They are more interested in getting the look exactly right, rather than being vain.
BBC: Did you work very closely with Michael and David?
Claire Anderson (Costume Designer): Yes. They were both involved in creating their looks. When you put something very distinctive on them, that helps them find the character. They are more interested in getting the look exactly right, rather than being vain. We had mood boards - light for good, dark for evil. Michael’s costume is ethereal. He wanted something timeless that wouldn’t look out of place now or in Victorian England. He found a way of contemporising his Victorian look. We were able to use aspects of his costume all the way through.
We gave him a tartan bowtie, but all tartans are owned, so we had to design our own specifically, incorporating golden thread and heavenly aspects. He also wears a Victorian waistcoat that is almost bald. We dyed things a lot to get the pale blue on his shirt that would give him serenity and warmth. He wears soft suede shoes and soft light cashmere trousers. It’s about balancing colours with his very white hair to give him the right look. He needs an ethereal aura, and all of the colour palette needs to emphasise his heavenly glow. He’s deliciously cherubic.
BBC: How did you go about creating David’s look?
Claire Anderson: It really started with his 1940s look. The tailoring is very crisp and aligned. It’s hard and sharp. Under the colour of every suit, we put red felt which was like the belly of a snake. Underneath that loucheness, David is slightly rock-starry and Keith Richards-esque. His black leather gloves have a tiny red line to emphasise his snake-like characteristics. We also found a 1980s jacket that had a quilted quality. We worked on it until it had a textured feel to it, like snakeskin. It’s all about semiotics.
in a drama that pays SO much attention to and is deliberate about giving each character a very distinct silhouette, it has been driving me absolutely fucking insane for several weeks now that some of jiao liqiao's outfits are cut like li xiangyi and li lianhua's robes.
you can see the visual similarities between jiao liqiao's most-worn outfit and li xiangyi in the general form of the robes, but particularly in the drape of the sleeves and where they fall open at the shoulders (sorry, i don't know the technical term). it's harder to see here but both outfits also have bracers that match the robes in a very integrated way and colour-wise, with the same fitting to the sleeves.
here, if not for the colours and material of jiao liqiao's outer layer, this would be something li lianhua would wear. the fit of these robes are the same. the pleats at the lapels even match. jiao liqiao is visually paralleled with li xiangyi and li lianhua, mirroring the man she's forever seen as competition for di feisheng. it's as though in truly every way, she's trying to replace him. maybe if she tries hard enough, di feisheng will finally look at her for once.
i mean hell, think about how even more interesting this scene gets— jiao liqiao's "i'm the victor in this game of love" moment— once you realize she's taunting li lianhua about having a place beside di feisheng while emulating the image of li xiangyi, the man di feisheng cannot leave behind. ("maybe you could still have had him now if you'd stayed like this. if you hadn't become what you are now. it's too bad i stepped in all those years ago, and so you're in this state, isn't it? i've won, li xiangyi.") mysterious lotus casebook already did a stellar job in everything else in establishing jiao liqiao and li lianhua as rivals for di feisheng, but this visual aspect just elevates some of these character interactions throughout the show.