Exclusive: Behind the Scenes with Kate Hawley: Crafting the Iconic Costumes of LOTR Series at SDCC 2023!

Summary

The creative team was tasked with the dual challenge of designing costumes for well-known characters such as Galadriel and Elrond, as well as creating attire for the proto-cultures of Middle-earth during the Second Age.

Costume designer Kate Hawley found inspiration in nature, infusing elements such as stars, water, and light into the costumes to capture the essence of the various civilizations and characters depicted in the series. With the goal of presenting a raw and classical image, Hawley remained faithful to Tolkien's descriptions.

Although fans must wait for the release of The Lord of the Rings: The Rings of Power season 2, the first season, based on J.R.R. Tolkien's works and adapted for Prime Video, has already garnered attention with its recent Emmy nominations. Notably, the series received a nomination for Outstanding Fantasy/Sci-Fi Costumes, which recognizes the exceptional work of designer Kate Hawley and her team. Given the monumental task of building a fantasy world, The Rings of Power must also meet the high expectations set by Tolkien's legacy and Peter Jackson's iconic movies.

The Rings of Power takes place in Middle-earth's Second Age, occurring thousands of years before The Lord of the Rings. In season 1, the story revolves around the creation of Sauron's One Ring and serves as a prequel to the epic novel and movie trilogy. While characters like Galadriel and Elrond maintain continuity with the Third Age, the creative team behind the Prime Video show was tasked with designing younger versions of these characters and developing new cultures such as the Harfoots and the humans of the Southlands.

Screen Rant interviewed Hawley during San Diego Comic-Con, discussing her work on The Lord of the Rings: The Rings of Power, her approach to incorporating research and environment into her costume designs, and her ongoing collaborations with director Guillermo del Toro.

Kate Hawley Talks The Lord of the Rings: The Rings of Power

Screen Rant: We’re here with Kate Hawley, costume designer from The Lord of the Rings: The Rings of Power, and a recent Emmy nominee. Congratulations!

Kate Hawley expressed her gratitude for the surprise of receiving a nomination, admitting that many artists and creatives often feel like impostors. She commended the interviewer for their work on projects such as Crimson Peak and Pacific Rim, which belong to diverse genres. Hawley then inquired about the general approach used for such immersive works, as they all encompass unique and distinct worlds.

Kate Hawley realized late that the project and time period are not the most important aspects. She discovered her love for world building and the chemistry with directors. Growing up, she was captivated by fantasy books, such as Lord of the Rings and works by Ursula K. Le Guin, which provided an alternate reality reflecting our own environment and rituals. People require that kind of escape in their lives.

Her approach focuses on the collaborative process and chemistry with the team, rather than solely relying on what is written on the page. She engages in extensive research and delves into the dream-like aspects, while considering the world's context and the character. In each project, she becomes like a forensic detective, immersing herself in reading DC comics for Suicide Squad and tackling the massive tomes of Lord of the Rings.

But it is essential for you to conduct thorough research and fully immerse yourself in the process. Eventually, you will tap into the intangible essence of your destination. This holds true for showrunners in this case, as well as directors in other scenarios, as they possess their own unique vision. Each of us brings our own interpretations to the project, and it is through collaboration and effective communication that we can align our perspectives and achieve the desired outcome.

Being involved in the world of Lord of the Rings is like being an anthropologist, observing a civilization that existed before the one we are familiar with. In our research, we often encountered symbols, such as stars, that needed to be understood and interpreted. It was important to consider the actors and their roles in this world, allowing for their own interpretation. In this particular adaptation, we are in a different time period, not the Third Age, so the elves, for example, are not as ancient as they are in the original story - they are closer to 3,000 years old instead of 6,000.

And some individuals argue that elves never change, but from my perspective, it can be viewed that elves have had 6,000 years of knowledge to mature, learn, and recognize their flaws. In The Silmarillion, they resemble Greek gods, making mistakes and not being flawless. It's a fascinating way to perceive them, as they are not perfect beings. Their behavior aligns more with the Greek mythologies, where they committed terrible acts against each other during the First Age. We find ourselves in an intriguing position where they have not yet become the individuals we know and cherish in the Third Age. Balancing this journey is quite challenging because when we read The Lord of the Rings, it feels so comprehensive and unified in its world. However, in reality, it has a distinct tone, and we still need to find a way for people to relate to it; otherwise, it loses its essence.

Achieving this balance is something we continually strive for. I don't believe the work is ever truly complete. I often reflect on past projects and think, "Ah, I should have done this differently or made another decision." It's an ongoing process. There are countless choices to make. Just think about the numerous remarkable interpretations of Shakespeare's Macbeth that you have witnessed, each with its own intriguing aspects and perspectives. I find this to be an intriguing journey. Yeah.

The elves you mentioned are the characters we are familiar with in their future. However, how do we specifically portray "This is where Galadriel is?" It is crucial to incorporate movement and sound into the design of her costumes and her character's evolution throughout the season.

To achieve this, we needed to understand the Second Age we are currently in. We also examined where the character fits in the Third Age as the Lady of Lothlorien. Additionally, we explored her origins in the First Age. Taking into account this 6,000-year character arc, we worked closely with the script to interpret and depict Galadriel accordingly. Working with our actress, we collaborated to bring her own physicality and interpretation to the character. While there are hints of her previous portrayal as a great lady, this Galadriel embodies a greater physicality.

We had to put in a great deal of effort to discover moments that still held a special kind of enchantment, as the creators of the show desired a distinct... Magic, that word carries significant weight. Striving to attain a balance is a perpetual endeavor. Yet in this realm, they aimed for authenticity. It felt reminiscent of King Arthur's Court, where individuals face the consequences of their actions. They are far from perfect. Additionally, we incorporated numerous references from Valinor and drew inspiration from Tolkien's imagery of heroes adorned with stars and born on shores of pearls. We seamlessly integrated these visual elements, incorporating water, stars, and light. It is all part of Tolkien's language. Every time he depicts or references a character, there is a focus on their attributes rather than their attire.

The process is truly organic, as we attempt to imbue the costumes with light, reflecting it and emphasizing a natural texture. Our goal is to connect all the characters, not just the elves, back to the tangible essence of the worlds as described by Tolkien. They may possess subtle differences from previous depictions, but ultimately, we aimed to capture a raw, classical image.

The development process has been greatly influenced by nature, fueling inspiration. The costumes, particularly those of the Harfoots, who are nomadic, truly embody the essence of nature as you witness them effortlessly traversing their surroundings.

Kate Hawley explained that the atmosphere of the project was inspired by nature, which was a key element in Tolkien's work. To approach such a massive task, they began with a broad overview, treating it with broad brush strokes. They created a concept room, a locked room filled with tables, where each culture had its own environment set up. Various textures and elements were added to represent each culture, such as stones and semi-precious stones for the dwarfs, and scorched earth for other elements. For the Harfoots, they focused on berries and explored different types of vegetable dyes. This process allowed them to build up the distinct worlds of each culture and race, creating a giant mapping of the universe. They wanted the Harfoots to have a nomadic feel, but still maintain the Hobbity essence expressed through hints of green. However, they also aimed to make them wilder and more connected to the elements, taking inspiration from Tchaikovsky's treatment of nature.

Now, you have paved the way for future generations of costume designers for the Rings of Power. But what are the three essential elements that must be included in every season going forward?

Kate Hawley: Well, that's a complex answer. Firstly, the presence of stars. The elves have remained consistent throughout, and at the beginning, Bayona, Patrick, and JD wanted this to be the golden era of elves and dwarfs. So, I suppose there are certain elements that define our Harfoots and Hobbits, such as the incorporation of green and nature, their ancestral roots, and so on. The stars, much like the elves, would be a constant aspect in that world, but they would undergo significant changes over the course of five seasons. A tremendous amount of effort has gone into this evolution.

I brought up Crimson Peak earlier and admired your collaboration with Guillermo del Toro. It's exciting to hear that he's venturing into the MonsterVerse with Frankenstein. Can I confirm that you are involved in that project?

What vision would you communicate to him for Frankenstein?

Kate Hawley: Typically, it is the director who shares their vision. However, in the case of Guillermo, it is always a delightful experience to be involved in his imaginative world.

About The Lord of the Rings: The Rings of Power

Prime Video's The Lord of the Rings: The Rings of Power brings the legendary tales of Middle-earth's Second Age to the screen for the first time. Set millennia before The Hobbit and The Lord of the Rings, this epic drama transports viewers to an era of great powers, rising kingdoms, and unlikely heroes. As hope hangs precariously, the looming threat of darkness, personified by Tolkien's greatest villain, threatens to engulf the entire world.

Set against a backdrop of relative peace, the series follows a diverse cast of new and familiar characters as they confront the resurgence of evil in Middle-earth. From the treacherous Misty Mountains to the enchanting elf-capital of Lindon, from the captivating island kingdom of Númenor to the uncharted territories beyond, these realms and personalities will create legacies that endure long after their time.

Check out our interviews with The Lord of the Rings: The Rings of Power cast here:

Morfydd Clark, Charlie Vickers & Tyroe Muhafidin

Robert Aramayo, Sara Zwangobani, Cynthia Addai-Robinson & Daniel Weyman

Maxim Baldry & Lloyd Owen

Ismael Cruz Córdova & Nazanin Boniadi

Owain Arthur & Sophia Nomvete

Kate Hawley & Ron Ames

Morfydd Clark

Peter Mullan

Benjamin Walker

Bear McCreary

Ron Ames

The Lord of the Rings: The Rings of Power season 1 is now streaming on Prime Video.