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Eagan moved on to design several small but critically acclaimed films and television series including Olive Kitteridge which won her an Emmy, Widows, and the celebrated Beasts of No Nation. The first iteration of the Knives Out trilogy, written and directed by Rian John- son, was an unmitigated hit. "Because of our limited shoot time, we had all guns blazing," she says. "I feel like I fit every single one of the cast members the week before. Thankfully, Rian wrote well-defined characters and chose seasoned actors. We were all in sync." She was awarded her third CDGA for her efforts. Johnson wanted everyone to ratchet it up for the se- quel, Glass Onion: A Knives Out Mystery. Eagan decided early on that most of the costumes would be custom made. Shooting on a remote island off Greece and in Serbia during COVID, she knew she could not count on shopping. She prepped in Los Angeles, anticipating multiples for principals and stunt doubles, then brought extra fabrics to cover her back. While designing the first Knives Out, Eagan forged great relationships with John- son and producer Ram Bergman. They agreed that travel during the pandemic could be problematic and allowed her to bring her union team from Los Angeles. She brought ACD Jessica Albertson, supervisor Emily Egge, set costumer Claire Sandrin, and cutter/fitter Er- ica Ciaglia. "Claire, Emily, and I first worked together on No Country for Old Men (designed by Mary Zophres) and have collaborated as much as possible since. I was thankful for this luxury. I'm not a one-man show, we are a team." Everything is completely different in the sequel—story, location, and characters. Only Daniel Craig remains in the new cast. "I approached his costumes thinking mas- ter-sleuth Benoit Blanc has been all around the world," says Eagan. "He readies for the scenario he's facing as though he's suiting himself in armor." She brightened his colors and gave him an understated flare. To convey the character's idiosyncratic style, Eagan played with some retro looks, choosing high-waisted pleated pants, neckerchiefs, and vintage fabrics for his custom-made shirts. His swimwear was a separate conversation. The script described him in a pool wearing a shirt. Eagan re- flected, "Did he just go in with his shirt on? We played around with different options and liked the two-piece- set idea, but we didn't have 'the thing'. I was at Anto's Distinctive Shirtmaker and spied a shirt style that was originally created for Paul Anka in the '70s. Anto still had the pattern, as well as one for shorts made for Frank Sinatra. When the ensemble was completed, I knew we would love it." 34 THE COSTUME DESIGNER | WINTER 2023