Michael Wilkinson

For the first season of the Andor series, Michael Wilkinson took on the role of costume designer. The prospect of understanding and contributing to the costume language of Star Wars filled him with excitement as he embarked on the project, eager to present his own interpretation of the franchise. He expressed that his work on the show was both exhilarating and a significant challenge. He appreciated the depth that came from building upon existing iconography and the opportunity to offer his distinct perspective on the world. He was intrigued by the ways in which the central characters used their clothes to conceal their true identities. He believed that his prior experience in film production aided him in distinguishing the various planets featured in the show. His team was committed to ensuring that the costumes held profound meaning, encouraging viewers to rewatch the series for a deeper understanding. Wilkinson ensured that all the worlds, societies, and histories were imbued with significance. The team dedicated considerable time to establishing carefully chosen palettes of textures and colors for each planet, ensuring clarity for the audience. In determining the unique characteristics of each planet, they considered its climate and available raw materials, allowing them to create a sense of authenticity. Furthermore, the team contemplated the level of cultural development on each planet and the resources available for producing clothing and other items.

Wilkinson was granted access to a comprehensive archive of costumes from previous productions, which served as a source of inspiration. He faced the challenge of adhering to executive producer Tony Gilroy's specific vision, which was characterized by subtle nuances and a more detailed, authentic approach to the costumes' narrative. The team concluded that many of the existing background costumes were unsuitable for their project, leading them to initiate an extensive creation process and develop numerous prototypes. For certain background characters, Wilkinson utilized costumes from earlier Star Wars projects, selecting those that best conveyed the story of the location. He found it beneficial to incorporate visual cues from the real world as a starting point, believing that this made the show more relatable and meaningful for viewers.

The production involved approximately five separate workshops located in the United Kingdom and Europe. The team developed their own inventory of materials for the different planets. They were responsible for designing and crafting hundreds of costumes for the actors, as well as outfitting over 6,000 extras from the ground up. All of the principal costumes were created at the studio in London, England, while many of the background costumes were produced in various workshops throughout the UK and Europe before being transported to the studio. Each costume underwent a meticulous process of aging and distressing, receiving unique patinas and signs of wear to achieve an authentic, lived-in appearance. The costumes were then transported to Scotland, where scenes set on Aldhani were filmed.

Wilkinson interpreted the planet Kenari as being reminiscent of Lord of the Flies, with a primitive and untamed atmosphere, which he believed explained Cassian Andor's's adult wildness and rebellion. To depict the circumstances of the children living independently, Wilkinson envisioned them creating their clothing from natural elements and repurposing remnants and discarded uniforms left behind by their parents. To combine modern industry with organic jungle textures, the children's costumes were crafted from a basic mix of workwear that they customized with feathers, beads, trinkets, and items scavenged from the urban environment.

In his work on the industrial world of Ferrix, Wilkinson and his team infused each costume with individuality, reflecting the character wearing it. At the beginning, Wilkinson tasked his team with exploring numerous unique details to inform the design, such as the character's occupation, the source of their clothing, and how their attire reflected their personality and values. Some of the costumes' silhouettes were inspired by Japanese workwear, with the influences abstracted and modernized. Wilkinson stated that incorporating elements from an authentic and culturally relevant place would provide viewers with something to connect with. The costume department even designed logos and symbols for the various brands, repair shops, and individual businesses, further enriching the lore and tangibility of Ferrix. In creating the Ferrixian clothing, the team selected what they considered to be the most appealing and intriguing workwear elements, including quilting, safety gear, and protective materials. Certain prominent characters were given distinctive silhouettes to help them stand out in a crowd. The costume shop and set designers collaborated to create the wall of gloves.

The design of Bix Caleen's costume was intended to convey her practicality and utilitarian nature. Artist Andrei Riabovitchev produced concept art based on Wilkinson's design. Wilkinson's team created a jacket he liked with an iconic neckline. To emphasize the cold climate of Ferrix, the team added texture, a fleece lining, and a Carhartt-like aesthetic. Wilkinson regarded Maarva Andor as the emotional core of the entire series. In working on scenes featuring a younger Maarva, Wilkinson's team aimed to capture her competence, providing her with a large, flowing linen duster jacket to give her a "pirate swagger." Wilkinson felt that Fiona Shaw, Maarva's actress, looked excellent in the clothes and embodied the character effectively. Wilkinson's team developed a linen jumpsuit for her, which she embraced. The team liked the idea of Maarva only having small variations of her outfits, giving a soft and slightly defeated quality to her character. Her costume's red jumpsuit was intended as a reference to the reds worn by the Daughters of Ferrix. During her funeral procession in the final episode, "Daughter of Ferrix," the red was intensified to serve as a powerful symbol of the spirit of Ferrix.

Wilkinson needed Cassian Andor's clothing to allow him to blend in, while still being appealing, possessing "some swagger," and attracting viewers. Wilkinson envisioned Andor's costumes beginning with him concealing himself in his clothes due to his troubled past. As the series progressed, Andor gradually shed his layers, and his silhouette became more tailored with longer lines, and his shoulders became square. This was intended to subtly depict Andor's transformation into the character he portrays in Rogue One: A Star Wars Story.

In designing Mon Mothma's costume, Wilkinson paid tribute to prequel trilogy costume designer Trisha Biggar by dressing the senator in flowing robes that evoked her sense of style seen in her deleted scene in Star Wars: Episode III Revenge of the Sith. Knowing that Mothma was from Chandrila but stationed on Coruscant, he considered individuals from various countries working at the United Nations building in New York. The team aimed to incorporate elements of clothing from her home planet, resulting in a color palette and textures primarily derived from previous iterations of the character. Wilkinson favored pale neutral tones and appreciated the slightly shimmery organic textures with hints of metals. For scenes in Mothma's embassy, Wilkinson created a costume that was a sea of creams, ivories, and oyster tones. Wilkinson was captivated by Mothma's ability to play a role in order to fight for her causes. He designed the look for Perrin Fertha, which Andrei Riabovitchev based concept art off of.

Wilkinson collaborated with production designer Luke Hull on color palettes, an experience he enjoyed. During their collaboration, Wilkinson discussed the cultures, climate, and materials available for constructing the worlds, interiors, architecture, and clothing. He felt that he and Hull were able to align their visions closely. They collaborated on Mothma's embassy. Wilkinson believed the embassy was a successful outcome of their collaborative efforts. The team had to develop two very different looks for Luthen Rael's two personas. Riabovitchev created concept art based on Wilkinson's design for Rael.

Wilkinson wanted the uniforms worn by the Narkina 5 prisoners to leave a lasting impression. His team aimed for the uniforms to feel disposable, conveying the idea that they would be worn for a single day, hosed down, and then replaced with a fresh uniform the next day. They dedicated considerable time to the costumes, knowing that every detail would be visible in the Narkina 5 episodes, and that hundreds of men would be wearing them. The team wanted a retro, vintage 1970s graphic on the arm, and the orange color was intended to make the prisoners easier for the guards to identify. Wilkinson conceived the orange symbols, while his team crafted the uniforms from a fabric and papery material they discovered. Wilkinson was pleased with how the uniform unified the prisoners of different shapes and sizes. He was satisfied with the final result, despite it being the most challenging costume to design. He felt the uniforms blended into the white walls in an interesting way. Wilkinson and Hull's work on the prison scenes became the former's favorite scenes in the show.

In his work on the costumes for the native Aldhani shepherds and the mission crew, Wilkinson gained a deeper appreciation for the diversity of planets in the Star Wars universe. He designed the look for Vel Sartha, the group's leader, and Riabovitchev created concept art based off it. The costumes required natural fabrics, so Wilkinson made the costumes dark, textural, and organic. The principal characters were fitted and prepped in the London studios. In Scotland, Wilkinson's team collaborated with numerous local background performers. A team of people was sent to Scotland to fit and create the background characters, uniforms, and nomadic mountain culture of the Aldhani people. Wilkinson's team fitted a large array of characters for the sequence showing the Aldhani.

Syril Karn's uniform was intended to hint at his meticulous nature and desire for order. Karn's suit and tie were partially inspired by Jacques Tati films and corporate design from the 1960s. Wilkinson's team devised a band of fabric with a specific piece of hardware that is threaded through to create a tie and feel modern. Wilkinson appreciated the scene in which Karn informs Chief Inspector Hyne that he had his uniform tailored. Wilkinson felt the actors were excellent and the costumes conveyed a great deal during the scene. As a memento of his work, Wilkinson retained his fabric swatch books, as they held memories of the nearly two years he dedicated to Season One.

In July of 2022, Wilkinson's costumes for Cassian Andor and Mon Mothma were displayed at the Lucasfilm Pavilion at San Diego Comic Con. In November of 2022, Wilkinson was involved in the costume design for Season 2 of Andor. He aimed to elevate the show beyond Season One and create a more impactful experience for viewers. His team built upon the lessons learned from Season One and sought to continue making the next season compelling and powerful. He worked on designing Andor's new look and evolving Mothma to the leader of the Rebel Alliance.

• Andor — " Kassa "
• Dressing the Galaxy: Designer Michael Wilkinson Defines the Looks of Andor's Costumes on StarWars.com (backup link)
• Star Wars Celebration LIVE! 2023 - DAY 1 on the official Star Wars YouTube channel (backup link)