Designing History: Gersha Phillips on The Woman King Costumes
Acclaimed costume designer Gersha Phillips, known for her stellar work in the Star Trek universe, embarked on a new, historically rich journey with the film The Woman King. Directed by Gina Prince-Bythewood and starring the formidable Viola Davis, the film tells the powerful story of the Agojie, the all-female warrior unit protecting the African Kingdom of Dahomey in the 19th century. Phillips shared insights into the meticulous process of bringing the world of the Woman King and her warriors to life through costume, delving into research, armor creation, character personalization, and her collaboration with Davis.
The Challenge of Historical Research
Embarking on a period piece requires deep immersion, and for Phillips, The Woman King presented unique challenges. “The biggest thing is research!” she emphasized. “Whenever you’re doing period, it’s always about getting your mind into the world.” However, researching pre-colonial Africa proved difficult due to a scarcity of resources, often filtered through a European male perspective, such as military or ship captains’ accounts.
A crucial step was collaborating with a historian. This partnership helped decipher accurate depictions of Agojie attire, particularly regarding chest plates adorned with cowrie shells often seen in popular online images. “We found those pictures from around 1870 – 1890 that is on Google,” Phillips explained. “But what we realized with the help of the historian was that those photos were a redress of the Agojie for the World’s Fair.” Initial excitement about replicating these looks faded as inconsistencies emerged. “After I started reading the descriptions, nothing ever spoke about the look… If you were a warrior, how would you be able to fight in that skirt? It comes down to the knee. It’s not adding up.” The figures in the photos lacked the muscle tone, strength, or scarring expected of warriors.
Sheila Atim as Amenza in The Woman King, showcasing Agojie warrior costume design by Gersha Phillips
This realization prompted a pivot. While the chest plates seen in photos were likely ceremonial or for show, the team focused on the undergarments – bandeaus and halters – which felt more practical for combat. Further inspiration came from a rare 1906 book by a French photographer documenting Dahomey ceremonies. Translating the photo captions revealed details that influenced the elevated looks for specific scenes like test day and tribute day.
Collaborating with Viola Davis: Crafting Nanisca
Bringing General Nanisca, the fierce leader of the Agojie played by Viola Davis, to the screen was a highlight for Phillips. “I have to say, it’ll be something that I’ll cherish forever. I loved working with Viola. She’s such a champion, and she’s so willing and accessible,” Phillips shared. The fitting process was extensive, often taking place at Davis’s home. “One of the things I love about Viola is whenever you fit her, and she’s really happy with something, her face lights up! There is a fitting photo of her where she’s just giving me the biggest smile, and I just said, ‘this is the one.'”
Viola Davis portraying General Nanisca in The Woman King, embodying the character through Gersha Phillips' costume design
Director Gina Prince-Bythewood wanted Nanisca’s armor to convey her high rank and distinct status. “Gina wanted to keep Viola in something that gave her a general feel, something that felt different with a little higher echelon,” Phillips noted. They decided on a unique breastplate incorporating cowries. “Cowries were not only currency, but they also offered protection,” Phillips explained. While implemented subtly across many costumes, higher-ranked soldiers like Nanisca featured more cowries, symbolizing rewards from the king for battlefield success.
Personalizing the Agojie Warriors
While unified, the Agojie costumes incorporated elements of personalization reflecting the warriors’ spirituality and individuality. “The Agojie were spiritual. They believed in being guided and protected when they fought,” Phillips said. This belief was represented by bags carried on their belts containing personal talismans.
Individuality was further expressed through details like the cross belts worn by Izogie (Lashana Lynch) and Amenza (Sheila Atim), featuring unique symbols etched into the leather. During fittings, actors were presented with a selection of symbols, each representing concepts like courage or valor. “Each person was able to pick their own symbols and then put that onto their costume, which was very cool,” Phillips recalled. This collaborative approach allowed actors to connect deeper with their characters. “I like the idea of giving them freedom in that way, the ability to pick and choose for their character like they would in real life. I feel like that helps to inform the character just a little bit better.”
Dressing Royalty: King Ghezo’s Style
John Boyega’s portrayal of King Ghezo required costumes reflecting majesty and tradition. A line in the script, “the Earth is blessed by the king’s feet,” inspired Phillips, especially after Boyega was cast. “I was so excited as he just embodied that persona,” she said.
John Boyega as King Ghezo and Viola Davis as Nanisca in The Woman King, highlighting royal and warrior costumes
One standout costume, a mustard gold ensemble, featured the traditional Dahomey crocodile motif, seen on hats and embroidery. Due to scale, the motif was printed onto silk and then hand-embroidered with gold thread for added detail. Historical practices influenced other designs; traders often gifted fabrics to the king. “Apparently, they would unweave the threads and either re-weave them into their own fabrics or embroider with them,” Phillips noted, crediting the incredible local artisans—cutters, sewers, and embroidery teams—who brought these intricate designs to life.
John Boyega as King Ghezo in The Woman King wearing an intricately detailed mustard gold costume designed by Gersha Phillips
The Art of Breakdown: Aging the Costumes
Costume breakdown—the process of aging and distressing garments—was crucial for authenticity in The Woman King. “The breakdown is a huge element of the costume process,” Phillips affirmed. “I really love it too… When a costume is broken down, it goes on the journey that it needs to go on.”
The ubiquitous red dirt of the South African locations presented a significant challenge. Production dyed some of the dirt, making it intensely pigmented. “If you leaned on the wall, you would end up with red on your clothes. If you sat on the stairs, it was on your bum and everything,” Phillips laughed. This was particularly demanding for the trainees’ off-white costumes. The breakdown team worked tirelessly on set, managing multiple stages of wear for the recruits’ outfits, ensuring they looked progressively worn throughout their training. Leather pieces were aged from the start to avoid looking brand new.
Agojie recruits training in off-white costumes undergoing the breakdown process against red dirt in The Woman King
Contrasting Worlds: The Slave Traders
To visually represent the clash of cultures, the costumes for the European slave traders, like Santo Ferreira (Hero Fiennes Tiffin), were designed to be starkly different. “I really wanted them to look as textbook as possible… They had to have that very stark difference and that very European elegance just to show that different world,” Phillips stated.
John Boyega as King Ghezo and Viola Davis as Nanisca in The Woman King, highlighting royal and warrior costumes
The actors embraced the period attire. Phillips aimed for a specific aesthetic: “I wanted them to look sexy and elegant.” Her inspiration? “I was thinking of Colin Firth as Mr. Darcy at the end of Pride and Prejudice… I just thought that was so sexy and elegant at the same time. That’s what I was going for.”
A Project of Passion and Representation
The Woman King held deep personal significance for Phillips, whose father is Nigerian. “I remember when I interviewed… I said to Gina and Cathy (Cathy Schulman, producer) that I felt like I’d been working my whole career for this movie,” she shared. “It was such a gift… I feel like I was telling the story of my ancestors.”
The project, notable for prioritizing women and people of color in department head roles, fostered a unique environment. Despite challenges, Phillips reflects with immense pride. “Getting the opportunity to tell the story, to do the research, to work with Gina, Kathy, Viola, and all of these other women… this was a dream project… Being on the other side of it, I feel incredibly proud. I’m still very honored that I got this opportunity… I watched the film again in London recently, and I just thought, ‘wow, we did that.'”
The intricate, researched, and passionately crafted costumes by Gersha Phillips are integral to the immersive power of The Woman King, visually narrating the strength, culture, and spirit of the Agojie warriors and the Kingdom of Dahomey.
The Woman King is Now On Digital, 4K Ultra HD™, Blu-ray™ and DVD.
