Daily Front Row

2012 February 20

The Good Designer

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Daniel Lawson
JOHN P. FILO View Gallery

(NEW YORK) Just because he’s sitting sixth row doesn’t mean he’s not one of the most influential tastemakers in fashion. Meet costume designer extraordinaire Daniel Lawson, who is busy turning The Good Wife into a bona fide fashion moment. BY EDDIE ROCHE

What’s your background?
I studied costume design and theater at Northwestern. Then I went to graduate school at Rutgers before I moved to New York and got a job on One Life to Live—may it rest in peace. Then I started doing indies and assisting on primetime TV shows. I wanted to see what blockbusters were like so I was the assistant to Albert Wolksky on Revolutionary Road and Across the Universe, which were both nominated for Oscars. I worship Albert!

What’s your approach with The Good Wife?
Someone else designed the costumes for the pilot, so when I came onboard I relied heavily on cues from the production designer. They wanted to pump up the reality of the wardrobe. I didn’t want our women to look like all the other lawyers on TV. We didn’t set out to make this stunning gorgeous show, we set out to tell a story—but the clothes and production design started to get attention. 

What designers and stores do you work closely with?
We use studio services from Neiman Marcus in Short Hills and Saks. This season, the key designers for Alicia [played by Julianna Marguiles] are Akris, Armani, and L.K. Bennett. Alicia took control of her life, so I started looking at her like a Rosie the Riverter character. She’s in more jewelry, more color. I’m totally digging Basler, Ralph Lauren, MaxMara, and Dior.

Who does Christine Baranski wear?
She’s been in Armani, Basler, Dior, Oscar, Etro, Dolce & Gabbana. This season I’ve put her in a lot of Escada. People have a preconceived notion about Escada, but it’s slimmer and sexier. Christine’s look is Madison Avenue business.

Do you work directly with the designers?
No. I got all jazzed with Ferragamo last year. Then they decided that TV didn’t give them enough, so they cut me off. That was very disappointing because they were a key element in Christine’s character’s wardrobe. Akris is working closely with us this year. If we pick out fabrics, they’ll build silhouettes for us, which is wonderful. I find designers are more eager to work with movies than TV people unless it’s a show like Gossip Girl, where the wardrobe is the show. Our story is the show, the wardrobe supports what’s done. I’d love to do what the designers of Mad Men have done with Brooks Brothers and create a Good Wife line with a company. We have a strong viewpoint on this show. We could put that out there to the masses. I think it would sell.

Do you attend the shows? 
I would love to!

Do you sit front row?
No. I’ve been front row at the Project Runway finale show, but only because I was buddies with the director. Costume designers normally get regular seats—four rows back, six rows back, whatever—but I would definitely go to more if we were invited!

Do you borrow clothes straight from the runway?
For TV that becomes a nightmare. We get the script two days before we shoot, and it’s better to have a closet of clothes that have been shopped, fit, and are ready to go so that I’m not bothering the actor.

We hear you have a good Helen Mirren story.
Yes! She signed a photo in my office that reads, ‘Dan, thank you for my favorite costume ever.’ She was playing a homeless woman on an episode of Third Watch! When she tried it on, she was silent in front of the mirror. I thought, ‘I can’t even do homeless clothes!’ But she stood there and said, ‘Yeah, yeah, I quite like that,’ in her lovely little English accent. Later, our producer said, ‘Well, I guess you’re the king of homeless!’ It was sweet.  

Good Wife-ers aside, which other actors do you adore?
Ted Danson is one of my favorite people. I always have this fantasy that if I was ever presented with an award, I would pick Ted to give it to me. At a fitting, he said, ‘You know, Dan, you inform an actor. You don’t dictate, you support what we do. You help me know how I should play this role!’ I really enjoyed working with Leo DiCaprio on Revolutionary Road. Couldn’t have been more about the work if you tried. And Brooke Shields. I worked with her on Lipstick Jungle. Love, love, love! 

How tough is your schedule?
We work at least 12 hours a day, Monday through Friday. I’ve had many 16-, 17-, and 18-hour days, but the whole team puts in crazy hours. My coordinator Chris is here when I get here, and he’s here when I go home. I don’t know how he does it!

What’s your budget?
It varies. It’s set by somebody in accounting. I’m sure that the accountants have an overall number that they want us to hit, but every script gets its own budget. I sit there and go scene by scene and put in ‘Alicia, new suit, $2,000.’

Tell us a costume design secret!
You can wardrobe any show, modern or period, out of Daffy’s.