As she prepared to dress the members of a Swedish commune for A24 horror pic Midsommar, costume designer Andrea Flesch took a deep dive into Scandinavian folklore, finding seeds of inspiration with…
took a deep dive into Scandinavian folklore, finding seeds of inspiration with which she could help build a singularly terrifying and uniquely designed world., his critically acclaimed box office smash,centers on Dani , a young woman who joins her neglectful boyfriend and his friends on a trip to a remote area of Sweden, in the aftermath of an awful family tragedy.
: It was Patrik [Andersson], the Swedish producer, who approached my English agent. They were looking for a costume designer, and they presented me to Ari. It’s interesting because it’s a movie that was shot in Budapest, but I came through London. Soon, they introduced me to Ari. We first met in Budapest, and when we had our first meeting, I did some mood boards for him. I had the script, so I already had ideas to share, and it was a great meeting.
We used a lot of embroideries, original ones—a little bit from Scandinavia, but also from Hungary and Eastern Europe—because I found out that these motifs were a little bit the same. In all of the world, in folk costumes, you can really find big similarities between folk motifs. Because they were preparing the movie in Hungary, and it was not a very high-budget movie, I had to try to find a lot of things in Hungary.
DEADLINE: How did you approach the challenge of crafting all the incredibly intricate floral headdresses we see in: I did a lot of research about headdresses, and really designed [based] on what was necessary for the movie, and matched [them] with the costumes. We made some headdresses from fabric and embroidery, and I think Dani had three flower headdresses, or maybe only two in the end. In the first, when she won the May Queen, she has a smaller flower headdress.
DEADLINE: Did you have to individually stitch all of the artificial flowers onto the fabric of Dani’s headdress and dress?: Yes. [laughs] It was me, personally. A lot of fantastic people helped me. First of all, we had to make the base of this dress, because it’s so heavy. So, it needed a base, like a hoop skirt. Then, we [dealt with] the fabric—“What color is it?”—and then on this fabric, some people were sewing, and also gluing, one by one, the flowers.
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