Continuing with humor, Garwood even added medieval taxis to his design. “These were also based on New York cabs,” he explains, “only they were traditional carriages painted ochre yellow and with a checkered stripe!” “Norman Garwood created the perfect Middle Ages metropolis,” sums up Tommy O’Haver.
The King’s castle in Lamia was one of the film’s most elaborate sets, designed in part to imitate the kind of autocratic architecture that was popular in World War II era Germany and Italy. “I wanted to reflect the cunning and megalomania of Edgar,” says Garwood. “So for the Great Hall, I created a big space that is very uncluttered but has elements of Edgar’s Personality Cult all over it. It even has an elevator – for the dictator who has everything!”
Throughout, Garwood kept in mind that he was designing a movie intended to dazzle the imaginations of audiences of all ages. “I never thought of it as designing a film for kids,” he says, “because I didn’t want it to look childlike. Instead, I aimed for a look that would be simply funny and imaginative, that would appeal to everyone, hopefully.”
The same combination of ancient influences and bold humor that informed Garwood’s sets was also at work in double-Oscar nominee Ruth Myers’ costumes. “When you’re designing a fairy tale, you’ve got to go extravagant,” she explains. “I wanted costumes that would take people’s fantasies of the fairy tale life and make them come alive. Of course, we wanted the designs to be unique but also to reflect what people already know about fairies, ogres, elves and giants so from the minute they come on screen, they’re absolutely convincing and involving.”
Myers, like Norman Garwood, began by researching traditional medieval dress true to the period, from ornate, flowing gowns for the women to tunics and high boots for the men. Then she turned playful, adding in touches of 1960s go-go boots, ‘’70s crocheted peasant blouses and even midriff-baring fairy clothes that mix the medieval with a dash of “I Dream of Jeannie.”
In all of her designs, she kept the emphasis on the one thing Tommy O’Haver most wanted: fun, kaleidoscopic, eye-popping colors. “I developed palettes for each character,” she says. “Ella and Prince Charmont are always in blue tones, while Edgar is always in red. The fairies of course are in pink. Hattie wears bright orange throughout and Olive wears a purple lilac that belies her personality.” When it came to clothing the more fantastical forest creatures, Myers looked to organic influences. “The elves are of the land so they’re very green and leafy,” she states, “whereas the giants are more woodsy with outfits that are overprinted with bark tones. Meanwhile, the ogres’ colors bring to mind rocks and stones.” Myers’ designs became an inspiration to the cast who felt transformed by the enchantment of her costumes. “I felt so much like a fairy with all that pink and glitter I had on,” says Vivica Fox. “My costume and hairstyles were just awesome – and truly had a magic effect!”
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