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Tuesday, February 17, 2026
'70s Vintage Coats on 'Ponies:' Twila's Wardrobe Explained by Costume Designer Anastasia Magoutas
heywhatevernevermind.substack.com: Friend of WNVM and fellow Substacker Beth Lisogorsky at You Need to Watch This nailed it when she wrote that “Ponies” is a “delightfully escapist watch” — not just for the American newbie spy antics in Cold War–era Moscow, but for the excellent period costumes. As a complete sucker for quips–and–banter–filled covert ops, odd-couple team-ups, and ’70s fashion, I was immediately in — and had to jump on the phone with costume designer Anastasia Magoutas.
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2 comments:
I had never heard of this show before, but the photos included in this article showcase the absolutely stunning costume design. I think the design approach that they took, where they shopped for pieces, keeping in mind the character and how they would dress, and found unique pieces has really worked well fore them here. The coats that they found are absolutely gorgeous, the green sude coat with fur is so fun and eye catching. I think a characters coat is something that is very important in costume design, because its a huge signifyer of personal style, given that it’s a piece that a person generally has few and possibly only one of, and wear all the time. Therefore it can tell a lot about who they are and where they come from, especially signaling what the weather is like when the story is taking place. I may have to further investigate “ponies” because it sounds interesting.
I always love the behind-the-scenes costume explanation video clips/interviews. The way that a character dresses is crucial to help the audience understand their character, and audiences can also learn from their choice as a fashion trend and gain inspiration for their everyday styling. I like how Magoutas suggests getting nerdy with Google search and images online. The way that we now do our research with specific time periods is much easier than in the past, and it also brings a great number of possibilities to designers. Sometimes we think scenic, sound, and lighting designers focus more on the overall scene and emotion, whereas the costume designer looks more into the characteristics of each specific character. The way that costume designers have to gather information, either through online research or shopping for the perfect fit, is really similar to most of the research situations across subjects. It makes designing applicable for ordinary people to understand and imitate. The whole process of forming ideas and gathering information for the design is interesting to observe since everyone does it differently, but there is also a general pattern lying behind it.
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