49 posts tagged Olivia Pope Gladiator Armor
Kerry Washington on set filming Scandal episode 3x11
Kerry Washington (Olivia Pope) in Scandal 3x05 : Say Hello to My Little Friend.
positive lady characters meme - scandal/olivia pope + hair porn/wardrobe porn [1/2]
Has the lack of the gold ring on her index finger been discussed? I don’t think we’ve ever seen Olivia in the present day without it before. I wonder if there is a significance there, or maybe it was decided Olivia wouldn’t have been able to return to her apartment and get the ring (and she’d been in workout clothing when she last left it), but IDK, it feels off given she’s wearing other jewellery and had her bag with her (I don’t imagine she leaves emergency Prada handbags around the office, but I guess you never know).
I just really want to know the back story with that ring, especially given that cryptic tweet from Kerry saying it was Olivia’s ring, not hers, and that was all she’d say on the subject.
As for the color palette, Washington shares that it’s no coincidence that Pope is often wearing soft, muted shades in many pivotal scenes.
"The color palette keeps her more approachable and soft, since the clothes are so fierce. We tend to only put Olivia in white when she is being a soldier for justice when she really needs to be in the light for herself,” the fashionista explains.
"Sometimes we trick the audience a little bit putting her in white, but then there are moments when she thinks she is wearing say, a white hat, but it gets ripped from her halfway through the scene."
Scandal 3x01 “It’s Handled”, Olivia Pope
Olivia Pope’s life may be unravelling, but you’d never know it by looking at her threads.
In a sneak peek clip from the season three premiere of Scandal, D.C.’s most fashionable fixer wears a muted outfit that is the perfect contrast to the intensity of the situation she finds herself in.
We got the head-to-toe rundown on Olivia’s look — we warn you, it’s not cheap being Olivia Pope — from Scandal costume designer Lyn Paolo, who will help launch a special fashion partnership between the ABC series and retail giant Saks Fifth Avenue next week. Read on for all the details.
The coat: Burberry
The price tag: $2,595
Where to find it: This white cotton double duchess satin caped trench coat is from the label’s Spring 2013 collection — Paolo often buys from the current collections while Scandal is filming, which means we sometimes see Olivia in pieces that are from the previous fashion season – and is no longer available. Fear not, there’s a similar style in Burberry’s current collection.
The pants: Armani
The price tag: Unknown
Where to find it: Paolo isn’t certain of the style name, but they’re a staple in Olivia’s closet. You can score a similar pair (on sale!) at yoox.com.
The bag: Prada
The price tag: $2,200
Where to find it: Prada is Olivia’s go-to brand for handbags, and in this scene she’s carrying the Italian label’s twin pocket tote. (Fun fact: Paolo owns the same bag in real life.)
The watch: Movado
The price tag: Top secret
Where to find it: Olivia’s rose gold watch is a one-of-a-kind — Kerry Washington is a brand ambassador for the Swiss company – but you can buy a similar style at movado.com (for $650). The character will continue to wear Movado watches throughout season three.
New Fitz/Olivia scene from the Scandal premiere? It’s handled.
Get the scoop on the look for Scandal season 3.
Scandal’s Lyn Paolo Dishes on Favorite New Designers and Dressing Olivia Pope
Cult-TV show Scandal returns for its third season on October 10 with Kerry Washington and her band of gladiators in suits. With a bevy of new designer looks curated by the show’s style masterminds, gripping plot twists will no longer be the only thing grabbing our attention. We spoke with Scandal's seasoned costume designer, Lyn Paolo, about Olivia Pope's style transformation, character flashbacks, and her real-life friendship with Washington. She also elaborated on this season's promo images—which are only the beginning. Keep your eyes on BAZAAR.com, where we'll be revealing sneak-peeks of Olivia's wardrobe before each episode this season, and sharing a full-recap of all of the D.C-only-better fashion.
Harper’s BAZAAR: You were in New York for Fashion Week, what runway shows did you see?
Lyn Paolo: I actually only went to a few shows, I had to leave early for an episode rewrite. But I did get some previews, and went behind-the-scenes before a few shows—which was really kind of the designers to let me do that.
HB: Who are some designers that you loved this season?
LP: I’m in love with Zac Posen’s gowns. I used his gowns a lot when I did West Wing. I definitely want to have a First Lady moment with him this year, if I can work it out. If there’s a gala or some kind of ball that I could get Mellie into one of his gowns. That would be an amazing moment for our show and a big “get” because his stuff is amazing. I also thought Michael Kors was fantastic this year. His whole show reminded me of Brideshead Revisisted. It was sort of England in the summer before World War II. It was just so romantic—and completely different from what I was expecting. The same with Ralph Lauren with the 1960s. Kimball [Hastings] had told me beforehand that they were going to be doing something very different—It was Twiggy all the way, with the black-and-white. I’m a Brit, so I thought it was great! Jason Wu, too, I was floored by. I think it was a great Fashion Week, all in all. I really enjoyed it. I had a great time. I met a lot of people.
HB: Are there any new designers in New York that you’re into right now?
LP: I did have dinner with the girls from Cushnie Et Ochs because I love, love their line. I met them and we chatted and I adore everything they’re doing. The one problem for me is we’ve established that Olivia only wears dresses in flashbacks. I was talking to one of our writers yesterday, saying, “Couldn’t Olivia have a nemesis that shows up that has a different look in fashion? So that I could put them in their dresses.” I’m absolutely in love with their line. For me, Fashion Week was really about building relationships as well as seeing everything, because that’s how you get the “gets.” That’s how you’re able to find those special pieces that work for the show.
HB: Any trends that jumped out at you in New York?
LP: With almost everyone this year, I’ve noticed the minimalist aspect of all the shows. There was a lot of black-and-white, which is a huge palette for us on the show. That’s what we play with consistently. I felt like I had a lot more to choose from this year, than past years. I kept saying to people, “Oh my gosh! There’s stuff out there for me.” I struggled last year on the show, to find pieces. We toyed with making our own. It got really tricky. When Kerry has 15 or 16 changes an episode, things get pretty dried-up for us. It’s hard to find those structural pieces in the palette that we’ve chosen. There was a bunch of pieces out there that I thought, “Wow, this is going to be amazing for us.”
HB: Do you plan to work with designers directly for custom pieces for the show?
LP: We are already going down that path, with a couple of people. It’s in the early stages and I’m supposed to be mum about it because we want to surprise everyone with what we’re doing. Shonda [Rhimes]and everyone over at Scandal, we like to surprise our gladiators. Our Twitter world and our gladiators are so important to us. But we have got some lovely things in the works and I think there will be some great surprises this season.
HB: What is your shopping process for the show?
LP: Of course, as a costume designer, I’d like to do tons of amazing things, but everything has to be story-driven. I work closely with Shonda Rhimes on that. I’ll send her pictures and say, “Wouldn’t this be great if this was happening?” But the fashion cannot control the story. As Olivia evolves, and as her relationships evolve, we will be changing the palette and the silhouette—it won’t be a dramatic change. I can tell you that both Quinn and Abby, getting away from Olivia for a second, their looks will change remarkably this year because some things are changing in their world. I think it was starting to happen at the end of last season, so I’m not giving any storylines away. You’re going to see a marked difference in how they dress, and also how David dresses.
HB: Will Olivia still wear white in Season 3?
LP: There will still be white in her closet, because in my head and in the story that you’ll see this year, she is still a gladiator in a suit. She is still wearing the white hat, as we like to say.
HB: Who are your go-to designers when shopping for the show?
LP: I’m trying to get ahead of the fashion curve without being too edgy, because obviously she works in D.C. We’re trying to go directly to the designers more this year and not go through the stores because the palette, again, is so limited and because she has so many changes we just can’t seem to get enough of everything here in L.A. Derek Lam is a go-to right now for his beautiful blouses. We are loving what he’s doing. I am madly on love with the Alexander McQueen cape jackets. We started playing with opera-length gloves and I’m still a little obsessed with gloves. It’s a sad obsession. Kerry teases me about it. I like clean elegance. That’s what we talk about all the time, on the show, about Kerry’s character being classically elegant, feminine, slightly ethereal, without being too film-y.
HB: How do the flashblacks help to tell the story of who the character was—especially when it comes to their style choices?
LP: That’s a huge story point for us, and it works for every single character we flash back-and-forth in their world. Specifically for Abby, [since] she was abused in her marriage, she wanted to be that perfect senator’s wife. We’re used to seeing her in her Helmut Lang jackets and very stark lines and leathers—we flashback and, all of a sudden, she’s in very soft, floral prints. It’s a stark contrast for me, as a designer. I hope the audience gets it. I think they do. It’s fascinating to see their reaction. When we live-Tweet with them, the way we are interacting with the audience is changing their point of view as to what I do for a living. They’re getting an insider look at how things work that I don’t think film and TV has represented well in the past. It’s kind of an interesting time, for me as a designer, because I’ve worked on huge shows. But I’ve never been able to reveal the process to the audience, before.
HB: Have fashion designers reached out to you wanting to be included in the show?
LP: Yes. It’s an interesting evolution for us. Kerry is very high-profile in the fashion world and has built great relationships, which she shares with me. She has been so collaborative and a great partner, for me. We talk about everything together. It’s not just her: at this point, because the show has gained some attention for the look, we’re also getting calls for the other characters, too. I’m specifically getting a lot more menswear calls, because of Columbus Short and his look. Also, people want to dress Tony Goldwyn. The challenge for me is to reel myself in and not forget that we are Washington, D.C.—that we’re not doing a show about fashion. We’re telling a story. Though I love the fashion and would love to do amazing and wild things on the show, I have to stop myself. I can look at it but I can’t necessarily use it. Maybe for the future.
HB: How much input does Shonda Rhimes have on the costumes?
LP: Shonda and I have one small meeting every episode. We go through the script. Essentially, we just chat. I say, “What about this? What about that?” and she’ll say, “Oh! I love this.” My very first meeting with her, she told me, “Just do what you do. I love your work.” If I think, “Oh gosh, am I getting too fashion-y, here?”, like with the gloves when she’s running down the hall to meet the President? Occasionally she’ll say, “Oh, I don’t know about that.” Almost always, she lets me do my own thing and I’m the one reaching out to her saying, “Gosh, Shonda. Do you think I’ve overstepped it, here?” and she’ll say yes or no. It’s a dream job for a costume designer, because the network and the producers just let me play in my fitting room with my actors and let me do my job and create something. Obviously, there’s a little input, and I appreciate the input, because, like I said, it should be story-driven and Shonda knows what she wants in her head. She’s such a great person to collaborate with because she lets us go full-steam ahead with our vision. She says, “I don’t know anything about fashion. I’m a writer. You’re a costume designer.”
HB: What is the process like working with Kerry on her costumes?
LP: We are an inseparable team. We support each other 110%, on the show and off the show with other things we’re doing together. We are a solid team. Our process in the room is, I’ll bring several racks of clothes, break down the script, and go through each moment in the script with her and we talk about Olivia and how she’s feeling. It’s just a conversation. It’s the most fun to be in the room with the two of us, and we giggle and laugh through everything. I’ll put something and say, “I don’t know! I don’t know!” and I’ll start pinning it then, Kerry calls it the “Olivia Pope 10 Minutes,” where after 10 minutes we decide that it’s something Olivia would wear. It’s a lot of fun, but it can be difficult, especially when she has enormous amounts of changes, because we only get an hour every episode. So, I have to be super organized and have everything lined up in a row for her and walk her through. There’s an episode that we’re doing, we’re calling it our "Black-and-White Episode," and I lined it up for her and then she said, “I see it. I see where you’re going.” We’re constantly texting each other, every day. I am constantly pulling things out of magazines. There is a Dior piece that I bought for the show, we haven’t used it yet, but I’m often taking pictures out of magazines and texting them to her.
HB: Does Kerry ever find things and bring to you that she thinks would work for the show?
LP: In our initial fitting for the pilot, we both did that and Kerry brought some things with her. But, no, Kerry doesn’t really do that. I think she’s so busy doing her runway stuff with her stylist Erin [Walsh]. I mean, if there’s a designer that she’s just had a meeting with in New York she’ll say, “Hey, Lyn, I just met with so-and-so. Why don’t you check out the line and tell me what you think.” But, no, she doesn’t pull stuff for the show. She’s very clear that Olivia is Olivia and Kerry is Kerry. Those two worlds are separate. You can see that in the difference between what she wears on the show. I don’t think she would wear what Olivia wears. She loves color: she loves orange and pink. I do, too, but we made a decision on the pilot, and I find it limiting now. When I was at Bergdorf’s my hand kept going towards those beautiful royal blues that are out now—which is why I love Mellie so much because I can throw a little color in the show there. Let’s see how Olivia evolves, maybe one day.
HB: So tell us about the rain photoshoot for the Season 3 promos. What was the inspiration behind it?
LP: ”A storm is coming,” was a concept I was given by ABC. During the creative process, they talked about wind and rain. I thought, well, we should do layers. Coats are such a huge part of our show. I wanted to protect the actors, so I said to the photographer and the creative team at ABC, “Let’s start with them in coats and umbrellas, then do phases.” My concern was let’s protect them and then let’s go to where they’re completely dissolved by the water. There are more pictures coming. We start everyone with a coat, an umbrella, and a layered piece. Then slowly as the day went on, with each actor, we removed layers. So, no umbrella and no coat. There are going to be some great images coming out as the series progresses and as each character goes through what they’re going through. They are damaged, and conflicted humans.
HB: Scandal has gained a huge Twitter following, do you Tweet?
LP: I resisted for the longest time, through the whole of the first season and half of the second season. Kerry and Bellamy, who only tweets once a week, said, “You really need to do this. We’re kind of tired in typing in your name and answering the questions.” Apparently everyone was trying to find me on Twitter. I’m just a very private person, which is why I work behind the scenes. Now I tweet every morning saying good morning to our gladiators and I tweet at night and say good night. That’s my thing until we get back to work and then I’ll tweet the cast. To be honest, I’m just amazed by them and how kind they are to one another on Twitter. It’s a support group of men and women, because it’s not just women watching the show.
HB: And finally, are you as addicted to Scandal as we are?
LP: It’s very funny because I was reticent to be addicted to a show that I’m working on, because I don’t think you should be. When those scripts arrive, I’m like “Leave me alone!” I shut my door and I whip through that script really, really fast to see who’s doing what to whom. I then go back to the beginning and I read it slowly, the way I’m supposed to, and pay attention. One of my favorite things to do is to go to the cast read-throughs. We have one today, and I’m desperate to get to it tonight, whether I have fittings or not. I sit in the room, I have my own little spot and it’s a perfect angle where I can see everybody’s faces. I can sit there very quietly, waiting. The reaction on their faces is, it’s like, dinner-theatre. If I wasn’t working, all I would need is a glass of wine and to put my feet up and watch them. Last year when Jeff Perry and Dan Bucatinsky saw that they had to do a scene, nude—it was one of the funniest things I’ve ever seen in my life. It’s just a joy. I know people on shows say that, that everyone gets along, but honestly on this show, we just have such a good time. It’s not like going to work, at all. We have an amazing time.Tony Goldwin as President Fitzgerald Grant in the Scandal Season 3 Promo