Emily Blunt On The Costumes of ‘Mary Poppins Returns’ – Variety Artisans

Emily Blunt On The Costumes of ‘Mary Poppins Returns’ – Variety Artisans

♪ Now that sounds little bit bombastic ♪ ♪ But they tripped the light ♪ ♪ We tripped the light ♪ ♪ Let’s trip a little light fantastic ♪ – This actually was my first
musical and I’ve always wanted to do a musical.
– Was it really? – Yeah, I’ve never done a musical before. I’ve always wanted to.
– My goodness. – When Rob got in touch with
me, I actually already knew he was doing Mary Poppins. So, I thought, God, I hope
it’s for Mary Poppins. (laughing) So, I mean, I immediately said, yes, I’m desperate to do a musical. I’d love to do it. – I remember, even with the
Triple Little Light Fantastic number, that Rob has this vision. He wanted my skirt to, sort
of, flow and fly around. – Well yeah. – Sandy was like, well it’s
not quite period, and so how do we, sort of, make
it period without, sort of- – Well, the reference was
actually Ginger Rogers. – Totally, yeah. – He wanted Mary Poppins to
suddenly become Ginger Rogers. So, yeah, but we did that-
– It was a fantasy. – We had that her silhouette is very long and elegant and sleek. But the costume maker, Jane
Law, managed to, sort of, conceal these plethora of
pleats in her skirt, so when she turned it was, very Ginger. – It was very Ginger. (orchestral music from Mary Poppins) – The arrival probably
is the most important. And for me it was the most
intimidating thing to tackle. Because, you know, she had
to be instantly recognizable. We had to recognize her from
the previous Mary Poppins, but yet it had to be different
and not disappoint anybody. – Yes, and I think the thing
I found really exciting about the arrival costume, is that
it, sort of, representative of really who she is and
how I wanted to play her. That amazing duality of the
character that I found, when I read the books, that she has
this rather, sort of like, imperious put together, very
vain, you know, exterior. And yet on the inside there’s
a sort of wildness and an eccentricity and so the
lining of the coat, was this fabulous, bright orange polka-dot lining. And that is so the character, you know. This rather Astaire, like beautiful blue put together pea coat. Would you call it a pea coat? I’m probably saying that wrong – No. – No Emily. – It’s not a pea coat. A pea coat’s like military. – I don’t know what, that’s why I’m not a costume designer.
– Just an elegant coat. – It’s just a gorgeous coat. (laughing) But the inside is wild and
eccentric and you’ve got a little bit of sass and a little
bit of edge that it wasn’t too matronly, too nannyish,
you know what I’m saying. Because she is- – No, I mean she had to be elegant. And Rob wanted chique. You know, Mary Poppins is chique. – He likes chique, it’s one of Rob’s favorite words.
– He didn’t say sexy because I don’t think, Mary
Poppins shouldn’t be sexy. But she is a little bit, isn’t she. I mean she is a bit.
– I think she’s a bit sexy, but whatever. (orchestral music from Mary Poppins) – I knew that we were
gonna do an animated scene, like the original, and my
first thought, really was, how do we approach those costumes. Because as much as I love the
original, it was the first one I ever saw. I always thought that they
kinda stood, sort of, separate from the animation than
the live action characters. I want to, sort of, make
them more integrated. And I thought, why don’t we
try and make the costumes look as if they’ve
painted by the animators and become part of it. – When we arrive in the ball,
it looks like there’s ruffles on my skirt, but they’re all painted. It’s actually a 2-D skirt,
but they’re gorgeous, hand-painted ruffles and so
the blend of us into their world was so seamless. And that was her
extraordinary idea really. – And then in terms of the
color for the whole look, obviously, we were looking
to have a conch earth from the real world,
inside the Bank’s house. They go into this world of
like really bright color. And I think I just chose
colors that I liked. We started with the costumes
and the color of those. And then the animators, sort of, followed. And built a world around that. For me that’s just really
exciting because that whole idea of those costumes was, it
was an experiment, really. It was a risk I took, and we didn’t know whether it was gonna work. So, to actually see it. – Yeah. Working, is extraordinary. (orchestral music)

15 Replies to “Emily Blunt On The Costumes of ‘Mary Poppins Returns’ – Variety Artisans”

  1. Thank you VERY MUCh Variety for the best cosplay references I have found so far for her animated/hand painted dresses. I'm gonna regret starting this project possibly…

  2. the ruffles on the pink dress were HAND PAINTED???? this movie, with its cast and crew, just keeps on surprising people with the oddest gifts ❤️

  3. was a Disney child from the 60's and early 70's.  remember the original.  this is OUTSTANDING…  closest thing to early Disney in 50 years…everything perfect with casting.  YOU NEED TO SEE THIS.  NOW I SAY…WHAT ARE YOU DOING READING THESE COMMENTS?  GET TO THE THEATER AND SEED THIS….NOW.

  4. Sandy Powell‘s costumes always had this chic, classic, but practical look towards it 😍👗Already in love with the blue striped double layered coat. Not to mention Mary‘s rose red hat 👒

  5. I really want to wear the purple one Mary Poppins has on for Halloween but I think it is going to be a challenge to find it so I may have to attempt to make it. I love purple!

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