It’s rare to find a film or television script that places fabric at the heart of its narrative. Yet, for costume designers like Michael Wilkinson, this represents the ultimate creative challenge. When the opportunity arose to work on the Star Wars offshoot series “Andor,” Wilkinson embraced the chance to design not just costumes, but entire worlds through fabric.
The series, a prequel to the Star Wars saga, called for the creation of a new fabric, the culture and style of its creators, and thousands of costumes for the diverse inhabitants of a galaxy. “It was a sort of a spy thriller, political espionage project,” Wilkinson explained. “The characters were written with lots of incredible details, and I wanted to ensure the costumes reflected that depth.”
From Sydney to Hollywood: A Designer’s Journey
Michael Wilkinson, though not a household name, is a celebrated figure in the world of costume design. Born in Sydney and trained at the National Institute of Dramatic Art (NIDA), Wilkinson’s career has spanned over 40 films, including “Twilight,” “The Gentlemen,” and “American Hustle,” for which he received an Academy Award nomination. His collaboration with director Zack Snyder on the DC Extended Universe further solidified his reputation for creating immersive worlds.
“Andor” required Wilkinson to work on an epic scale. With his team, he crafted thousands of detailed costumes for the distinct cultures of seven different planets. This included inventing a luxury fabric called Ghorman twill, spun by native spiders on the elite planet Ghorman.
Costume Design as Storytelling
Starring Diego Luna, Genevieve O’Reilly, and Stellan Skarsgård, “Andor” explores the origins of the Star Wars Rebellion. Written by Tony Gilroy, the series is a political and social drama, devoid of lightsabers and Jedi, focusing instead on historical revolutions. With a budget of $650 million, it is the most expensive Star Wars series to date and has been praised as one of the best television series in recent years.
Wilkinson’s costumes are integral to its success. For the refined culture of planet Chandrila, Gilroy envisioned a “Japan meets Scandinavia” aesthetic, which Wilkinson brought to life in the wedding scene’s clothing structures and colors. On Mina-Rau, workers wear worn linen and earthy colors reminiscent of Brueghel and Van Gogh’s pastoral paintings.
“It could never be there just because it looked cool or Star Wars or science fiction,” Wilkinson emphasized.
Wilkinson’s work on “Andor” became a masterclass in storytelling through costume, earning a Creative Arts Emmy Award for the Ghorman twill garments and around 700 other costumes in the second season.
Historical Inspirations and Future Projects
Reflecting on the script’s mention of Ghorman twill, Wilkinson noted parallels with the French silk mills and the French resistance in World War II, which influenced his design choices. His career has been marked by a love for diverse genres, from the fur and chiffon of “American Hustle” to the English tailoring in “The Gentlemen.”
Wilkinson’s most recent project, “Death by Lightning,” is a historical drama about the assassination of America’s 20th president, James Garfield. Set in the 1880s, it allowed Wilkinson to indulge his passion for intense period costuming, reminiscent of the films of Zeffirelli, Visconti, and Fellini.
“For me to do a project set in 1881 was such a thrill because finally 30 years later I had the resources; I finally get to create these wonderful worlds,” Wilkinson shared.
Wilkinson’s journey from Sydney to Hollywood is a testament to his dedication and creativity. As he continues to jump from genre to genre, his work remains a vivid example of how costume design can transcend mere clothing to become a vital element of storytelling.
