An Exclusive First Look at Paul Tazewell’s Costumes in ‘Wicked: For Good’

Tazewell’s designs highlight the evolution of the characters, enriching the film’s central narratives. As Elphaba retreats into the woods—and consequently into herself—her iconic black cloak “degrades,” becoming more worn. Tazewell elaborates, “Her tunic is the one she wore at the conclusion of Wicked, and her duster originates from the first film as well.” The decline of these garments symbolizes her shedding societal expectations, revealing her true self.

Later in the narrative, when Elphaba makes her way to Kiamo Ko castle wearing a new overcoat, it is filled with symbolism. “In this ensemble, we can observe her transformation as she embraces her identity,” Tazewell notes. “The coat reflects Fiyero’s heritage, illustrated by the black and blue ombré of the velvet cloak and tribal spiral motif.”

In contrast, Glinda’s costume journey required a different approach, emphasizing her elevated status within Emerald City. “We observe her maturation into womanhood, yet she also becomes a puppet for Emerald City’s ideals, manipulated into an emblem of purity,” Tazewell explains. To reflect this, he designed her attire to have a regal appearance. “The concept was a blend of Dior and Marie Antoinette,” he continues. “Her wardrobe exudes power while retaining a delicate, feminine essence, characterized by layers of tulle and organza.”

Upon her descent from her bubble at the film’s outset, Glinda dons a fantasy-inspired blue and lilac gown, its shape drawing from the attire Billie Burke wore as Glinda in The Wizard of Oz. Tazewell comments, “It was vital to depict her in a timeless fashion.” This gown also pays homage to the classic blue gown from the Wicked musical with its color palette. However, as the story unfolds, Glinda’s wardrobe becomes “more straightforward,” according to Tazewell, evolving into a pink suit adorned with dandelion embellishments. “This shift reflects strong silhouettes while distilling her essence,” he notes.

Tazewell opted for a modern aesthetic for Glinda’s wedding attire. “Ariana and I explored various ideas regarding Glinda’s wedding dress and how it would reflect her character’s growth,” he explains. They settled on a refined, voluminous gown featuring an asymmetric neckline and butterfly embellishments. “It showcases three-dimensional butterflies cascading at the hem, finishing with a sweeping 25-meter veil and a butterfly tiara, symbolizing Glinda’s evolution,” Tazewell remarks.

The responsibility of costume design extended beyond Elphaba and Glinda to include other pivotal characters, such as Michelle Yeoh’s Madame Morrible, whose design echoed similar themes of power, elegance, and surrealism as her wardrobe from the initial film. Naturally, her attire features emerald tones, symbolizing her dominance over Emerald City. Tazewell remarks, “She boasts a remarkable sense of style, wielding magical powers capable of controlling the weather, which I tried to weave into her garments. You’ll notice meteorological motifs, with clouds and smoke swirling around her outfits.” Notably, one of her luxurious green velvet robes is embroidered with hints of silver and gold bullion to illustrate lightning. “It dramatically resembles lightning erupting from her core,” he notes.

For the Wizard (Jeff Goldblum), Tazewell embraced a more extravagant, even whimsical style. “As a showman, the Wizard embodies the grandeur of Emerald City, and that theatrical flair is evident in his wardrobe,” Tazewell remarks. Drawing inspiration from circus aesthetics like those of Barnum & Bailey, the Wizard’s outfits feature elaborate patterns, statement-making wide-lapel jackets, and an abundance of top hats. Echoing Madame Morrible, the emerald embellishments signify his powerful status. “His black robe is accented with an emerald lapel, capturing the essence of a regal figure leading Emerald City,” Tazewell explains.

Reflecting on the expansive scope of both Wicked and Wicked: For Good, Tazewell acknowledges the uniqueness of this Hollywood endeavor. “As a designer, I consider myself fortunate to immerse myself in this kind of imaginative realm,” he reflects.