Ann Maskrey (Costume Designer):
“The effect of putting Richard in the rich midnight blue velvet was excellent. He looked very regal and imposing and I decided we would only use this type of velvet on Thorin to help keep him unique.”
Paula Collier (Textile Artist & Dyer):
“Colour was very important in helping telegraph relationships between characters. Thorin wore blue and black, but his costume colours and fabrics were also chosen with Fili and Kili in mind as his nephews and heirs.”
“Having done this for a film even once makes watching a costume drama a whole new experience because you can suddenly appreciate how much goes into it. […] It’s astonishing how much goes into even two minutes of television, for example, and it washes over people’s heads because we’re all used to being entertained. The assumption is that it’s all hanging in a shop somewhere and you just go and buy it, or the patterns are already magically there for us. This couldn’t be further from the truth.”
Julie Zavala Ron-Jackett (Head Machinist):
“The garments we created varied significantly in complexity, but even some of the simplest were almost never something that could be put together in just a couple of hours. We measured time in days.”
“He realizes [Orcrist] is a very valuable weapon of the highest quality and Elrond says as much, but it’s an Elf blade in the end and Thorin begrudges any favour from the people who withheld their help when it mattered most. I doubt it endears him to Thranduil either, when he is caught in Mirkwood with it. The Elves waste no time in taking it from him.”
Next pages: Balin’s Costume, Dwalin’s Costume, Footwear
Notes: These photo excerpts are meant to be used by fans as references for the creation of The Hobbit fanwork (cosplay, art, fiction, nonfiction, etc.) Feel free to repost, use, and edit any of these photographs as you wish. Credit back to me is unnecessary.
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