Issue link: https://digital.copcomm.com/i/1531371
The dress that Keiser made for herself was worn to the 2024 Emmys where she was nominated, along with Dessert, Costume Designer Friedberg, Co-costume Designer Bell, and Assistant Costume Designer Lindsay Newton for "Outstanding Period Costumes for a Series." For her gown, she "pieced together four separate rhinestone appliqués from Planet Rhinestone onto silk organza, then backed that with a flesh-tone lining, all by hand. Once the yoke was completed, the rest of the process was basically the same as the blue version that Evelyn wore. Silk charmeuse bias-cut slip dress for the lining, and 15 yards of matching silk chiffon French- seamed together using my old Circus Tent Method." She also worked with Friedberg who designed her own '60s copper silk gown. "She chose each element carefully, and we worked out the details over the course of [a] month or so. The fabric was this luscious Italian silk metallic twill in a vibrant, shiny copper color. The metal fibers gave it a bit of weight, and made it drape beautifully—especially in those elegant tulip sleeves. The openings around the neckline were the biggest challenge—I was nervous that they wouldn't support the weight and shape of the rhinestone trim—but some experiments with fusible tape and bias-cut China silk helped me get it just right. The invisible zipper at the center back was extra-invisible behind the four-inch inverted box pleat, which opened up dramatically at the hem as Alix walked. I finished the hem with a one-inch horsehair braid and a hand-stitched blind hem, and all the seams inside of the dress were done with a Hong Kong finish," a method of binding seams with partially open bias tape for reduced bulk. When speaking on why she wanted to supervise this production, Dessert said, "I have, for the majority of the past years, worked on period shows that are basically MTO. Palm Royale was an amazing and exciting experience because of the subject maer of West Palm Beach High Society and the comedic influence of the scripts and the quirkiness that really gave us a free reign to go overboard with the look of the show—the colors, the designs—and really make a smorgasbord of visual delicacies. It made compiling the show extremely fun and challenging." Though there are incredibly extravagant costumes in this show, the department had the same challenges that many productions are seeing. Dessert confirmed that they are affected by the "ever-evolving business and how it changes with the new formats, media, shrinking budgets, and corporate influences. The business has changed immensely and it's a challenge to keep up with changing technology." Even with those challenges, Dessert tells us the reason this was an important show for her to work on. "It was important that we shot in Los Angeles for the entire show. Alix and Leigh are amazing to work with, and so talented, and our team was phenomenal. Everyone from the producers down to the last crew member had integrity and such talent that it was invigorating and refreshing." Keiser also loved working on the show: "It's a Costumer's dream, no maer what role you play in the department. The colors, the fabrics, and when it all comes together with the hair and the makeup and the set design, it's just such a magical world to play in." She goes onto say, "It has given me an opportunity to really polish skills I would ordinarily have limited practice with. They truly don't make things like they used to, but on a period show, you really have to try to make things like they used to!" Both Keiser and Dessert have joined designers Friedberg and Bell, along with many of the first season crew, for a second season. When asked about building a cohesive team, like that of Palm Royale's costume department, and what worked, Dessert said, "how they are treated and respect for their experience and talent is the key. People need to be valued and their voices heard. When they need additional help, time for their cra and any tools they need to do their job. In the end, the costume department is an extremely big part of the end result and everyone really needs to work together. Each person on the team is an intricate part of the puzzle that all needs to work together." Audiences can watch Dessert and Keiser's work on AppleTV+. To see more behind-the-scenes photos of costume builds from the first season and the custom-made Emmy gowns mentioned in this article, follow Keiser on Instagram at her handle: @vaaahlerie MOTIONPICTUREC O S T U M E R S .O R G 21