dynamics at play.
CN: How did you display Imogen and Agreus's transformations as they grapple with their loyalties to the New Dawn and Burgue?
Nina: At the start, I set up an image of a hopeful new life for both, dressing them in frivolous pastel linens and cotton. As the story unfolded, Imogen underwent several transformations, making practical choices based on her situation and evolving mindset. She abandoned her corset and bustle for a more liberated style, opening the front of her blouse (previously fastening at the back) to facilitate independent dressing.
Agreus maintained a more stubborn attachment to the position he'd fought so hard to obtain. He clung onto the wing collar, cravat, and tie pin, symbolizing his status. It wasn't until his ordeal at the fight club, broken horn, and confrontation with Leonora that he began to tone down his look.
CN: What was the most challenging aspect of working on such a large project?
Nina: The project's scale was a challenge, but not my biggest concern. I've worked on Game of Thrones for five years, juggling multiple locations and fast-paced action. The difficulties came from the fact that I was working abroad and adapting to new creative approaches. There were times when I had to celebrate the fresh discoveries but also commiserate the lack of familiar craftsmanship.
When Covid hit, things became even more unusual. We filmed sporadically while the script evolved, facing challenges like limited fittings, unavailable fabrics, and team members away for extended periods. It was tough, but we remained united, with a shared goal of bringing the best possible show to the fans.
CN: What was the most enjoyable part of working on Carnival Row?
Nina: I loved the hardworking and passionate people involved in this project. Collaborating with actors, producers, and directors who shared my passion for creating characters and their journeys allowed for engaging conversations about their stories and how I could bring their feelings to life through their costumes. I had a blast conducting fittings with the actors, discussing their characters' backgrounds and believing in their arcs. Lastly, seeing the characters and costumes come together on set and feeling the excitement when everything comes together is always a rewarding and enjoyable experience!
So, grab some popcorn and watch the incredible costumes designed by Nina Ayres unfold in season two of Carnival Row on Prime Video!
CN (me): It's clear that the 'movies-and-tv' genre, particularly Carnival Row, has been greatly enhanced by the intricate 'costume design' contributed by Nina Ayres. More insights into her creative process can be found in this exclusive interview about season two, where she delves into the artistic aspects of the show.
Nina: Being a part of the Carnival Row family and collaborating with such an incredible team has been an absolute joy. From immersing myself in the historical/fantasy world of the show, to conceptualizing new outfits for characters, it has been an amazing experience. Working on this project has been a blast, and I hope fans will enjoy seeing the exceptional costumes come to life in season two!
