“We aim to please our fans by staying true to the source material,” a representative stated.
The much-anticipated finale for House of the Dragon, the thrilling prequel to Game of Thrones, will air on Sunday, attracting millions of eager viewers.
Adapted from George RR Martin’s epic novel series, A Song of Ice and Fire, the HBO spectacle features dragons, epic battles, and intense family rivalries.
The show is lauded for its stunning visual effects and captivating costumes, earning praise from audiences and critics alike.
Renowned Emmy Award-winning designer Caroline McCall has joined House of the Dragon for its second season, contributing her expertise to vividly realize the world of Westeros.
After her work on another fantasy hit, McCall expressed her enthusiasm for the creative challenges awaiting her in this project.
“I’ve always admired the scale and artistry involved in such a major production,” McCall shared.
Before her role here, McCall took over from the acclaimed Jany Temime, known for her contributions to the Harry Potter franchise.
“I was fortunate to inherit a strong costume team that was already familiar with the show’s intricate workings,” she noted.
Hailing from County Armagh, McCall’s passion for costume design ignited during her formative years at Belfast’s Grand Opera House, where theatre productions captivated her imagination.
She pursued her training at Ulster University and later obtained a degree in costume design from Wimbledon School of Art in London.
Following her training with the BBC, McCall swiftly ascended the ranks of the industry, earning an Emmy in 2011 for her illustrious work on Downton Abbey.
This summer marks a significant milestone as she celebrates 25 years in the film industry, notably witnessing the blossoming of the film sector in her native Northern Ireland.
The filming of Game of Thrones in Northern Ireland has invigorated the local film industry.
“It’s fantastic to see such a thriving industry develop,” she remarked.
“I worked with many talented individuals from Northern Ireland who honed their skills on Thrones.”
Anticipation Builds for Season Two
Set 200 years before Game of Thrones, House of the Dragon chronicles the saga of the Targaryen family, who wield the power to command dragons.
With an expansive array of costumes to create, the design process begins with extensive research into historical influences.
“The scale of the work is immense,” said McCall.
“Fans have a clear vision of the characters based on the books.”
“Understanding the shifting political landscape of our storyline compared to Game of Thrones was a fascinating challenge,” she added.
As the factions within the story have diverged, McCall noted the importance of revamping the principal characters’ appearances.
Her research delved into various cultures, drawing from the Roman and Byzantine Empires, as well as the Mayans.
“We curated our designs to match each house’s aesthetic,” she explained.
“For instance, the Targaryen style is more brutalist, veering towards abstract with its adornments, while the King’s Landing attire is more naturalistic.”
With a dedicated team of up to 300 artisans, their meticulous craftsmanship often demands weeks or months to realize each costume.
Similar to its predecessor, House of the Dragon’s first season encountered some critique regarding its dark cinematography, an issue acknowledged by the showrunner.
“We approached the second season with a fresh perspective based on audience feedback,” the showrunner remarked.
McCall took note of these challenges as she crafted coats and garments for prominent scenes.
“Prior to filming, we assessed how colors appeared on camera and within various environments,” she said.
“Certain sets possess minimal natural lighting, which aligns with the narrative, especially in locales like Dragonstone.”
Amid industry-wide writers’ and actors’ strikes, House of the Dragon made headlines by continuing production.
During a three-month period, labor disputes focused on fair compensation and the implications of artificial intelligence in media led to widespread strikes.
The show’s cast was largely unaffected due to its filming location in the UK and compliance with British unions’ agreements.
Writing team Ryan Condal characterized the situation as intense yet rewarding, highlighting the commitment to keep the team employed.
Looking ahead, McCall confirms her ongoing involvement in the series, as she gears up for another 14 months dedicated to costume design, interspersed with the upcoming award season.
The question on many minds is whether the series can replicate its past accolades at prestigious awards shows.
“It’s all about delivering our best work and how we stack up against this year’s competition,” McCall shared.
“It remains to be seen,” she added.
Mark your calendars for the season two finale of House of the Dragon this Sunday, promising to deliver more of the epic storytelling fans love.
