We meet Emmy-winning costume designer Ellen Mjornick ahead of her appearance at Dublin International Film Festival …
What could Princess Aurora, Daphne Bridgerton, PT Barnum and Robert J Oppenheimer possibly have in common? Their wardrobes, of course. They all come from the mind of distinguished costume designer Ellen Mirojnick. Over the past four decades, the 76-year-old New York native has worked with the industry’s foremost auteurs and outfitted a constellation of Hollywood’s stars. Costuming cult classics like Showgirls (1995) and stellar hits such as The Greatest Showman (2017), Mirojnick’s work convincingly encompasses myriad genres and epochs. From reimagining historical attire and crafting fantastical fairytale ballgowns to tailoring modern menswear, her range is remarkable.
And she shows no intention of slowing down just yet. Having won an Academy Award nomination for Oppenheimer in 2024, Mirojnick has reunited with acclaimed director Christopher Nolan to produce the costumes for this year’s most anticipated blockbuster, The Odyssey (2026). She will also be among the glittering line-up at DIFF later this month.
We caught up with Mirojnick from her Los Angeles home where she offered insight into her career’s trajectory, her role in shaping Bridgerton’s unmistakable “regencycore” aesthetic and her work on Oppenheimer alongside Cillian Murphy.
How did you get into costume design? It was a happy accident. I had worked professionally in New York’s fashion industry for about seven years before I became unfulfilled creatively and knew that there must be something else on the horizon. My husband at the time was working on a low-budget raunchy film set in New Orleans (French Quarter, 1978) and as the film had no costume designer, the director asked me to do it! Though different, the work wasn’t so scary as I was used to thinking on my feet from fashion.
I lived in a time where you could look back on the golden age of film, so I was always fascinated by the work of costume designers Orry-Kelly, Adrian and Edith Head. During this first project, I made, bought and rented items. It was like jumping in the deep end and learning how to stay afloat. I enjoyed the thrill, rhythm and responsibility involved in the role. I immediately loved the collaboration, the family atmosphere and just being part of this big magical circus.
You helped to cultivate Bridgerton’s beloved visual identity in the first season. How would you describe the experience in its initial stages? It was unbelievably exciting. I had worked with Shonda Rhimes before and was the first one hired. Straight away, the show’s creator Chris (Van Dusen) was insistent that “There would be no bonnets!” and that the style wouldn’t be overly Jane Austen. Shonda too was very keen on portraying an aspirational, fashionable feeling surrounding the Regency era and Bridgerton’s characters. So, I compiled a big lookbook brimming with what I thought the show’s world would look like. First, we needed to change the traditional Empire silhouettes to allow for the show’s choreography. Then, the men had to look as handsome as can be … though that wasn’t hard! The major difficulty was figuring out how to produce such a grand scale of costumes and not have it cost trillions of dollars. Nothing of this sort really existed yet, so my team and I had to make everything. One day, I was rifling through a bin of pure silk toiles. I took them out and started layering them, adorning some with flowers and embellishment. Once I pinned it all together, I took a step back and said, “That’s it! That’s exactly Bridgerton“.
And just wait until you see this new season! My colleague John (Glaser) has envisioned it in such a sublime way. It makes me proud that Bridgerton has become such a phenomenon, I absolutely love working on projects where I can play a part in building worlds.
You’ve worked with directors including Steven Soderbergh (Behind the Candelabra, 2013 and Black Bag, 2025) and Christopher Nolan (Oppenheimer, 2023 and The Odyssey, 2026) – what’s the secret to a cohesive creative dynamic? It’s vital for me to instil trust in each director, actor, producer and cinematographer that is quiet, strong and open. With each project, I look to the holder of the vision. That’s always my north star, so I can successfully assist in actualising these visions. I listen intently to each person and ensure we’re all on the same page. That’s the most important consideration, particularly when working with people of such high calibre.
Which character posed the biggest challenge to dress to date? Designing Oppenheimer was a beautiful challenge. It was the first time I worked with Chris Nolan. He works very quickly, so we never have a long preparation period before shooting. And Oppenheimer required the utmost precision. Each article of clothing draped onto Cillian Murphy’s body was exceptionally exact in its shape, volume and colour. It had to reflect him as a young man right up to the moment he became “the father of the atomic bomb”. I remember an early meeting with Chris where a plethora of images and research was laid out in front of us. He told me to “make sure that the film’s design can be accessible to a new, younger audience”. So, though the story spanned many decades the clothes referred to the time through subtle visual cues rather than total accuracy.
Interestingly, Cillian referenced images of David Bowie in the 1970s to embody the role and they provided stylistic inspiration too. Oppenheimer’s silhouette never changed over the course of his life, it just varied in fabrication and textures. The character’s defining, iconic moment came when he put his hat on. This all-important hat was a recreation and was the hardest thing to achieve. We gave the original designs to a great many milliners – in Italy, England and New York – but it was never quite right. We then discovered Mark Mejia in LA, who specialises in hats for film, and told him exactly what we envisaged. When he sent a hat back to us, it was perfect. Then Cillian came in to try it on which was such a shining and memorable moment for us on set.
You also costumed Christopher Nolan’s hotly anticipated adaptation of The Odyssey: what can we expect? Though I’m not quite at liberty to fully discuss The Odyssey yet, I can say that working on it was the most spectacular, singular experience. Audiences will be blown away. It’s an adventure film, not a history lesson or a poem. It’s his spectacular take on the tale. He built one of the most extraordinary worlds I’ve ever seen in my career. To adapt it is a pure testament to his brilliance. If you go to see it, you will go on the ride of your life.
What’s been the most important valuable lesson you’ve learned along the way? I believe that the ability to convey your ideas confidently and to communicate openly is invaluable in every line of work. You’re not in a little room by yourself. I also wish that we could move into a time where individuality is encouraged, instead of constantly looking towards influencers and trends. To move away from the same cookie-cutter standards and to embrace uniqueness is not only important, but is key to encouraging the next wave of creatives.
Need to know: The Irish Times presents The DIFF Film Club with Ellen Mirojnick on Saturday February 28 at Haymarket House, Smithfield, Dublin 7. Ellen will introduce Behind the Candelabra, for which she won an Emmy. She will also introduce the Technicolor comedy Auntie Mame, with 1920s costumes by Orry-Kelly. This film was a major inspiration to Mirojnick. Book tickets here.
