Lady Gaga’s “Wednesday” costume was designed like a ghostly Rosalyn Lottwood

Spoiler Alert: This story contains spoilers for Season 2 of Part 2 of “Wednesday” and is currently streaming on Netflix.

Last Halloween, Oscar-winning costume designer Colleen Atwood had accepted Variety’s Creative Impact Award at the Scad Savannah Fest. Shortly afterwards, she had to head to Los Angeles, a VIP worthy of “Wednesday.”

That VIP fitting turned out to be for Lady Gaga’s cameo in episode 6, “Woe thyself.” In the series, Gaga plays Rosalyn Rottwood, a ghostly teacher who has passed away.

Jenna Ortega’s Wednesday meets Rosalyn one night, following the advice of her granddad Hester Frump (Joanna Lumley). In an effort to strengthen her spiritual gift, she visits Rosalin’s tomb, reads the inscription and carries her to the tomb. She finds herself faced with a former Nevermore teacher who is now a ghost.

Atwood found a “Pate Gray French Wool Crepe” fabric for the dress. But the devil was in detail. “There was a silk embroidery with feathers.”

Atwood, who has worked on both seasons of the show, explains that the idea came from how Lottwood’s character was described. She adds, “What happened in her story, her end of mise was in the 1930s. That was the impact on her dress.” Atwood adds, “She was embroidering her feathers because she had bird influences on dresses like Raven.”

Originally, the shoulders of the Lotwood dress “were super pointed so it looked like a bird was crushing its feathers, but for the action, we dialed it,” Atwood says.

The large sleeves of the dress are still played on the idea of ​​the wings.

Atwood has always loved the crepeline, which is thin silk, and there were ideas when it comes to fitting. “I said, ‘Why don’t you put this on your head?” It blew away and you looked at it more gray.

Elsewhere, Atwood was able to expand on Morticia (Katherine Zeta Jones). The patriarch found himself at Negnamore Academy in his fundraising job, which is consistent with the new environment of the family. Production designer Mark Scruton poured red into his set, and Atwood took it as a clue to weave it into Morticia’s outfit. Of course, Zeta-Jones was also a game with this idea.

“We had a lot of opportunities to take Katherine and Morticia and put her out into the world and nod to the original silhouette,” Atwood says.

Previously, Atwood used jersey fabric, but this time he said, “It’s thin stretch velvet, not particularly expensive fabric, but I really like the way it was illuminated.

Atwood admits that she loved the idea of ​​Grandpa Frump. In one scene, he goes hunting with his grandpa on Wednesday, and he wears a hunting jacket.

“That (the jacket) was influenced by the Scare Parelli jacket seen since the 1930s,” she says. “The pockets were embroidered with silver bullion. She kept the bullet in the embroidered gold pocket, and in its shape, she was still able to shoot.”

Other costumes from Grandmama Frump were her main outfits, featuring a large collar. “As Adams, her palette had a smaller accent in black, white and grey. The collar was blurry. I really loved this. In the end, the shape of Gaga’s dress fell into that world.”