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"Those yellow argyle socks ... I came from a textile family, and my dad wore those socks! It's the whole golf thing. He's sort of stuck in period 1930s character. Real tweedy suits, beautiful bowties."
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"I have a lot of fun with him, mixing up silhouettes, like three-piece suit separates. Always separates, always to show his flair in a subtle way. Matt Weiner sometimes looks at how I'm dressing Bryan and says, 'Jesus, it's so over the top!' But I like the extra color, accessories, period cufflinks, tattersall vest, or a beautiful period tweed with red vest."
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"She is definitely like that schoolgirl in the office. I do a lot of pleated skirts for her. It's a little bit prim, a little bit proper, but there's always a lot of prep going. I also love to design things for her that are very textured. Usually, I'll do a blouse and a skirt. With her skirt, I like to have the pleats and the fullness around the waist. You know what, sometimes she'll wear a sheet. I do so many different silhouettes for her. But whatever the silhouette is, it definitely always has the schoolgirl theme to it. In a way she's buttoned up -- not as a nut -- but like she has a Catholic upbringing. I definitely think there's a conservative nature to her."
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"She's a woman who knows what looks great on her as far as a character goes, and I always design clothes for her that feature her best assets. She has such a beautiful figure, and it's so much fun to design for her. For all of the ladies, the foundation garments are so important for me because that's the start of everything. If you have proper foundation, then your garments fit properly over them. Joan -- I love showing her hourglass figure. Her character is so commanding, and her clothes really speak that, I think. And also, I love to keep her in jewel tones. I think they're so beautiful on her, and for me, it's that image of strength and having that real command in the office. When she's on set, she just screams. I really love to maintain that design for her."
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"Very much of a throwback to the late 1950s. I love to design clothes for her that are very fitted at the bodice and at the waist and having that real full skirt. I always call her my 'cupcake.' It's that image of perfection. For me, especially for Don Draper as with Betty, it's about the image and how people perceive them to be. There's all the secrets at home. I think that she dresses as the image of perfection, whether it be the cigarette pants and the perfect sweater or cardigan. Or the nipped waist or the full skirt. It's also about, for her, unwrapping the package. When [series creator] Matt Weiner and I were having a discussion about her costume, he said, 'I love the image of her having a lot of room underneath that skirt ... space between her legs.' He's so funny. It's all about having the layers -- the petticoats, the girdles, the stockings, and the slip, and the bra. It's also about having so much time at home to perfect that image. That really is her style."
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"I'm really inspired by Frank Sinatra and the whole Rat Pack in Pete's style and design. I love all the different blue suits of the period. You see the kind of blues you just don't see today. They're wider and brighter. It would be a total fashion thing for the period. I think of him as the younger generation -- what's happening, what's to come. I always call it the 'Pete Campbell Blue.' I keep him in variations -- the sharkskin blue, or that brighter blue. Or this year, because a little bit of time has gone by and he's matured a little bit more, to do a blue-green plaid. He always has some Pete Cambell blue in his costume, whether it be the tie or the suit."
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"I think of his character as more old school. He's an older generation, so I love designing the three-piece suit for him, and also the double-breasted suit. It's much more an older generation kind of style. And that's why I love the clubbed colors for him, and that's why he has more accessories. I'll do the beautiful collar pin for him. I love all his accessories. Jon Hamm always wears the French-cut shirt, and so does John Slattery. He has a little more -- if you will -- flair for his costume. I'll accessorize more for Sterling. I think that's also about wealth and personal grooming."
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"First of all, I think that he's a very mysterious character. There's a lot of information he doesn't reveal about himself, so I really wanted to have that reflected in his costume design. I tried to maintain minimal color for him. I think just the way his nature is -- it's not ostentatious. It's very cool, very minimal. I think there's a very sleek style to his character. He's also very masculine. To me, those colors ... the grays, I will do a streak of burgundy or I should say deep red ... it's all very masculine."
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