Hallmark Christmas Films Costume Designer Keith Nielsen Interview

Hallmark and Lifetime set themselves aside from different cable channels by being the 2 largest sources of made-for-TV vacation movies yearly. Hallmark’s Countdown to Christmas and Lifetime’s It’s a Great Life delight numerous viewers by premiering brand-new, beloved vacation movies each week between Thanksgiving and Christmas. All through his profession, costume designer Keith Nielsen has labored on each Hallmark and Lifetime movies, bringing the Christmas magic to life together with his costume designs. This 12 months, Nielsen’s work might be seen in Hallmark’s A Vacation Spectacular and The 12 Days of Christmas Eve.

For A Vacation Spectacular, Nielsen introduced the “fabulous ’50s” to life in a panoramic method by means of his distinctive mesh of classic and modern items. In The 12 Days of Christmas Eve, he tackled a Groundhog Day premise by subtly evolving the protagonist’s costume to suggest his gradual change in outlook. In each movies, the Christmas spirit shined through within the lush, vibrant, colourful, and holiday-themed costumes he put collectively. I had the chance to talk to Nielsen extra about his work on the units of A Vacation Spectacular and The 12 Days of Christmas Eve. In the midst of our interview, he revealed the strategies and historic particulars he invoked in his costumes, some secret connections between characters’ costumes, and the way every costume was intricately tied to the premise and theme of its respective movie.

Rachel Ulatowski (TMS): The tones of purple, blue, and inexperienced had been evident within the costumes all through A Vacation Spectacular, was this shade scheme intentional, and, in that case, what did it signify?

Keith Nielsen: That’s an attention-grabbing query. So, really, my favourite colours are inexperienced and blue, after which purple is clearly as a result of it’s a vacation film. Whenever you begin a venture, particularly a interval venture, you begin with an empty room and you need to fill the room with clothes. We began simply sourcing inventory—it’s mainly a very good basis of issues you’ll be able to pull from for background or in an emergency scenario. Once I was pulling from rental homes these had been naturally the colours that I used to be simply drawn to. There have been sure issues—like I had gotten a gown from a vendor in Massachusetts and it’s the inexperienced gown that Elisabeth (Carolyn McCormick) wears once they’re doing marriage ceremony invites however then I needed to create a visible connection between her and her husband, so he wears a inexperienced sweater. Purple is at all times constant ultimately, form, type, or tone as a result of it’s a vacation film. So Maggie’s coat she wears when she arrives in New York, I used to be like, “Nicely it must be purple.” Additionally, it was an awesome distinction to the neutrals of town backdrop. It wasn’t essentially intentional, it was simply issues that I’m drawn to, particularly in the case of blues. With males’s suiting, I sometimes favor blues and navys over blacks simply due to the best way it pictures on digital camera. Black sucks up a lot mild however navys and darker blues give the identical type of impact however it’s a bit extra richer. It’s simply my pure fashion selection and desire in the case of shade.

TMS: The actual-life Rockettes have debuted over 90+ years of dances and costumes all through the a long time. Which specific Radio Metropolis Rockettes costumes impressed the appears to be like of the 1958 Rockettes in A Vacation Spectacular?

Nielsen: I received quite a lot of archival data from Madison Sq. Backyard, which owns The Rockettes. So far as the efficiency Rockettes’ garments, I didn’t design these. These are from the actual exhibits, so we selected issues that had been actually timeless and will work for 1958 with the way it was styled and filmed. Those that I did design had been those like The Rockettes wore within the rehearsal room, who had been actual Rockettes we nonetheless dressed. I checked out what they wore offstage in rehearsal.

Again within the day, like in our movie, it was a boarding home scenario—so I used to be taking a look at what they wore once they had been hanging out or what they wore in rehearsal, they usually rehearsed six hours a day six days every week so these had been massive components of their life and all of it comes right down to performance combined with the interval. One of many enjoyable issues in our analysis, there are quite a lot of pictures of them in costume fittings and getting measured as a result of the peak is such a selected factor. Taking a look at issues just like the seamstresses, like what had been they carrying, what did their aprons appear to be, what was the tone of that? As a result of we’ve got some background seamstresses once they do their costume becoming. Despite the fact that we’re utilizing at the moment’s outfit of the Rockettes’ efficiency outfit, it’s issues like what we’re placing it subsequent to that may assist promote it because the Fifties.

The supplies that had been used had been an enormous factor so far as the selection goes. Additionally, such as you simply talked about “90 years”—that historical past was so inspiring as a result of there’s a lot historical past with the house and that group of ladies. And you’ll really feel that once you meet and work with them as a result of, each on and offstage, they’re simply such a household and that’s so inspiring. That was an enormous factor in our story—that sisterhood. So, I needed to carry that heat and sisterhood to the display. And with that, the house of Radio Metropolis and all the Rockefeller Plaza was so inspiring. I imply, it’s fabulous now, however what was it like within the 50s combined with fabulous full skirts, lovely hats, and exquisite coats? So it was a combination of all of the various things of the historical past of onstage and off stage combined with the house.

TMS: What strategies did you make the most of to seize the nostalgic Fifties classic look of the costumes in A Vacation Spectacular?

Nielsen: So quite a lot of it’s the actual deal, quite a lot of it’s straight from the 50s as a result of I don’t assume you may get any higher than the actual deal when it comes right down to the character and the sensation of it. Once I sourced issues like Maggie’s (Ginna Claire Mason) blue skirt with the poinsettias on it when she’s adorning the Christmas tree, I didn’t even know who was going to put on it after I received it, however I used to be like, “I’ve to have this piece as a result of there’s one thing so particular about it.” It’s like, “if these partitions might discuss,” however as an alternative, it’s “if these garments might discuss.”

And there’s a lot character once you get into it. That skirt, in the event you flip it the wrong way up, you’ll be able to see all of the hand stitchwork of tacking every of the petals and there’s simply a lot character in that. Even when we made it at the moment, I simply don’t really feel like you’ll be able to recreate it. And that’s actually necessary to carry the magic of the 50s as a result of I actually assume the 50s is a magical time. I feel when individuals assume retro, they’re like, “Oh, the fabulous 50s.” And it was, it was so many items, and taking part in with all of these items actually gave us the entire image.

Once I say items, I imply the footwear, the stockings, the underpinnings of the undergarments, all the equipment, the gloves, the scarves, the hats—that actually create the image. It actually creates that fabulous fantasy and in addition actually helps hold an correct portrayal of the 50s and in addition something actually interval. As a result of again in these days, individuals dressed, for all the things! And I beloved that as a result of I used to be like, “Yeah, after all, she’s [Maggie] simply taking place the road, and naturally, she appears to be like fabulous.” That’s what individuals did—they dressed since you by no means knew the place you’d find yourself. Additionally, it was nice as a result of that is present enterprise and it’s Hollywood, and it’s actually aesthetically pleasing to have a look at, as effectively. 

Blended with that, I sourced actual classic that I bought and rented, and I additionally combined in some new items simply because the ’50s is nearly 70 years in the past. So to maintain it contemporary, I did combine in some barely fashionable issues that I might modify to maintain it vibrant. For instance, the finale gown that Maggie wears, the ivory one, that’s a 2019 gown that we reconstructed to appear to be the Fifties, however then we combined it with an unique Dior headpiece. There was additionally a extremely cute factor, a element that no person will know except I inform you, however Maggie and her mother Elisabeth’s headpieces had been each Dior, which is simply cute as a result of it’s a mom-daughter factor, however it’s nothing that you’d know simply by wanting on the display.

TMS: A Vacation Spectacular pits the wardrobe of the Philadelphia, PA, higher class with working-class outfits of New York Metropolis residents. How did you and your workforce seize the discrepancies in style between totally different lessons in A Vacation Spectacular?

Nielsen: I beloved that distinction from after I first learn the script simply because my thoughts routinely was excited about tendencies. Even at the moment, tendencies hit cities first, proper? Particularly again in a time when communication stream wasn’t as quick and immediate as it’s at the moment, it hit New York Metropolis or Boston first.

She [Maggie] was on the outskirts of Philadelphia and was from a really old-school, old-money household. So in New York, I needed it to be a bit bit extra present for 1958. So that you’ll see an enormous variation in silhouettes there. You’ll see pencil skirts, you’ll see full skirts, you’ll see fuller coats, you’ll see the straighter coats as a result of we’re type of inching in direction of the ’60s. You’ll see plenty of pants as a result of, as you noticed, pants had been such a factor within the script and the story. What you’re seeing in Philadelphia, it’s rather more basic. It’s rather more fundamental ’50s, which is the fuller skirts, the bone bodices, a decent waist, and actually good tailoring. 

Even Elizabeth has one element together with her. She at all times wore a seamed stocking, which was extra Nineteen Forties, whereas everyone else wore a seamless stocking as a result of these had been launched in 1954, so technically everyone ought to have been carrying seamless. However I elected for her a seamed stocking as a result of she has old-school values.

Additionally, when Maggie is in Philadelphia, she’s rather more harmless, so she’s dressed in additional girly, female clothes which might be youthful and enjoyable, playful clothes. They’re not essentially aspiring to be something; they’re simply actually fairly. However she’s not simply the beautiful woman. She has these aspirations to go to town and discover, and we see that by means of her costume journey as a result of we see her in all these totally different silhouettes all through the movie, which actually ties in together with her finale gown as a result of I needed to finish her in a robe as a result of it’s on that stage and it must make sense, however I deliberately needed it to be strapless as a result of it was a bit bit extra free in comparison with once we meet her in sleeves.

TMS: In The 12 Days of Christmas Eve, the identical day performs on repeat for over every week, but Brian’s (Kelsey Grammer) costumes change. We go from a sweater vest and go well with to multi-colored PJs to a Santa Clause outfit. Why did his costumes change with out the time essentially altering?

Nielsen: So it’s Brian’s story. We’re following Brian. Brian is the one which meets Santa and is confronted with the truth of the alternatives he’s made in his life. In order the times repeat, he’s the one which’s making an attempt all these new issues to reconnect together with his daughter and his granddaughter. So we’re following his journey, so he’s going to vary as a result of he’s the one one reliving today and is aware of that he’s reliving today. No person else is aware of that.

So he’s altering and making an attempt all these new issues by means of totally different experiences together with his granddaughter. After they go Christmas procuring, they’re in loopy Christmas outfits, however he’s not totally free at that time. He’s nonetheless a bit bit managed and nonetheless hasn’t found out what Santa’s doing but. So he’s particularly in a go well with, however it’s a mismatched plaid go well with. So it exhibits evolution as a result of the material selection is totally different and evolutionary for him, however the lower remains to be a go well with in basic, which is what we meet him in.

So, we modified him as a result of it’s his story and we’re following him and everyone else stays the identical to point out that distinction and make his journey evident. It’s actually evident by the top as a result of he’s Santa doing a conga line and we end with the household in Christmas pajamas, which was a enjoyable bookend, too, as a result of we meet him in pajamas after which we are saying goodbye to him in pajamas. The pajamas are a conventional basic, like Males’s Brooks Brothers, simply pants and a button-up, however it’s in two totally different materials. So I did the identical factor with the go well with as I did with the pajamas.

TMS: In The 12 Days of Christmas Eve, Spencer Grammar’s Michelle wears a smooth purple jumpsuit to her father’s fundraiser. Are you able to inform us a bit bit extra about why you selected that particular fashion for Michelle?

Nielsen: A number of the time, we don’t essentially movie within the place we’re set in, so we really filmed this on the shoreline in Connecticut, however we had been set in New York. So I undoubtedly needed to create one thing that learn a bit like New York. Additionally, she doesn’t essentially get to exit lots. She’s a surgeon. She’s a working mother. I needed her to look nice in one thing, however I didn’t essentially desire a conventional gown, simply because this script was so totally different in comparison with different vacation motion pictures that I’ve seen and finished.

Additionally, our director, Dustin Richard, needed it to only veer away from the anticipated a bit bit. So I used to be like, let’s do a jumpsuit. Like, it’s a bit bit extra sensible. She’s a mother, she’s a surgeon. She similar to, threw this on as a result of it’s simple, however it’s additionally stylish, and I actually preferred the clear traces of that particular jumpsuit. I additionally like that it’s really fuchsia, it’s not purple. And I preferred that as a result of it picked up the tones rather well and it was actually wealthy, however it wasn’t the stereotypical purple or inexperienced or no matter, like gold, however it nonetheless learn Vacation.

TMS: What had been your favourite costumes to design in The 12 Days of Christmas Eve and A Vacation Spectacular?

Nielsen: Twelve Days, I undoubtedly beloved the elf costumes. Particularly, I actually preferred Spencer’s lots as a result of I used to be going for this unison of Victorian period meets the stereotypical illustration of an elf. I didn’t need it to look hokey, I needed it to look intentional, however I additionally needed to have some type of handmade component as a result of the thought course of was that this was her thought, to be like, “Dad, come on, let’s do that.” So it’s type of thrown collectively, but additionally it’s a bit bit extra intentional.

We really took current issues and actually type of reworked them and put them collectively in an attention-grabbing method. And everyone was actually down for that. I assumed it was actually enjoyable simply because generally you by no means know what you’re going to get. And I recognize that. My solid, they had been so right down to play and be elves, and that’s actually cool, particularly when you’ve a younger actress with you. It’s cool that everyone can have a extremely nice time and simply really feel the vibrancy of the movie and the season.

Spectacular, I imply, I actually love something Ginna Claire wore. She’s such a dream. I am keen on that girl, and I’m so grateful that she was my main girl. However the one which takes the cake for me, I feel, will at all times be her finale robe, as a result of I purchased that earlier than I had solid, and it was a fairly chunk of change, however I used to be like, “I feel it’s good.” And since I purchased that earlier than I even knew something, it really determined quite a lot of issues tonally for me, as a result of in the event you take a look at the actually constant factor in Vacation Spectacular it’s the colour of ivory, since you meet Grandma Margaret in ivory, when Maggie breaks up together with her fiancé she’s in ivory, after which she finishes in ivory with the precise love of her life.

However they’re all three totally different silhouettes as a result of one’s modern in her interval. So you work these are your tent poles. You’ve got your starting, your center, and your finish. And that was actually justified by that last robe. Additionally, I really like something that my workforce and I can put our personal spin on. So, it was a full robe with a prepare that we introduced as much as tea size. We added some layers. There are 4 petticoats below there combined with the built-in petticoats. Then we and Ginna Claire had been down to actually go for it with precise 50s underpinnings after which we redid the neckline and added her instrument swoop, which actually highlights the toy soldier pin that John offers her on the finish. So, yeah, I really like my finale gown. It’s my favourite factor. It simply makes my little coronary heart sing.

TMS: What has been your favourite movie to costume design on total in the middle of your profession?

Nielsen: Vacation-wise, I’m in love with my first Hallmark film, Subsequent Cease, Christmas. Simply because I keep in mind getting that script, and I used to be simply beaming as a result of it’s actually a Again to the Future reunion with Christopher Lloyd and Lea Thompson. And we filmed on an actual steam prepare—so cool. And, I imply, who doesn’t need Christopher Lloyd to be your magical conductor? And that was, once more, one other factor that we received to make.

And in movie, it’s so uncommon that you simply get to make issues simply because constructing takes time and it takes cash. And quite a lot of these turnarounds are actually tight. Like, for instance, I received employed on Spectacular on December eighth of final 12 months, and we rolled cameras on January 9. However my entire level is, it was a month of time, however you had the vacation combined in there, so that you had quite a lot of different elements issue into that. So I really like Subsequent Cease, Christmas. We additionally constructed some stuff for Sugar Plum Twist. However, yeah, I imply, Subsequent Cease was type of the primary Hallmark movie that I adored.

(featured picture: Hallmark, Elan Images, Lifetime)

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