Step into the universe of the coolest creatives in the fashion industry with our series My World, where readers will discover how the top stylists, designers, and tastemakers built their careers; their favorite restaurants, beloved albums, and fashion finds; etiquette rules they stand by; and so much more.
Green or pink. The two colors raced through my mind minutes before I sat down to chat with renowned costume designer Paul Tazewell. I knew I couldn’t wear just any color while speaking with the visionary responsible for bringing the style of the Wicked universe to life on-screen. “You’ve got your pink sweater on, I see,” Tazewell said before we dove into our conversation. Excellent—I made the right decision. Truthfully, I had some nervous anticipation going into this discussion. After all, Tazewell is one of the most celebrated costume designers with an Academy Award, an Emmy Award, two Tony Awards, and a British Film Academy Award. He actually lives up to the title of icon, legend, luminary… You get the point.
(Image credit: Cindy Ord/VF25/Getty Images; Emilio Madrid/Getty Images; Bruce Gilkas/Getty Images; Universal Pictures)
For many of us, watching The Wizard of Oz was a transformative experience. “One of the most magical influences of film was when Dorothy is in black-and-white and goes through the door into Technicolor,” Tazewell said about the film that changed my life and dared me to dream over the rainbow when I first saw it at 3 years old. “It was that moment—the idea of film magic being transportive—that I will always hold on to. It’s definitely an influence [in my designs] and how to create that kind of visceral feeling for an audience.” Well, that’s exactly what he accomplished with his work on Wicked and the forthcoming, highly anticipated Wicked: For Good. Tazewell dives further into the magical Land of Oz and his own world below.
Ahead, Tazewell shares more about his career journey that led him to his Oscar-winning work on Wicked (fingers crossed for a second Oscar for Wicked: For Good, which is out November 21), his collaboration with Ariana Grande and Cynthia Erivo, where he likes to spend his time when he’s not creating magic, and so much more. Step into Tazewell’s world.
(Image credit: Lara Cornell/Universal Pictures; Bruce Gilkas/Getty Images; Shutterstock)
You’ve had an illustrious career across stage and screen. What do you consider your “big break” in the business?
I think my early big break was Bring in ‘da Noise, Bring in ‘da Funk. That was my first Broadway show, and that set off a long period of lots of designing—designing around the country and designing on Broadway. The first time I think I was publicly visible was Hamilton because of how that was embraced globally. There were still some significant Broadway shows in between there, and I wouldn’t have been able to design [Hamilton] the way that I did without the body of work that came before it. That all led me to my film work, which started with Harriet and then onto West Side Story and then onto Wicked.
How much influence did you take from The Wizard of Oz and the stage musical of Wicked in your designs for the two films?
I was always aware of the other imagery that’s out there in the universe and [thought to myself], “How does this reflect what is already out there? What is the expectation of the audience? How are they going to relate to what I’m doing versus what it was originally? How can I capture the energy of what they experienced in the other productions and then give it a new life?” That’s why Glinda is in the pink that she’s in—it relates to Glinda in The Wizard of Oz, which was worn by Billie Burke.
What was the experience like working with Cynthia Erivo and Ariana Grande?
Working with both of them was probably the two most fulfilling collaborations with a performer because they’re each so attuned to fashion and style, their craft, how they want to play the role, and what their needs are. I wanted to engage them and have them buy into the whole track of clothing I had for the character. They needed to understand where they were starting and where they were going to end. I would say 80% of the design was me with original design, and 20% was their input and how it influenced what it became.
(Image credit: Dave Benett/Getty Images; Jamie McCarthy/Getty Images; Gilbert Flores/Getty Images; Mondadori Portfolio/Getty Images)
What has been your favorite red carpet moment?
The Met Gala was probably my favorite. It was such a wonderful moment with Janelle [Monáe] and myself and what we were wearing and how the cape came off. It became a theatrical event in itself, and I feel so honored to be a part of that. The Dolce & Gabbana that I wore to the Oscars is probably next, and I won.
What brands do you wear in your day-to-day life?
Issey Miyake, Ami, and Sandro for day in and day out. I also wear a lot of Dries Van Noten.
What do you keep in mind when you’re putting together your outfits?
I’m going after looks that are comfortable, have an eye to tailoring, and classic lines. I also know that I’m seen as a designer, so how I present myself needs to be intentional. I’m always thinking about, How is someone going to see me? And that’s the same question that I ask for all characters. What is the assumption that’s going to be made of me and my work and how I envision design? I think that informs what I choose to wear.
(Image credit: HBO; Apple TV; Bloomberg/Getty Images; Universal Pictures)
What are you listening to? What’s your most beloved album?
I’m a huge fan of Melody Gardot and Madeleine Peyroux. I listen to music on Spotify, so it’s their playlist. Also Gregory Porter—any piece of his. And then Hadestown. It’s musicals. I’m a musical kid.
What have you seen recently on Broadway that you love, and what are you excited to see?
Stranger Things—the special effects were really amazing. The Picture of Dorian Gray—I was impressed by [Sarah Snook’s] performance. I’m looking forward to Ragtime.
What are you watching right now?
I’ve been binging Slow Horses. I love The White Lotus also.
(Image credit: Giles Keyte/Universal Pictures; Boogich/Getty Images; Anna Azarova/Getty Images; Phil Roeder/Getty Images)
Where do you call home?
I have an apartment in Brooklyn, and I always have a weekend place in Hillsdale, which is close to Hudson.
What is your favorite room in your home?
I love my living room because I love the color palette of it. It has gray-blue textured wallpaper, which sets the tone, and there’s a gold-and-glass chandelier of globes, which is funny because you’d think I knew I was going to do Wicked because it’s like bubbles. The palette is controlled but centers on seafoam blue, gray, taupe, and red. The red punches are informed by my grandmother’s painting (she was a painter while I was growing up), and this one is largely red with a little bit of teal and aqua.
Local spot in Brooklyn you love?
Prospect Park is my lifesaver. I regularly walk the perimeter and sometimes inside, where I’ll do a figure eight, which goes over to the botanical garden. I feel like the nature is inspiring, and it settles my soul, and I appreciate everything it has to offer.
(Image credit: Universal Pictures; Dave Benett/Getty Images)
Any advice you wish you had gotten when you first embarked on this career?
To center me more. I tend to be a people pleaser, so that informed much of how I navigated engagement. Looking back on it, I could’ve used some balance there. Really being vocal would’ve been helpful in getting what I wanted sooner. That was something that was learned over 15 years. Also to really understand what elements I needed to have in place to do my best work.
What did you learn from working with Erivo and Grande?
The respect they give to the people who are all working toward the same goal, which is to make the film look great. It’s a beautiful privilege to have worked with both of them. I honor what they do, and they honor what I do. There is a shared respect.
Finally, favorite Wicked song?
“Defying Gravity” is my favorite because it’s an anthem. But “The Wizard and I” is right behind it. Those are the two that I’ll sing to myself.
