Netflix’s limited series “Baby Reindeer” explores a disturbing connection between a stalker and her subject and first-time Emmy-nominated costume designer Mekel Bailey put together an eclectic array of costumes that reflected the characters’ inner turmoil and changing moods.
The story is based on series creator and star Richard Gadd’s autobiographical one-man stage-play and follows a fictionalized version of himself, Donny, a bartender who offers a customer, Martha (Jessica Gunning), a cup of tea and unwittingly ignites a disturbing relationship. The series received 11 Emmy nominations, including for Outstanding Limited or Anthology Series and quickly garnered a strong critical response for its open and often exposing storytelling and terrific performances.
Bailey is nominated for the fourth episode, directed by Weronika Tofilska. The episode features costumes replicated from Gadd’s early stand-up comedy routines. Searching through thrift stores and second-hand clothing from Gadd’s own closet, Bailey emphasized the importance of a performer’s connection to the clothing and thoughtfully approached each item.
“Dressing Nava [Mau] was also so much fun to make her feel confident in her,” explains Bailey. “The more she trusted me as a designer, you saw the shoulders come down and she would catwalk down the trailer. We had such fun times trying on stuff, and it was amazing that synergy was there.”
Bailey spoke with Awards Focus about dressing Jessica Gunning as Martha, the one piece he was most excited about, the origins of Donny’s wig at the Edinburgh Fringe Festival, and how he reflects on his time working on “Baby Reindeer.”
Awards Focus: Firstly, congratulations on your Emmy nomination. What does it mean to you to have that recognition?
Mekel Bailey: Getting the Emmy nomination just goes to show dreams can come true. I know that sounds cliché, but I think sometimes, for the underdog or someone who might not have years of experience as I’m still early in my career, it’s so surreal to have an Emmy nomination. It’s also great to know that the work is being appreciated and, for contemporary work, that people saw what went into it. I’m definitely grateful for that.
AF: When did you join the project in development, and what went into the initial conversations with Richard Gadd?
Bailey: Right in the very beginning, I got an email from my agent asking me to read the pilot episode. They wanted mood boards, so I created them and had loads of back-and-forth interviews with production and the producers. I was confirmed for the job, got the rest of the scripts, and started developing the costumes. I then met up with Richard and Jessica and had talks about how I saw the characters and how they saw them, so in those weeks, it was just me referencing a lot and putting together PDFs and ideas to share with the team. Then, we started building and sourcing the costumes.
AF: Martha doesn’t appear in episode four until the very end, when we see flashbacks to earlier episodes, but her presence lingers heavily. How did her look contrast with Donny’s leading up to this episode?
Bailey: Working on Martha’s look was to play into a state of mind for where she’s at. Who is this lady? There are so many facets to her different faces because every day, it was like playing dress up for her. When she was thinking she’s going on a date, she was really at her best. Then, when she was really depressed or sad, or in those low moments, colors were sucked out, and she was so vulnerable. We were playing with Martha and this constant carousel of costumes, but somewhat intertwining or reusing the same skirt, but then maybe she has a different bag or the same bag and a different brooch. It was this constant mash-up and fusion of all of her.
AF: Was there a particular outfit that Martha wore that you thought worked out completely and was exactly what you were going for?
Bailey: The outfit often used in the promo shots was this tweedy pink and green jacket that she’s wearing. I remember when I found it in a charity shop, and I was just like, this is Martha. I was jumping around in the shop, and people were looking at me thinking, what’s wrong? I was like, you don’t realize the color, the size, everything, and it had these little holes or bubbles in it. It was just perfect because it shows every element of her and, especially for the scene that it’s used in when she was in the café dressed up with the lipstick. It was a perfect moment.
AF: Was there a moment of synergy when the actors put on the costume, looked in the mirror, and saw themselves as the characters?
Bailey: That was the best thing about working with Jessica and Richard. I think having the space with those two to play dress up and try on everything and infusing the characters themselves was really special. Jessica would put on the top, look in the mirror, and she’d play around a bit saying little lines, and we’d be like, oh my god, this is it, Jess! How do you feel? She was like, yeah, baby! [laughs]
Dressing Nava was also so much fun. It made her feel confident in her body as a trans person, and that confidence came out day by day in the fittings. The more we broke down that third wheel, and she trusted me as a designer, the more she realized I was getting it. You saw the shoulders come down, and she would catwalk down the trailer. We had such fun times trying on stuff, and looking back on those memories, it was amazing that synergy was there.
AF: When you read the script for episode four, did that change how you were already approaching some of the characters, thinking about, for example, Donny’s stylistic progression over time?
Bailey: The episode shows a different mental state for Donny at that point in his life, before the trauma. I worked very closely with the production designer, Debbie Burton, on the color palette and tones, and the simplicity of it. It’s not about trying to recreate a fashion show here. It wasn’t about the suit; it was also about the emotions and how we can convey that through the costumes.
AF: Donny’s style progresses across the episode, most noticeably from this bright, sparkly jumpsuit during his stand-up performances at the Edinburgh Fringe through to the scenes of abuse where he’s wearing solid grays. How did you collaborate with the other departments regarding the lighting, and how would the costumes appear through the lens?
Bailey: A lot of it was looking at the scripts and working with Richard to play somewhat true to what was the true story. What did he wear, and how were we going to show that? All of those conversations with Cinematographer Krysztof Trojnar took place to make sure it was all real, that it wasn’t contrived, and that there was still character there so we could tell the story through the costumes.
AF: How did you toe the line between what Richard would’ve worn back then and what you wanted to input into a series?
Bailey: It had to be relatable. It had to be true to the time and a London story. How can it be universal and translate to the rest of the world but also still hold this sense that this is a British story? There were so many elements to it.
AF: When looking at the Edinburgh Fringe and Donny’s stand-up routine, how did you plan his sequined outfit with large hair? Were you mixing and matching different styles?
Bailey: That costume was scripted because Richard had these wacky outfits, hats, and headpieces in his early days. That afro was actually his own headpiece, too. The outfit we found emulated what he would’ve worn at the time, so it was trying to balance both. Richard also said he had a briefcase with him, so props made that too.
AF: At the same time, you have extras coming into the scene, from the bar patrons to audience members at the festival. How did you manage to dress the exterior characters in this world?
Bailey: The people who were walking on the streets during the festival were real. But then the lady in the bar, we specifically chose her clothes for what would be right. She was a very big character, full of confidence, and all of those tones were purposeful for how it would play on TV. The conversations would be around those little things to make sure we were striking the right tone.
AF: So now, with the Emmy nomination and looking ahead for your career, what are you taking from this experience on Baby Reindeer that you’ll take into your next projects?
Bailey: That’s a great question. As the head of the department, I want to continue to be that energy on set, that hug, and keep up the positive energy. That’s one thing I try to possess daily to maintain this morale, especially with my team. A happy team is a happy day.
Separate from being a designer, those are the things that I strive for and make sure that I never forget. As I grow and the jobs get bigger, and as the demand comes, I want to stay humble, do the work, and the rest will come. That’s why I do what I do and the pleasure of working with an amazing team of directors, producers, and DOPs. It pushes me to grow and constantly keep learning. So, in every space I go into and every job I work, I ask how I can grow and challenge myself.