From EW:
ENTERTAINMENT WEEKLY: Congratulations on a well-deserved nomination. Are you feeling a little lonely?
TERRY DRESBACH: Yeah. I do. I do, but the Emmys work in mysterious ways, as we all know.(…)
Now you have some perspective for season 3 costumes since you just finished with season 4. How challenging was that year?
Season 3 was designed to be very, very low key. It was a transitional piece both on screen and behind the scenes because we were going to South Africa, the show was getting shifted to a different country. The maintenance of that and the challenges of shooting on the ship, and we knew season 4 was coming at us, which we knew was going to be an enormous design proposition, the way season 2 had been. We really designed season 3 to be very small and yet when it was all over, Caitriona Balfe (Claire Fraser) had as many costumes in season 3 as she had in season 2! Most of them were in the 20th century as opposed to the grand 18th Century French costumes. But the workload is never small on Outlander. We keep thinking we are going to make a small season and we never ever do. It was as big and enormous as everything else. Season 4 is even bigger. It was a fascinating season. The thing about Outlander in terms of costume design, we did two centuries and four decades.
Read more after the jump!
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(…)
So what costume did you get the biggest kick out of from season 3?
I really, really loved the ’60s costumes in a big way. I basically recreated my own personal wardrobe from when I was kid for Brianna. So that was fun for me. And the costumes of my mother and my mother’s friend and my father. It was very personal. I was surprised by that. I grew to adore the Batsuit (Balfe’s time-traveling costume, see below). I had not always adored it. As we disintegrated it on camera, it became a character onto itself.
Congratulations. A well earned Emmy! I loved the costumes in Outlander. It is fascinating to see what people wore throughout those centuries.