![]() As she tried to break free from the shadow of her mother, she became a muse for the designer, who selected her clothes and helped to develop her unique style. The series also explores Halston’s friendship with Minnelli, who was most known in her early years as simply being Judy Garland’s daughter. “Maybe he’s wearing a caftan, but it’s made from the most beautiful hammered silk that you’ve ever laid eyes on. ![]() “He wears his artistry with such intimacy, and it’s such a part of his vernacular and his DNA, that he doesn’t go home and put on a comfy T-shirt or pajamas. “It was about finding his headspace at that moment,” she says, explaining how he approached his career, whether on the red carpet at Studio 54 or as an artist in the workroom. “It’s a very special piece.”ĭiscovering Halston’s private moments drove San Juan’s creativity. “There is one real caftan in the mix,” she reveals, on loan from a vintage collector. The costumer built 10 pieces for the tie-dye scenes, using her research, some re-creations and some original designs - as well as one irreplaceable artifact. Since the collection was well documented, San Juan consulted back issues of Vogue and paid a visit to the Metropolitan Museum of Art, which has a Halston caftan in its permanent collection. The idea was to show how his sleek designs remain timeless even 50 years later. “I said, ‘Let’s put all of the people present at his show in contrasting color palettes such as busy patterns from the ’60s so you can tell how dated their clothes look,’ and that made the contrasting collection pop,” says San Juan. San Juan also collaborated with production designer Mark Ricker (“Ma Rainey’s Black Bottom”) to get a sense of the room where the fashion show for the tie-dye collection was to be held. He used batik and he used tie-dye to highlight a woman’s body and her bone structure. “He had this way of interpreting tie-dye that wasn’t your hippie style. “I used my imagination to fill out some of the collection and make it feel revolutionary,” says San Juan. Halston’s tie-dye line was created with his Upper East Side customer in mind, someone with a sophisticated mindset. I took some creative license in curating what pieces we were going to show,” she says. “We’re coming out of the ’60s, and when that collection premiered, it was around 1968. ![]() “We knew in the first episode that we wanted to show his evolution coming into his own as a fashion designer instead of a milliner,” says San Juan, who worked closely with the show’s writers and director Daniel Minahan to decide which of Halston’s works would demonstrate his “strong, independent and creative voice.” The tie-dye garments fit that notion perfectly. “That meant looking at the iconic photographers, the models, the textile makers, the trends that drove each era.” “I had to find a specific voice for each of those periods,” she explains. San Juan left no stone unturned in her research when it came to re-creating the famous moments. Another highlight: Halston’s reign over Manhattan’s Studio 54 nightclub, where fashionistas disco-danced in his slinky designs while he hung out with the likes of Liza Minnelli (played by Krysta Rodriguez), jewelry designer Elsa Peretti (Rebecca Dayan) and director Joel Schumacher (Rory Culkin). ![]() Settings include a re-creation of the 1973 “Battle of Versailles” faceoff in Paris that also featured the work of Pierre Cardin, Yves Saint Laurent, Oscar de la Renta and Anne Klein. Over the series’ five episodes, San Juan’s wardrobes focus on several eras as events follow Halston from the late 1950s to the 1990s. ![]()
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