Issue link: https://digital.copcomm.com/i/1529095
50 • THE ARTISAN WINTER 2025 From the minute I read the script for Blitz, prior to my meeting with Steve McQueen, I knew that films like this do not come along too often. In addition to the privilege of working with a visionary like Steve McQueen, I was thrilled for the opportunity to collaborate with Jacqueline Durran (costume designer) and Adam Stockhausen (production designer). e film tells the story of a young boy named George in 1941 during e Blitz—massive air attacks by the German Air Force against major cities and targets in England that caused the mass evacuation of children to the countryside for their safety—and encompassed many issues. Firstly, as George was evacuated, as many people and more than a million children in London and other major cities were, it showed the grief of a mother letting her child go, not knowing when she would see him again. e story follows George's escape and adventures as he struggles to return home. On the way, he confronts all types of danger and various people from all walks of life. For me, this created many character-design opportunities. Every part of his adventure le a mark on him. Dirt and various wounds were applied, and he was made to look exhausted and filthy. It reads like an adventure film while also dealing with the huge emotional issues of a family and city torn apart by war and how it changes people's lives. Steve wanted the film to be as realistic as possible. Many of the characters were drawn from real life and existed in London at that time, so it was important that we recreated them as much as we could. Huge amounts of research took place and luckily, so much was available. Many films and documentaries around the time of e Blitz were made and there is so much photographic evidence. is is my fourth collaboration with Jacqueline Durran, and we worked very closely with the actors, the director, and each other to find their looks. We both wanted Saoirse Ronan, who plays Rita, to light up the set when she walks in. I had wigs made by Peter Owen, chose a particular blonde, and then asked them to run small amounts of silver hair through the wig. is reflected a lot of light and gave her a real sparkle on the set. e sets such as the bomb shelters and underground train stations were quite dark, but your eye is always drawn BLITZ B Y N A O M I D O N N E M A K E - U P & H A I R S T Y L I N G L E A V I N G A M A R K