The Credits: “I wanted to create from a white canvas without any mental references going into the project,” costume designer Carlos Rosario (The Girl in the Spider’s Web, Jolt) explains why he chose not to read the James Clavell bestselling novel before working on FX Networks’ cinematic historical saga, Shōgun (将軍), and only used the 1980 miniseries adaptation as a broad reference.
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The costume design for this is incredible. Just by looking at the photos in this article, ou can tell how much detail, care, and research was put into them. I’m still shocked by the sheer amount of costumes the team had to design. I can't even imagine having to work on 2,300 costumes., but I guess developing that many can really help you fully realize the world that these characters are in. I’m glad that they hired costumers who were experts in Japanese kimonos. I was a bit worried to see that the head costume designers for this show do not have any Japanese background, but I’m glad that they at least did some deep research and hired some costumers from Japan. I can not believe that they only had five months to make these before the filming began. They must have had a huge team working constantly in order to get all of these costumes completed. I think the careful care that Rosario took to picking out the fabrics and textiles clearly shows. I’m glad that he was able to increase his budget so he could authentic oneof-akind pieces from Japan. I think that really helps to make the pieces look all that much more stunning and realistic.
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