Alison McCosh (costume designer)

Can you talk about character style choices for Tommy Shelby and how the look has evolved for series four?

Tommy’s style has remained steady from series to series with a little flourish here and there. This series the texture is a little richer and the cut of his suits are sharper because he’s wealthier. The colour tones are similar to those that were used for series one. It was important to bring that back because he returns to Watery Lane in the story. When he returns to the streets of Birmingham we introduced a rougher texture. People really identify with Tommy’s strong silhouette. His coat is also important; his trademark is a black coat with red lining. Tommy has also matured this season and he’s older and wears glasses.

What challenges came when creating the multiple looks for Polly across the series?

There was a lot of exploration for women in the twenties and I think we’ve really captured that in Polly’s looks. It’s really important to listen to the actors and what they want for their characters as well as visualising the writer’s vision. I really wanted Polly to come forward with her costumes this year so she has a lot of colour. I went to Italy and the US to source materials this year and fell in love with a little bit of fur as well as some intricate lace for Helen’s costumes.

Was there one particular scene that you enjoyed designing for?

The boxing hall scenes were a great opportunity to showcase how the women of Peaky Blinders have evolved in their style. Polly’s dress is an original piece from the America. Ada’s dress is from Rome and has some beautiful jewels woven into it. Lizzie’s become really part of the Shelby family this series so we gave her wealthier looking dresses. They’re all vintage pieces, which have been sourced from overseas. It was great to have fun with the styles and looks for this particular scene and go all out.

Is it a challenge to preserve the vintage costumes?

As they are so delicate and of the period, we had to really reinforce some of the dresses, so that they could last the length of the shoot. But that’s the beauty of it, to preserve the dresses. We’re committed to it and we love it. There’s something quite beautiful about having the history of the original dresses, which the actors also enjoy.

If you could personally take home one item from this year’s costume collection, what would it be and why?

I’m very fond of Polly’s reversible coat. We found it at an auction house and I absolutely love it.