On top of spilling copious amounts of royal tea and revealing behind-the-scenes political machinations, TheCrown features lush and expansive period costumes:
In real life, the British monarchy will continue to supply royal obsessives with romance, drama, intrigue and adorable kid content for years to come. But on the small-screen, "The Crown" — which chronicles the reign of Queen Elizabeth II — comes to an end with a fifth and final season. But it's not over yet.
Roberts enjoyed playing with more color, suited to the mid-'60s into the groovy '70s — a "sugared almond" palette for the Queen and hues that felt "darker" and "bruised" for Margaret, who's volatile marriage to Lord Tony Snowden is deteriorating. Season four began filming immediately after three wrapped. The ever-aggressive paparazzi snapped many scenes of Princess Diana and former Prime Minister Margaret Thatcher filming the penultimate installment, which just narrowly completed production before the Covid-19 shutdowns in the U.K. But the rush to finish didn't affect the costume department.
As "The Crown" stans anxiously await the announcement of a season four premiere date from Netflix, Roberts revisits some of the costume and behind-the-scenes highlights from three with Fashionista, including Colman's reaction to donning Queen Elizabeth II's intimidating investiture helmet, Princess Margaret's historically inaccurate White House visit dress and Prince Charles's and Camilla's imagined meet-cute outfits.
Which costume for Queen Elizabeth II allowed you the most creative freedom, because it wasn't a re-creation? Everybody assumes [my favorites are] all the big ball dresses, which are lovely to do. But I like doing that more real element of people. This other side. 'The Crown' gives you that fantastic opportunity — the big, glamour, out there moments — and there's a lot of very intimate personal stuff, where you don't know what they would wear or what they would say, but you can have let your imagination go with that one and that's lovely to do.
I don't think she represented the wild '60s. But the mini-skirts — the short skirts — that she wore, represented the '60s in a kind of posh-girl way. The first image that we had of her [to work off of] was written in the script as Anne in jodhpurs. That blew it all apart, didn't it? Here's this girl, strutting through the palace in riding breeches and boots — I think that's how it was written — that was my big guide into how we would deal with her.
It was really quite funny, the director of that particular episode, Christian Schwochow, is quite young himself and also German. So his view on the Royal Family was quite refreshing and we wanted to blow it out of the water as much as we could.
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