Michele Clap­ton

‘Game of Thrones’

Los Angeles Times - - THE ENVELOPE -

Queen Cer­sei’s (Lena Headey) stunning red vel­vet and gold-em­bossed “power” dress, exquisitely struc­tured and em­broi­dered, is Clap­ton’s fa­vorite se­ries out­fit. “I love the struc­ture of Cer­sei’s cos­tumes and the way we use them to tell her emo­tional state, her at­ti­tude,” Clap­ton says. “I love that sense of care­less­ness in the way she wears things.”

Fit onto a corset base, the fab­ric was fun­neled up and out over the neck­line, and taken around the top of the queen re­gent’s arms. “I love the way it hov­ers around her shoul­ders,” says Clap­ton, whose cos­tume bud­get is among the larger ones for tele­vi­sion. “It’s like an ar­mor, a shell. It im­plies how cold and iso­lated she is as a char­ac­ter; don’t touch her. It’s also an in­cred­i­bly flat­ter­ing line.”

The em­broi­dery is done in-house (as are most of the cos­tumes) and had to be loud and “ex­tremely em­blem­atic, to un­der­line Cer­sei’s be­lief in the Lan­nis­ter fam­ily strength,” notes Clap­ton, so she promi­nently fea­tured the Lan­nis­ter crest of a lion and the color red with mas­cu­line metal beads and rings “as a rep­re­sen­ta­tion of the frus­tra­tion Cer­sei feels at the [iso­lated] po­si­tion she’s forced into.” “The chal­lenges were the very rea­son I was ini­tially so in­ter­ested in want­ing to de­sign this se­ries,” says Clap­ton about the com­plex­i­ties of “Throne’s” fan­tasy realm. “It was im­por­tant to all of us that it didn’t just be­come an­other fan­tasy show, which so of­ten heav­ily rely on me­dieval­style cos­tumes or cos­tumes that make no sense, have no depth.”

Macall B. Polay HBO

Lena Headey in a scene from the show Game of Thrones. Credit: Macall B. Polay/HBO

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