Interview: Costume Designer Richard Cooke on the Evolving Wardrobe of ‘Joan’

Joan Hannington is one of the most notorious criminals in British history. Regarded as “the godmother” of the United Kingdom’s criminal underworld, Joan’s story was always ripe for adaptation, so it’s no surprise that ITV’s stylish crime drama Joan captivated audiences earlier this fall. Hannington’s book I Am What I Am served as vital inspiration for the entire Joan creative team, including costume designer Richard Cooke, whose early work as a costume trainee on such iconic period pieces as Pride & Prejudice and Sense and Sensibility has uniquely prepared him for Joan‘s setting in 1980s London.

“I was a teenager in that decade, but this time, I got to relive it without the teenage anxiety and pressure!” jokes Cooke.

Joan stars Sophie Turner, and Cooke is especially proud of his close collaboration with the burgeoning young star.

“Sophie is tall and slim, so I didn’t want the clothes to overwhelm her,” Cooke says. “So we took the bits that worked best for her and helped tell our story.”

Of course, Joan’s approval stands out as the most gratifying result of Cooke’s hard work on the miniseries.

“On seeing Sophie Turner’s wardrobe for the show, the real Joan said she would have worn it all,” Cooke says. “You can’t get a better endorsement than that!”

Check out our full conversation with Cooke below.

What sparked your passion for costume design, and how has your journey shaped your artistic vision?

I went to art school and was proficient in a lot of things, but nothing really excited me, so  I decided to study law and history at university. The day I accepted my place, I went to the cinema to see Dangerous Liaisons and had an epiphany. I knew I wanted to be a costume designer, but it hadn’t occurred to me that I could do it as a job. The following morning, I went into college at 5am and recreated one of Glenn Close’s dresses from memory. I remember making it from paper and it being the first costume I’d ever created. When my tutors came in and saw what I’d done, they said, “we’ve been waiting for you to find your passion, and now you finally have.” That passion has been the driving force in my career and the search for the perfect storytelling through costume.

How did Joan Hannington’s book I Am What I Am shape your understanding of the character and her wardrobe?

The first thing I did was read Joan’s book. It was vital to understand who Joan was, her backstory, and the events that led her to make the choices she made in life. I met with our director, Richard Laxton, and we decided we weren’t making a documentary, so it was about taking Joan’s essence and applying it to the design in a way that best served the drama. What was particularly gratifying is that on seeing Sophie Turner’s wardrobe for the show, the real Joan said she would have worn it all. You can’t get a better endorsement than that!

Can you discuss your approach to blending historical accuracy with contemporary aesthetics in the costumes for Joan?

I always try to be as authentic as I can when I do a period show, so for Joan, I completely immersed myself in the music, photo archives and fashion of the time. We used as many vintage pieces as possible, which were sourced from archives, rental houses and shops to make it feel real. The modern body, however, is very different today, so we had to make a lot of changes; it was about manipulating an 80s aesthetic to a modern body. We experimented with the cut of clothes and the size of shoulder pads to get the right balance and shape. Sophie is tall and slim, so I didn’t want the clothes to overwhelm her, so we took the bits that worked best for her and helped tell our story.

How did you decide on the color palette for the series, and what emotions or themes did you aim to evoke with your choices?

The color palette was very important in conveying emotions. At the start, we see Joan living in a provincial seaside town with Kelly, so the colors are muted and softer here and reflected in both of their wardrobes to show a motherly and loving bond.

When Joan moves to London and has a makeover, the more confident she becomes, the bolder the colors become. By the time she embraces her new life as a jewel thief, she’s super sleek in jewel-like tones and completely in control. However, her new life is peppered with insecurity and in these moments, I use softer colors that reflect the beginning of her story.

Can you elaborate on how specific outfits symbolize key moments in Joan’s journey?

There’s a green silk jumpsuit Joan wears with a faux fur jacket when she goes to buy her engagement ring with Boisie. It’s a joyous moment in the show, and Joan unapologetically says, “This is me.” It needed to be something bold, glamorous and sexy, so it’s a look inspired by Studio 54. Most people were quite demurely dressed for ring shopping at the time, but Joan lived by her own rules, and I love that about the character. 

Another key costume was Joan’s wedding outfit, a 3-piece cream suit with a wide-brimmed hat. I wanted something that showed Joan as a strong, confident woman and not put her in the traditional ‘Lady Di’ dress that was so popular at the time. The look was inspired by various suits worn by Bianca Jagger and Bridgit Nielsen and is my favorite from the whole show.

What were some unexpected challenges you faced during the design process for Joan, and how did you tackle them?

The biggest challenge was Sophie’s wardrobe; initially, she had 100 outfits, so it was like doing a show within a show, as she was in all but ten scenes over six episodes. As we filmed out of sequence, we were developing all aspects of Joan’s character progression at the same time, so we had a wall dedicated to Joan in our office, and as we completed costumes, we put them in chronological order to see the evolution of her character and color story. Due to the sheer amount of costumes, we were fitting and establishing right to the last day of a 17-week shoot.

What was the most surprising thing you learned about yourself while working on Joan?

To be honest how much I loved the 80s. I was a teenager in that decade, but this time, I got to relive it without the teenage anxiety and pressure! 

In your view, how do costumes enhance the audience’s understanding of a character’s emotional landscape?

Costumes are one of the first things an audience sees and reacts to. They are so important in conveying everything from a back story, a state of mind or a person’s self-care, for instance. They can evoke prejudice or sympathy with a character before a word has been spoken. I also think color plays a huge part in communicating this and contributing to the overall mood of a scene.

Are there any particular trends in costume design today that you find exciting or inspiring?

I think the most inspiring thing at the moment is that there are so many more diverse stories being told and brought to a wider audience, and that’s exciting, as well as the possibility to always keep learning something new.

Looking ahead, what projects or stories are you most eager to explore in your future work?

I love history, particularly stories of those who have been forgotten or overlooked, but with all the work, if you have a good script with beautifully drawn characters, then that’s inspiring as well.