Between the stage, film and television, costume design has always been an integral part of painting a larger, complete picture. Whether a physical manifestation of a character’s emotional state or a display of their allegiance, changes in a fictional character’s wardrobe—subtle or otherwise—can imply developments and changes in their psyche, making television style evolutions a unique form of storytelling of its own.
Take Sarah Catherine Hook’s Piper from season three of The White Lotus. An idealistic, privileged college student in search of spiritual refuge in Buddhism, thinking herself above the materialistic comforts and hedonistic whims that captivate the rest of her family. She dresses accordingly: virginal whites and neutrals, with minimal prints and humble linens—organic, of course.
But when her romanticism of Buddhism comes to a screeching halt and she not only realises, but embraces her wealth and privilege, Piper’s wardrobe immediately shifts. Modest, flowy dresses gave way to sparkly, midriff-baring two-piece numbers, and loud patterns and colours took over. It was an unspoken shift, but one that the show’s viewership quickly caught on to.
Not unlike the case of Piper, these shifts in style often happen rather quickly and noticeably in theatre and on the silver screen. But television shows, especially those spanning multiple seasons over years, are granted the opportunity to showcase these developments over time, making them all the more fascinating to examine and discuss.
From recent years, there’s The Bear‘s Sydney, (played by Ayo Edebiri) whose wardrobe transforms as she comes into her own as a capable chef. Then, there’s the transformation of Bridgerton‘s Penelope as she goes from overlooked wallflower to one of the most powerful women in high society—secretly at first, then in the public eye.
From historical-fantasy epics to teen melodramas, here are some of our favourite television style evolutions.
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Sydney Adamu from 'The Bear'
Despite her prestigious culinary education and experience in fine dining, Sydney is looking to bounce back from failure of her catering company when we meet her in season one of The Bear. After joining The Original Beef of Chicagoland, she spends much of her time on screen in her crisp white chef’s uniform, though her off-duty style frequently consists of worn graphic tees and vintage outerwear, which she seems to give little thought or care to. Her one signature? The colourful myriad of bandanas she dons, hinting at a glimpse of Sydney’s spunk.
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As her role in the restaurant evolves and she begins to develop The Bear’s new menu and concept, Sydney’s confidence in herself grows. Despite countless setbacks and conflict with Carmy, now her business partner, we see her rebuilding her sense of self from her past failures, advocating for her choices and opinions on how to approach the new venture. Her style evolves too, as she gives more thought into her outfits, with layered vests and well-constructed jackets that give off the impression of a more put-together young woman coming into her own.
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By season three, Sydney’s talent as a chef and restauranteur has made its rounds in the fine dining circuit. Even if Carmy doesn’t always see it, she’s a hot commodity now, with another chef making her an attractive offer as chef de cuisine at a new restaurant he’s looking to open. Emotionally, she’s at a loss, torn between her loyalty to The Bear and the opportunity with Adam, who acknowledges and appreciates her talents.
But her wardrobe continues to evolve with her rising status, especially now that she’s invited to rub elbows with the who’s who the culinary scene, evoking an air of understated sophistication. While she still rocks her multi-coloured bandanas in the kitchen, her style expands to include more dressy pieces like sailor jackets, loafers and a wider variety of accessories, along with a more formal structured, sleek satin ensemble.
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Penelope Featherington from 'Bridgerton'
The youngest of the Featherington sisters, Penelope is first introduced as the bookish introvert stuck in an ostentatious nouveau rich family. Compared to her mother and sisters, her gowns are less flamboyant and more modest, though she continues to sport her house colours of yellows, oranges and on occasion, greens, albeit in more understated pastel tones, perhaps influenced by her close friendship with the more refined, elegant Bridgerton family.
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As her alter ego, Lady Whistledown’s newsletter tightens its grip on society, a quiet confidence begins to creep into Penelope. Empowered by her position despite its anonymity, she begins to don more flattering outfits, moving away from her the ugly duckling status that she previously resigned herself to. While her wardrobe isn’t outrightly bold just yet, there appears to be a bigger shift from her family’s colours and style as well, appearing in soft pink gowns and her hair styled in loose, romantic updos over tight curls and overly structured hairdos.
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When she finally decides to find a suitor, Penelope’s first order of action was to get a new dress made. Specifically, this stunning emerald green number that she pairs with shimmery mesh gloves. Shedding her bright colour palette, she opts for a more sultry, sophisticated and mature charm that better reflects the sheer power she wields with her pen, and her autonomy in finding a partner. No longer a wallflower waiting to be chosen, her new wardrobe embodies that of a fully realised woman on the prowl, in search of a man of station truly worthy of her time, intellect and love.
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Shiv Roy from 'Succession'
At the beginning of Succession, Shiv Roy puts as much distance as she can between herself and her right-wing conglomerate family, (not unlike The White Lotus‘s Piper) choosing to work in liberal politics instead. Here, her wardrobe is stubbornly simple—perhaps in response with her mother’s flamboyant style—with formal but unremarkable blouses in warm, autumnal colours and high-waisted pants that dominate many a millennial corporate wardrobe as she actively avoids any indication of her familial wealth and privilege.
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As Shiv gets sucked into the whirlwind of power games at Waystar Royco, her shrewd, calculating personality comes into focus. With her father’s clear favouritism towards her brothers, it’s clear that she’s in a man’s world, and her wardrobe evolves to help her blend in as much as she can. Cue sharp, tailored blazers, power pantsuits and colour-coordinated separates. While she sticks to this power aesthetic for a while, her ensembles seem to falter along with her confidence, appearing poorly fitted or styled at times.
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By the end of the series, Shiv no longer clings on to a staunch corporate girl-boss aesthetic, indicating a growing sense of self-acceptance. Although her wardrobe continues to be led by blazers and tailored pieces, her outfits also now feature more relaxed separates such as body-hugging turtlenecks and cardigans. Her femininity seems to find its way back into her style, with softer silhouettes and colour palettes, moving away from formal neutrals and harsh blacks and greys.
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Jenny Humphrey from 'Gossip Girl'
No discussion of television style would be complete without Little J. Initially an awkward Brooklyn teenager hoping to fit in with the fashionable high rollers of Manhattan’s upper east side, Jenny’s fashion sense is initially a little scattered, ranging from girly, almost childishly bright prints to more preppy ensembles as she emulates the likes of Blair Waldorf. Even then, her interest and sense in fashion bubbles under, with her outfits often standing out in the crowd despite not having the same access to the luxury world as many of her peers.
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Over time, Jenny starts to gain a more individual sense of style, shedding the typical preppy looks seen in the series. While she still desires belonging and power, she’s realised at this point that she has more to offer than just being another follower in the social and fashion scene—now, she’s working towards being the one to set the trends. After interning at Waldorf Designs, she seems to develop a fondness for edgier looks, going for darker colours and more alternative elements. Her outfits also look more fully realised, complete with layers of chunky necklaces and an effortlessly cool shag haircut.
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In later seasons, Jenny starts to fully embrace the punk aesthetic (a nod to actress and The Pretty Reckless frontwoman Taylor Momsen’s personal style) with smoky eyes, leathers, monochromatic blacks and more mature silhouettes as she sheds the Little J moniker. Love or hate her, Jenny has gone from pawn to player, with a penchant for stirring up the Manhattan social scene. A queen at times and a pariah at others, one thing is clear: she’s now a formidable force in her own right.
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Cersei Lannister from 'Game of Thrones'
If there’s one thing the television adaptation of Game of Thrones got right, it was the wardrobe. While one could do a style deep dive on just about any main character from the series, the complex and simultaneous evolution and devolution of Cersei Lannister as a character makes her a particularly intriguing one to discuss.
At the beginning of the series, prior to the war, Cersei often sports loose, flowy and feminine styles with a diverse colour palette, though she appears to favour pinks, often paired with a long, trailing shawl to match. Her husband King Robert is celebrated as a fierce warrior that freed them from the tyranny of the Targaryen Dynasty and a jovial king, and so, her wardrobe attempts to project the image of his pliable wife. Her gowns, while beautiful, are not ostentatiously luxurious, giving her a more approachable, motherly aura—until she uses that razor-sharp tongue, that is.
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As the war rages on, Cersei quickly doubles down on house loyalty, dressing almost exclusively in the red and gold of House Lannister, with ferocious lion prints and embellishments woven into each ensemble. An intensely paranoid character, it’s no surprise that she literally builds her gowns around her physical body, with stiff, structured fabrics that often form a funnelled neckline, evoking an unapproachable and domineering imperial presence.
The designs of her gowns become more intricate and ornate, and she wears only the richest, deepest of reds, as if reminding those around her, or perhaps even herself, of the power she possesses. Here, her outfits also become more functional, as if bracing for a physical assault. Her bell sleeves become smaller over time, and she appears to shed the additional burden of a shawl entirely, improving ease of movement.
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By the end of the series, Cersei has experienced more loss than imaginable and yet, she clings to her position as queen. Now in a constant state of mourning, she dons purely black and greys, no longer leaning on her position as a lady of House Lannister—now, her hard-earned power belongs to her alone. Her guardedness is clear in the clothing she dons, now sleek, tailored close to the body and ensuring that vital points such as her neck are fully covered. As things get more grave, with some of her biggest adversaries now on her doorstep, many of her gowns now incorporate chainmail, armoured shoulder and metal chest pieces as if to physically protect her.
