Lilac visitation outfit


The lilac visitation outfit constitutes a Naboo garment that was donned by Padmé Amidala during her reign as the Queen of Naboo. Amidala chose to wear this particular ensemble during her stay in the Galactic Republic's center of government on Coruscant, specifically for a meeting with Senator Sheev Palpatine held within his office located in his apartment while the Trade Federation was engaged in the Invasion of Naboo.

Description

The lilac visitation outfit represents one of the many Naboo articles of clothing that comprised Padmé Amidala's extensive collection of attire during her time serving as the Queen of Naboo. This specific set of clothing included an outer robe of lilac silk adorned with intricate silver embroidery, a lighter-colored inner robe crafted from pale lavender material, and a base layer consisting of crinkled mauve fabric. A silver obi, featuring an all-over geometric design, served to tighten the outfit around the waist. Completing the look was a Shiraya fan headdress, characterized by a fan shape created by dark brown bristles, metallic gold-toned domes positioned on either side of the head, and delicate strands of light-colored beads that draped across the forehead and shoulders. Beneath the head covering, Amidala styled her hair into a single, substantial braid that cascaded down her back.

History

Amidala wears the lilac visitation office in her meeting with Senator Palpatine.

In the year 32 BBY, Amidala journeyed to the Galactic Republic's political center, which was located on Coruscant, with the intention of appealing to the Galactic Senate to bring an end to the occupation of the planet Naboo by the forces of the Trade Federation. These events were, unbeknownst to most, being manipulated by Darth Sidious, the Dark Lord of the Sith, who publicly presented himself as Senator Palpatine representing Naboo. Before a special session convened by Supreme Chancellor Finis Valorum, Palpatine and Amidala held a private discussion within his residential office to consider the limited options available to the queen in her appeal to the Senate regarding their native world. It was during this significant meeting that Amidala chose to wear the lilac visitation outfit. She was accompanied by two of her royal attendants, namely Eirtaé and Rabé, who were clad in deep red capes with hoods. This was done to complement Amidala's attire while allowing them to remain discreet within the senator's office.

Behind the scenes

Iain McCaig's concept art, developed into the headdress used with the lilac visitation outfit

The lilac visitation outfit was originally designed for the 1999 film, Star Wars: Episode I The Phantom Menace, which is part of the prequel trilogy. Various behind-the-scenes resources have given it different names. In the book Dressing a Galaxy: The Costumes of Star Wars, it is referred to as "Palpatine Office Outfit I." From 2015 to 2018, the Smithsonian Institution Traveling Exhibition Service displayed the costume under the title "Shiraya Gown" as part of the exhibition Rebel, Jedi, Princess, Queen: Star Wars and the Power of Costume. The designation "lilac visitation outfit" was first officially used within the new Star Wars established continuity in the 2017 reference book titled Star Wars: The Visual Encyclopedia.

During the design process for Amidala's costumes, concept artist Iain McCaig received encouragement from George Lucas to create designs that were more extravagant compared to those worn by Princess Leia. McCaig's creations for Amidala, particularly when she was in her role as queen, were intended to make her appear more imposing and to conceal her true identity. This was because the revelation that Queen Amidala and Padmé were the same person was a plot point intended to be unveiled later in the film. One of his initial designs ultimately became the headdress worn by Natalie Portman in the final version of the film. Costume designer Trisha Biggar and her team were responsible for the creation of the finished costume. The beads used in the headdress were originally part of an exotic dancer's skirt dating back to around 1920. Biggar's design for the dress drew inspiration from a Japanese kimono, featuring exaggerated, rounded sleeves that Biggar humorously referred to as "penguin sleeves." Both machine and hand embroidery techniques were employed in the finishing of the garment.

Appearances

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