The exception to this provocative rule is a gesture mentioned in Jeffrey Toobin’s best-seller, A Vast Conspiracy, which served as source material for Impeachment, where Lewinsky flashed her underwear at the president. “ innately a sexual woman, she's flirtatious, she's sensual, she’s curvy, she's magnetic, and that was something we wanted to portray too from her costumes.” The balance was achieved by “having it be soft, young and flirty, but not calling too much attention to itself.” “Even for her to not be wearing suiting all the time and wearing little heart sweaters and miniskirts was pushing it slightly.” Aside from one specific moment with lingerie, they didn’t want to make Monica look like she was “desperately seeking attention through her clothing.” Markworth-Pollack and Feldstein discussed the fine line they were walking in this depiction. is like a fashion show, but at the time, it was pretty conservative,” the designer says. Sarah Burgess’s script highlights Monica’s interest in fashion, so it was important to convey her youth, Los Angeles background, and wealth through her attire. But you could probably use one of mine.” Custom builds were also required for the principals to make historical matches for practical reasons “because so many times we needed two of them or the sizing was off.” Monica Lewinsky Lewinsky’s response to this interpretation speaks to the level of access: “Oh, those are good. So I ended up making them myself,” Markworth-Pollack says. “That was the one thing I really wanted to find us and I couldn't. One bag line that proved impossible to unearth is the now-forgotten collection Lewinsky designed for Henri Bendel in 1999. “We would literally be screaming through the office that someone found it in the depths of Etsy or eBay.” Original accessories were easier to source, which includes Monica’s bag collection (keep an eye out for vintage Kate Spade). Finding a tie match or another hidden gem was a needle in the haystack challenge that was cause for celebration. “The ties were such a big deal for us because, in a sea of drab ‘90s suits, you got to get your kicks in somewhere,” she says. These historical matches aren’t only reserved for big punches (like the beret), but for everyday details such as neckwear, too.
The first thing I did when I came in is I made this Beautiful Mind-Russell Crowe graph on the wall connecting the times and the dates,” she recalls. From the beginning of her time on Impeachment, the producers told Markworth-Pollack to replicate what was worn as much as possible. Hitting the ground running, Markworth-Pollack had to take a different approach to her design process that required restraint and holding back high-end sartorial flourishes (her previous credits include Dynasty and Reign). “They originally had a different designer and ended up needing to replace that person while they just started shooting the first episode,” she says. Markworth-Pollack got involved in Impeachment through Murphy’s producer, Lou Eyrich, who is also a renowned costume designer, but she joined the project late. Below, Markworth-Pollack discusses the nine-month-long shoot, transforming the cast using clothing, and replicating the ‘90s. While garments such as the Gap blue dress and the ribbon beret are indelible, the costume design team meticulously recreated the everyday closets of the major players embroiled in this saga. “I had access to her personal notes she had written down about where her pieces were from, when she wore them,” costume designer Meredith Markworth-Pollack tells.
INFAMOUS 2 COSTUMES SERIES
Lewinsky (played by Beanie Feldstein) serves as a producer on the series and her insight into the events includes details as specific as the drab brown color of the suit worn by Linda Tripp on the day when Monica’s world fell apart. Simpson and The Assassination of Gianni Versace) with an examination of the women whose names will forever be linked to the media circus that enveloped Bill Clinton’s second term in the White House. The latest installment in Ryan Murphy’s American Crime Story anthology continues the ‘90s theme (following The People vs. In Washington, D.C., every garment is under scrutiny, and political theater is as susceptible to trends, snap judgments, and brand awareness as Hollywood, and no one is more aware of this than Monica Lewinsky. “It’s all dress up,” Susan Carpenter-McMillan (Judith Light) explains early on in Impeachment: American Crime Story while making over a central figure in this infamous event. Clothing was used as a weapon in the Clinton scandal that rocked a nation in 1998-neckties were gifted, a dress was used as evidence, and the appearances of those caught up in this battle for the presidency were targets for virulent misogyny.
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