#Lyn Elizabeth Paolo

[beanbowlbaggins]

I just have to point out the absolute quality and quantity of tricorn hats in Queen Charlotte: A Bridgerton Story.

[charlottegeorgesheart]

📷netflixqueue: The craftspeople of the Bridgerton ton — David Ingram, Lyn Elizabeth Paolo, Kris Bowers, and Alexandra Patsavas — discuss creating the breathtaking world of Queen Charlotte. “You’ve got to know what the architectural correctness is for paintings, furniture, fabrics, and when you’re crossing the line. What I wanted to bring was a high level of detail, which was probably not period correct, but I did find a book on an architectural interior designer of the time called Robert Adam. I used that as a running theme, and he gave me something that I could lean on that was period correct, but I could embellish it,” Ingram said of creating the world of Queen Charlotte.

[hayscodings]

the subtle improvement of svetlana's financial situation being reflected in her wardrobe throughout the seasons is one of my favorite shameless details...lyn elizabeth paolo you are everything

[flurryheaven]

2023 Primetime Emmy Nominations - Outstanding Period Costumes for a Series

Perry Mason / HBO Season 2, Episode 2 "Chapter Ten" Costume Designer - Catherine Adair Assistant Costume Designer - David J. Matwijkow Costume Supervisor - Nanrose Buchman

Catherine Adair was previously nominated in 2005, 2006, 2007 and 2008, Costumes for a Series for Desperate Housewives.

Nanrose Buchman won the Emmy in 1987, Achievement in Costuming for a Series for Fame. And in 2021, Period Costumes for The Queen's Gambit.

Buchman was previously nominated in 1992, Individual Achievement in Costume Design for a Miniseries or a Special for Homefront. And in 2016, Costumes for a Variety, Nonfiction or Reality Program for Grease: Live.

Queen Charlotte: A Bridgerton Story / Netflix Episode 6 "Crown Jewels" Costume Designer - Lyn Elizabeth Paolo Co-Costume Designer - Laura Frecon Asstitant COstume Designer - Jovana Gospavic Costume Supervisor - Alex Locke

The Crown / Netflix Season 5, Episode 3 "Mou Mou" Costume Designer - Amy Roberts Associate Costume Designer - Sidonie Roberts Costume Supervisor - Christof Roche-Gordon

Amy Roberts won an Emmy in 2020, Period Costumes for The Crown.

Roberts was previously nominated in 2011, Costumes for a Miniseries, Movie or a Special for Upstairs, Downstairs. And in 2021, Period Costumes for The Crown.

Sidonie Roberts won an Emmy in 2020, Period Costumes for The Crown.

Sidonie Roberts was previously nominated in 2021, Period Costumes for The Crown.

The Great / Hulu Season 3, Episode 2 "Choose Your Weapon" Costume Designer - Sharon Long Assistant Costume Designer - Claire Tremlett Assistant Costume Designer - Basia Kuznar Costume Supervisor - Anna Lau

Sharon Long won the Emmy in 2022, Period Costumes for The Great.

Basia Kuznar won the Emmy in 2018, Period Costumes for The Crown.

Anna Lau was previously nominated in 2016, Costumes for a Period/Fantasy Series, Limited Series or Movie for Outlander. And in 2018, Period Costumes for Outlander.

The Marvelous Mrs. Masisel / Amazon Prime Video Season 5, Episode 4 "Susan" Costume Designer - Donna Zakowska Assistant Costume Designer - Katie Hartsoe Assistant Costume Designer - Ben Philipp Assistant Costume Designer - Amanda Seymour Costume Supervisor - Claire Aquila Costume Supervisor - Marie Seifts

Donna Zakowska won the Emmy in 2008, Costume for a Miniseries, Movie or a Special for John Adams. And in 2019, Period Costumes for The Marvelous Mrs. Maisel.

Zakowska was previously nominated in 2018, 2020, and 2022, Period Costumes for The Marvelous Mrs. Maisel.

Ben Philipp was precisely nominated in 2022, Period Costumes for The Marvelous Mrs. Maisel.

[unit3-fmp]

Queen Charlotte

Queen Charlotte: A Bridgerton Story is a historical drama series created by Shonda Rhimes. The series is a prequel spin-off of the Netflix series Bridgerton. The story is loosely based on the rise of Charlotte of Mecklenburg-Strelitz to prominence and power in the late 18th century. 

Here is the trailer for Queen Charlotte showing a quick in sight into the plot of the series as well as some of the many extravagant costumes worn by the characters.

The Inspiration

Lyn Elizabeth Paolo and Laura Frecon, the costume designers of Queen Charlotte: A Bridgerton Story, sourced inspiration from all over the world in a quest to find the best products available to bring the series to life showcasing the exquisite fashions of the time. They visited museums, silk mills and jewellery houses in Spain, Italy, England and the US. Along with this they custom-made hundreds of 1760s- accurate undergarments in order to fully resemble the fashions of the era.

Furthermore, although the series is fictional nearly all aspects of the costume design was taken from the history of the time; Georgian silhouettes and exact replica crowns created by Italian jeweller Pikkio.

Due to the incredible fabrication of all the costumes Lyn Elizabeth Paolo and Laura Frecon along with assistant costume designer Jovana Gospavic and costume supervisor Alex Locke, were nominated for an Emmy in the Outstanding Period Costumes for a Series category.

To create more interesting costumes and attract a larger audience Paolo and Frecon added a more modern aesthetic to the designs in which Frecon describes as "high fashion meets period style, with a twist."

In particular, 50s Christian Dior and Roger Vivier inspired many aspects of their designs adding these unique element to the costumes, not traditional seen in the Georgian Era. Paola states “Dior was a huge inspiration for us, especially because I think a lot of the Dior New Look actually came from this period, that shape and that silhouette. We were echoing the 1760s and the late 1940s, 1950s, and that Dior New Look is reflected in many of the costumes on the show.”

In addition, to fit with the show's modern take on aristocratic aesthetics we see the men of the show "gallivanting about in fancy embroidered waistcoats".

Jewels

Jewels played a huge part in the show, featured in the hair, embellished on garments and jewellery. Some pieces of Jewellery evoke historic royalty, including a replica of Marie Antoinette’s three-strand diamond bracelet, seen briefly on the young Queen Charlotte’s wrist, whilst others evoke Hollywood royalty, including pieces used in the 1938 film Marie Antoinette, starring Norma Shearer.

The most elaborate piece in the series was Queen Charlotte’s wedding tiara. Frecon said the headpiece was inspired by “historic images of other royals, including Queen Elizabeth II, and this beautiful tiara en tremblant from an Elie Saab runway show."

Queen Charlotte's evolution

While Paolo and Frecon looked to their extensive research for ideas, they also took inspiration from the author herself, Shonda Rhimes. Occasionally, the creator would write costume details directly into the script, for example Charlotte’s speech about her whalebone corset at the beginning.

We see throughout the show the older Queen Charlotte wears a lot of regal reds and golds, whereas the younger character is seen to start the series in greens, pinks and blues however as the show progresses "her greens get softer, and her oranges turn to peaches, and so the two versions become joined in a way”.

In contrast to this, the queen's style never changes as in Even in the Regency scenes, she continues to wear a Georgian-era dress silhouette. The reason for this was the designers wanted to focus the story on her and king Georges love story and therefore “This is the style she wore when she met her husband, when he still recognised her." Showing this piece of sadness and remorse behind her costumes.

Bentley, J. (2023). Behind the Seams: The Secrets of the ‘Queen Charlotte’ Costumes. [Online]. Tudum. Last Updated: 12 July 2023. Available at: https://www.netflix.com/tudum/articles/queen-charlotte-costumes [Accessed 9 February 2024].

Herman, V. (2023). Forget the village, it takes an army to costume the likes of ‘Queen Charlotte’. [Online]. Los Angeles Times. Last Updated: 16 August 2023. Available at: https://www.latimes.com/entertainment-arts/awards/story/2023-08-16/costumes-queen-charlotte-massive- [Accessed 1 February 2024].

Corsets / Undergarments

Throughout the series we see every garment consist of a variety of undergarments to really capture the iconic Georgian silhouette with the wide hips and cinched waist. From corsets and panniers to drawers and pantaloons hundreds of undergarments were made for the show made to fit each actor perfectly and although they are still highly restrictive and as Queen Charlotte says, "I might be sliced and stabbed to death by my undergarments” thanks to the light, modern fabrics and stretchy panels in their corsets they are slightly more bearable for the characters.

Fabrics and Patterns

The main fabrics used in the construction of these fascinating costumes consisted of taffeta, silk, velvet, lace and mesh fitting with the fashions of the time and truly showing the Georgian style. The patterns however were not as Georgian as other aspects of the costumes, although they still replicated and linked with it, there was a much more modern twist, as the patterns were more muted and simplistic in comparison to the traditional patterns which include a variety of colours rather than the monochromatic theme we see in a large number go garments. In contrast, floral patterns are still the main focus like in the Georgian period, being featured in a number of elaborate gowns.

Shape / Silhouette

The iconic Georgian Silhouette features the large hips and cinched waist and although the hips are not as dramatic and huge as many gowns of the period were as shown below...

... but they still have that essence and style however with a more functional and modernised element. In addition, tight sleeves, square necks and high backs are seen in practically every garment creating this identifiable shape and style lines helping to create this base for my design. Furthermore, another common aspect is the asymmetrical sleeves where they are longer and the back and shorter at the front forming a tiered bell sleeve type of shape.

Cloaks

Throughout the series when a female character is seen to go outside in the cold or at night their gowns are paired with an equaly stunning cloak. The cloaks feature a large hood and a fairly simple design with a solid colour as the base however all with their own unique twist. We see some with frills and detailing around the edges and others with intricate ties at the front such as bows and brooch like designs as shown by some cloaks featured in the series below.

Sack-back Gowns

A sack-back gown was originally seen as an informal garment at the beginning of the 18th century, it was unfitted and loose, falling from the shoulders in a bell-like shape. From here, the gown developed being defined by the row of two double box pleats sewn in at the center of the neckline at the back of the dress which fell loose from the shoulder to the floor with a slight train. Although this is the main feature of the gown, they often feature open fronts, showing off a decorated stomacher and petticoat.

We see sack-back gowns are a popular style for the show, featuring in a number of iconic outfits however mainly seen to be worn by the older Queen Charlotte and young Lady Danbury rather than young Queen Charlotte, however I still love the effect it creates forming such an elegant and structured silhouette whilst also forming such a detailed and sophisticated design really drawing the viewer in.

[milanotrustless]

Oslo Freedom Forum: Bitcoin Is Freedom

By Bitcoin Gandalf May 30, 2022 - on BTC Times

Included in this article are timestamped links for all mentioned streams.

Last week the city of Oslo in Norway was host to the Oslo Freedom Forum (OFF). The OFF is an annual gathering of activists from around the world who are united in the fight against tyranny. The conference is organized by the Human Rights Foundation (HRF) whose CSO Alex Gladstein is an avid proponent of the use of Bitcoin as a tool for ensuring financial rights and freedoms.

The conference this year had a financial freedom stream which was sponsored by Norwegian Bitcoin Company Seetee. OFF focused on how Bitcoin and stablecoins are currently being used by people in countries with authoritarian governments while their fiat currencies experience hyperinflation. Preservation of wealth from theft via confiscation, capital controls, and inflation were some of the highlighted reasons for using Bitcoin and stablecoins.

The Financial Freedom stream featured 13 talks, panels, workshops, and other events. The stream kicked off in the afternoon of the first day with a panel titled "The Quest for Financial Freedom" which featured Co-Founder and CSO of Ledn Mauricio di Bartolomeo, Afghan entrepreneur Roya Mahboob, and Board Member of Btrust, Bitcoin Core Developer and CEO of Recursive Capital Abubakar Nur Khalil. Each of them spoke about how they have personally experienced the financial impact of repressive regimes in their respective countries and how they used Bitcoin to protect their savings. The panel was moderated by the HRF CSO Alex Gladstein.

Later on, a panel discussion titled "Can Bitcoin Reach a Billion People" featured Co-Founder and CEO of Lightning Labs Elizabeth Stark, Co-Founder and CEO of Okcoin Hong Fang, and Founder of Muun Wallet Dario Sneidermanis. This panel was moderated by Lyn Alden, Founder of Lyn Alden Investment Strategy. 

On the second day, the Financial Freedom stream kicked off with a fireside chat between CEO of Strike and Senegalese Financial Freedom Advocate Fode Diop titled "Freedom Money." The stream continued into the afternoon with a panel discussion titled "The Rise of Stablecoins in Emerging Markets and Authoritarian Regimes" which featured Ire Aderinokun of Helicarrier and CTO of Tether Paolo Ardoino. In the wake of the Luna and UST debacle, Ardoino highlighted Tether’s liquidity as it processed a record number of redemptions in the weeks prior. Bitcoin podcaster and educator Anita Posch later moderated a panel discussion titled “Is Bitcoin Compatible with Democracy" which centered around whether Bitcoin adoption is better served by a “top down” or “bottom up” approach. 

CSO of the HRF Alex Gladstein carried out a book signing for his recently released “Check Your Financial Privilege" book. The second day of the conference was completed by a panel discussion tilted “Bitcoin, the Environment, and Human Rights" which featured CEO of Core Scientific Darin Feinstein, Lyn Alden, Partner at Castle Island Ventures Nic Carter, and moderator Troy Cross who is a long-time Bitcoiner and professor of Philosophy at Rice University. The discussion centered around Bitcoin’s energy use and the trade-offs made between the use of a Proof-of-Stake system versus a Proof-of-Work system.

In the afternoon on day three, the highest number of Financial Freedom stream related talks and workshops occurred but was not filmed by the HRF. Footage from these talks may appear on YouTube or Bitcointv.com at a later date. The topics of discussion and workshops varied from the first ever panel on CBDCs at a human rights conference to a "Bitcoin 101 Academy." Other topics like Bitcoin Privacy and Lightning Network deep dives, along with a discussion for how activists can integrate Bitcoin into their NGO with the use of BTCPay Server were also included. These talks and workshops featured  well known Bitcoiners such as: author of This Month in Bitcoin Privacy Janine Roem, Lisa Neigut of Blockstream, Jimmy Song, Matt Odell, Stephan Livera, Ben Perrin, Jeff Booth, Obi Nwosu, and many more. A full schedule of the Financial Freedom stream along with a list of all participants can be found here. 

[cdga]

KERRY WASHINGTON TO RECEIVE THE SPOTLIGHT AWARD AT THE 20TH CDGA (COSTUME DESIGNERS GUILD AWARDS)

 Platinum Anniversary Ceremony, Hosted by Gina Rodriguez, to be held on February 20, 2018 at the Beverly Hilton Hotel 

LOS ANGELES, CA (January 25, 2018) – The Costume Designers Guild announced today that actress, producer, director, and activist Kerry Washington will receive the Spotlight Award at the 20th CDGA (Costume Designers Guild Awards). The platinum anniversary gala, hosted by Gina Rodriguez, will take place on Tuesday, February 20, 2018 at the Beverly Hilton Hotel. 

The Spotlight Award honors an actor whose talent and career personify an enduring commitment to excellence, including a special awareness of the role and importance of Costume Design. Washington joins previously announced honorees, including critically acclaimed Costume Designer Joanna Johnston (Career Achievement Award, presented by THE OUTNET.COM), renowned film director and producer Guillermo del Toro (Distinguished Collaborator Award), and preeminent jeweler and metalworker Maggie Schpak (Distinguished Service Award). 

Washington’s Scandal Costume Designer, Lyn Elizabeth Paolo, shared, “There is no one more deserving of the Spotlight Award from the Costume Designers Guild than Kerry Washington. Kerry embodies style and elegance, and is a true fashionista. Her appreciation for design, as well as her creative spirit, have made working with her over these seven seasons an absolute joy. She has been an integral partner in evolving her character through the art of costume, and her love of costume as a storytelling device is more than evident in her body of work. I am so thrilled that Kerry is receiving this honor from the Guild.” 

Produced by JumpLine, the annual CDGA gala celebrates excellence in film, television, and short form Costume Design as voted on by the Guild’s membership, which includes more than 1000 Costume Designers and Illustrators working in motion pictures, television, commercials, music videos, and new media programs throughout the world. This year’s event will be sponsored by THE OUTNET.COM, Harper’s BAZAAR, Westfield, Prime, and Grand Marnier. 

ABOUT KERRY WASHINGTON 

Actress, producer, director and activist Kerry Washington broke barriers by becoming the first African-American woman since 1974 to headline a network TV drama. Her portrayal of crisis-manager Olivia Pope on the hit Shonda Rhimes show Scandal has earned her numerous accolades, including Golden Globe, Emmy, and SAG Best Actress nominations as well as an NAACP Image Award for Best Actress. In 2016, Washington launched her production company Simpson Street. Its first project, HBO’s CONFIRMATION, earned Emmy, Globe, and SAG nominations. The company is currently in development on GOLDIE VANCE, a family film franchise for Fox, directed by Rashida Jones, as well as the films CITY OF SAINTS & THIEVES with Will Packer Productions, THE MOTHERS with Warner Bros., THE PERFECT MOTHER with Pascal Pictures, and 24-7 with UnbeliEVAble Entertainment and Universal Pictures. They are currently in post-production on Five Points for Facebook Watch, a co-production with Indigenous Studios. Film credits include OUR SONG, SAVE THE LAST DANCE, LIFT (for which she received an Independent Spirit nomination), SHE HATE ME, RAY, THE DEAD GIRL, I THINK I LOVE MY WIFE, LAKEVIEW TERRACE, MOTHER AND CHILD, NIGHT CATCHES US, DJANGO UNCHAINED and CARS 3. Washington is active in many social and political causes. She served on the President’s Committee on the Arts and the Humanities during the Obama Administration. She was honored with the NAACP President’s Award, the GLAAD Media Vanguard Award and the ACLU Bill of Rights Award, and was included on Time Magazine’s Time 100 list of the Most Influential People in the World. Washington currently serves as both a brand ambassador and creative consultant for Neutrogena. She is also a brand ambassador for Movado. 

ABOUT THE COSTUME DESIGNERS GUILD 

The Costume Designers Guild, IATSE local 892, is a union formed for the promotion and protection of the art of costume design. Members, including Costume Designers, Assistant Costume Designers, and Illustrators, use their artistry and technical expertise to create believable characters within the narratives of motion pictures, television, commercials, music videos, and new media. Over 1,000 members strong, the CDG is a proud affiliate of the International Alliance of Theatrical Stage Employees. Find them on Facebook, Instagram, and Twitter: @CDGlocal892. 

ABOUT JUMPLINE 

JumpLine Group: The intersection of live production and original content. JumpLine specializes in high-touch events and premium lifestyle brand activations. Its content division, BehindTheLine develops film, television, and digital content, and produced the 2015 feature-length documentary about Saturday Night Live, Live From New York! 

SOCIAL MEDIA 

Find the CDGA on Twitter, Facebook, and Instagram and use #CDGA20. For updates and live tweeting during the show @CostumeAwards. 

MEDIA CONTACT 

Brian Rubin / Pipere Boggio 

PMK•BNC 

Brian.Rubin@pmkbnc.com 

Pipere.Boggio@pmkbnc.com 

310.854.4800 

[coolideen-blog]

New Post has been published on https://coolideen.com/2018/06/16/6-tipps-zum-anziehen-am-arbeitsplatz.html

6 Tipps zum Anziehen am Arbeitsplatz

Dressing für den Arbeitsplatz erfordert ein stilvolles und professionelles Outfit, aber die feine Linie zwischen den beiden wird manchmal verschwommen. Mode-Risiken mögen durch Modeikonen gefördert werden, aber wenn es um Arbeit geht, müssen Sie wissen, was in Ihrer Garderobe als richtig und falsch gilt, auch wenn Sie es satt haben, an fünf Tagen die gleiche alte Berufsbekleidung zu tragen. Lassen Sie sich von der Kostümbildnerin von ABCs Erfolgsserie “Scandal, Lyn Elizabeth Paolo” ein paar Tricks zeigen, um Ihnen die Ideen professioneller Arbeitskleidung zu vermitteln.

Probiere eine Auswahl an Klamotten aus und finde heraus, was wirklich an deinem Körper funktioniert.

Wenn du deinen Körpertyp kennst, bestimmt das die Kleidung, die dir gut tut. Wenn Sie schlank sind und eine gute Kurve haben, wie die Mode-Bloggerin Mary Orton, dann sollten Sie nach Kleider für den Körper oder Bleistift suchen, die stilvoll und professionell auf Sie wirken. Strukturierte und kantige Mäntel sind ideal, um Ihren Bauch zu verbergen, während kurz geschnittene Blazer für unter-schwere Frauen ideal sind, um ihre schlanke Taille hervorzuheben.

Finde einen guten Schneider.

Laut Lyn schneidern sie alles auf jeder Show, an der sie arbeitet. “Wir können zwanzig Sachen anprobieren, bevor wir das Richtige für einen Schauspieler finden und dann schneidern”, sagte sie. Also, mach dasselbe und sei freundlich zu dir selbst während des Prozesses.

Finde klassische Stücke, die für dich und deine Arbeit funktionieren und bleibe dabei.

Vergessen Sie Modetrends und avantgardistische Styles, wenn es um das Arbeiten geht. Finde einfach klassische Stücke, die für dich und deine Arbeit funktionieren und bleibe dabei. Wie die Mode-Bloggerin Mary Orton entscheiden Sie sich für ein klassisches Rollkragen-Tunika-Oberteil in Camel-Farbe, kombiniert mit einer weißen Anzughose oder einen Blazer und passende Culottes, wenn Sie in einem kreativen Bereich arbeiten.

Entscheiden Sie sich für qualitativ hochwertige Schuhe, die zu Ihnen passen.

Wenn Sie in einem Paar Schuhe sind, die nur Ihre Füße absolut quälen, werden Sie nie wirksam bei der Arbeit sein. Sie werden nur abgelenkt sein. Also kaufe Schuhe, die dir passen, damit du elegant und selbstsicher gehen kannst. “Dies ist kein Ort, um zu sparen, kaufen Sie einen Qualitätsschuh, der gut passt, und Sie werden einen viel glücklicheren und effizienteren Tag haben”, sagte sie.

Seien Sie organisiert und planen Sie Ihre Garderobe voraus.

Es ist eine gute Idee, sich zu entscheiden, was Sie am Abend zuvor tragen möchten, oder vielleicht planen Sie Ihre ganze Woche an einem Sonntag, damit Sie bereit sind. Sie möchten nicht eine ungebügelte Bluse oder eine Jacke mit einem fehlenden Knopf herausziehen, wenn Sie in Eile sind. “Ich trage normalerweise eine Uniform, um zu arbeiten. Ich habe meinen ganzen Look von hell bis dunkel in meinem Schrank aufgereiht. Alles organisiert in den entsprechenden Kategorien. Bei der Arbeit organisiere ich sie sogar nach Farben, damit ich schnell die richtigen für das richtige Ensemble aussuchen kann “, sagte sie. Dadurch werden Sie viel schneller aus dem Haus kommen.

Passen Sie gut auf Ihre hochwertigen Artikel auf.

Kaufen Sie immer Qualitätsprodukte, die halten werden und finden Sie dann einen professionellen Wäschereinigungsdienst mit einem guten Ruf. Sie nehmen sich die Zeit und versuchen, herauszufinden, was für Sie funktioniert. Nehmen Sie sich also die gleiche Zeit, um den richtigen Ort für die Reinigung Ihrer Kleidungsstücke zu finden. Indem Sie diese Tricks beachten, können Sie sich stilvoll und stilvoll an Ihrem Arbeitsplatz anziehen.

[charlottegeorgesheart]

Young Queen Charlotte, played by India Amarteifio, keeps to innocent pastels in her early scenes, but her colors grow bolder as her power does too.  (Liam Daniel/Netflix)

BY VALLI HERMAN

In the first minutes of the “Bridgerton” prequel “Queen Charlotte,” the namesake character complains heartily how her elaborate gown and its restrictive corset made of brittle and sharp whalebone means that if she moves too much, “I might be sliced and stabbed to death by my undergarments.”

Oh, dearest gentle reader, young Queen Charlotte hasn’t suffered in vain. Her every ensemble, and those of the show’s sizable cast, are crafted with such sumptuous detail, that surely all who view them would gladly have them suffer even more.

Even though period costumes are notoriously cumbersome, Emmy-winning costume designer Lyn Elizabeth Paolo and co-costume designer Laura Frecon dispel notions that the actors suffered much (thanks to light, modern fabrics and stretchy panels in their corsets). Still, the yearlong shoot in grand estates across the United Kingdom overlapped the pandemic lockdown and required worldwide sourcing. It seems that their brand of elegant finery was a tonic for distress, and a cause for celebration. The work, helped by a 220-person costume crew, has earned them a 2023 Emmy nomination for period costumes.

Replica undergarments were crafted from light, modern fabrics and stretchy panels to be slightly more comfortable than the actual period clothing. (Liam Daniel/Netflix)

“This [shoot] was challenging, but also joyful. Every time a piece of a costume would come back, it was, ‘Oh, my God! It looks better than we thought it would.’ There was a lot of joy there,” says Paolo, the longtime designer for other Shonda Rhimes productions, such as “Inventing Anna” and “Scandal.”

The six-episode costume drama on Netflix explores the early days of the difficult marriage of Queen Charlotte (India Amarteifio) and King George III (Corey Mylchreest). The fictionalized story of the actual royals takes place in two time periods — the Georgian era of the 1760s and the later Regency era in which “Bridgerton” is set — and includes key characters from the original show. There are several grand balls, a royal wedding and a coronation to wardrobe. No biggie.

Or so Paolo was led to believe.

“I remember Sara Fischer, who is head of production at Shondaland, called me and said, ‘Shonda has this idea for a small, intimate show. She really wants you to do it.’ And, what are you going to say?” recalls Paolo, who was a consultant on Season 2 of “Bridgerton.”

She invented a time-twisting concept inspired by Monet and Matisse paintings and modern fashion designers who themselves referenced historical costume such as John Galliano, Alexander McQueen, Moschino, Zuhair Murad and Christian Dior in his New Look era. Yet Paolo kept the silhouette appropriately Georgian.

“The pitch was, we kind of want it to look like a Met Ball … but to be slightly more on point with the period. We still wanted to have our own stylistic elements that would make sure that the modern eye understood the costumes,” Paolo says.

Corey Mylchreest as King George and India Amarteifio as Queen Charlotte all but sparkle in their lustrous clothing. (Nick Wall/Netflix)

“For the men, we had images of rock ‘n’ roll icons from the ‘70s and ‘80s. So a lot of images of Prince, the New Romantics and Adam Ant. All those people back then who had that pirate chic going on.”

That vision required a mostly custom-made wardrobe that sourced from London, Los Angeles, New York, Budapest and Spain. Jewelers Joseff of Hollywood, Manhattan’s Larkspur & Hawk and Italy’s Pikkio custom made the period jewelry and other adornments. British manufacturer James Hare supplied traditional fabrics as did a mill hours from London that wove custom fabrics. Smaller artisan shops focused on hand embroidery or a particular character.

“It was sort of a small army,” says Paolo, who relied on the organizational skills of Frecon. A giant calendar and flow chart helped them track the flow of work, particularly of the embroidered pieces, which were outsourced to UK specialists Twan Lentjes Creations, Beth Parry and Hattie McGill, whose Instagram accounts illustrate their handiwork.

Other members of the court stand out in patterned fabrics (on Tunji Kasim as Adolphus) and brightly colored gowns with hats (Arsema Thomas as Agatha Danbury).

“It’s so complicated,” Paolo says, describing a process of sample making, initial embroidery, further tailoring and additional hand embellishing before a pattern piece is ever fitted into a garment. Even fabric-covered buttons were embroidered.

The women’s gowns are especially intensive. The earlier dresses, from 1760 onward, required 13 to 20 yards of fabric and at least four weeks of construction; five if they’re heavily embellished. Each ensemble requires petticoats that can add five to 10 more yards each, plus a corset, a pannier (a cage-like underpinning), a padded bum roll, shoes, stockings and garters. The jewelry sets were matched to each costume and included rings, earrings, necklaces, bracelets and tiara-like hair jewelry that was fitted into fantastical wigs by hair and makeup designer Nic Collins.

With two sets of characters to dress in two different eras, the costume designers were careful to build visual continuity, typically with color. Young Queen Charlotte, for example, keeps to innocent pastels in her early scenes, but her colors grow bolder as her power does too. The designers cannot precisely count the number of costume changes, or quantify the number of pieces they used, only to say “in the thousands.” Paolo says Jeff Jur, director of photography, was on board to capture the spectacle and regularly texted her and Frecon to say, “‘I’m doing a full head-to-toe shot of this one.”

Still, it’s tricky to absorb all of the detail, even though it’s there on the hand-embroidered initials on a man’s handkerchief, or the restored antique jet beading and lace on Queen Charlotte’s mourning gown, or the Easter eggs, as Paolo calls the references she wove into many costumes, particularly those in the final episode, which features an astronomy-themed ball, hosted by the king and queen.

King George loves astronomy, so stars and moons are embroidered and beaded into their clothes. The ball was shot outdoors at night, which usually obscures costume details. Jur expertly lit the scene to illuminate the clothes that were so laden with sparkly bits that they twinkle.

Though the final episode was picked to submit for Emmy consideration, the choice was “brutal,” Paolo said. “It’s a huge group of amazingly talented people who all deserve recognition. If we are lucky enough to win, I would want 220 miniature ones to hand out to everyone.”