Behind the seams of Queen Charlotte: A Bridgerton Story - an interview with Emmy nominee Jovana Gospavic

My dear friend and colleague recommended me for an interview with the designers of 'Queen Charlotte.' Working alongside a great team has always been a priority for me, especially in the costume department where collaboration, support, and communication are essential. It's incredibly rewarding to bring on board individuals whom I've had the pleasure of working with in the past, knowing that their skillsets and personalities will enrich the team dynamic.

On my recent project (where I worked as an Assistant Costume Designer) ’Mary and George,' a Jacobean limited drama series featuring Julianne Moore, Nicholas Galitzine, and Tony Curran, designed by Annie Symons, and currently streaming on Sky and NOW TV in the UK, with a premiere on Starz in the US, that followed after 'Queen Charlotte,' I had the privilege of bringing over some of my trusted colleagues whose talents complemented the team perfectly. Their contributions not only enhanced the quality of our work but also made the experience enjoyable. I truly believe that a strong and cohesive team is fundamental to achieving success in any project, and I'm grateful for the opportunity to continue fostering such collaborations.  

Among the many enjoyable aspects of working on 'Queen Charlotte,' I enjoyed being part of an extraordinary costume production crew. I had an opportunity to delve into the intricate process of creating period costumes from scratch, beginning with thorough research and followed by meticulous selection of fabrics, embellishments, accessories, shoes, gloves, and jewellery. Collaborating closely with the hair and makeup department, particularly considering Nic Collins and Giorgio Galliero's recent Emmy win for Outstanding Period And/Or Character Hairstyling for their work on ‘Queen Charlotte’, was really important for characters’ development.

My first job after graduating from LCF was with the British Fencing Association, where I worked as a product designer. This opportunity came through connections I established during my time as a student and fencer at the UAL Fencing club. In this role, I focused on redesigning the fencing kit, with a particular emphasis on revamping the fencing chest protector and refining the designs of fencing uniforms. Furthermore, I contributed to BF's rebranding efforts by helping establish a new visual identity.

After a year at British Fencing, I transitioned to a role as a project manager in film post-production. Throughout my time at both British Fencing and Warner Brothers (MyTherapy), I utilised most of my free time to design short-form media content, including short films, commercials, music videos, and editorials. This allowed me to further develop my skillset, expand my knowledge of collaboration, and build valuable contacts in the industry. Even during my student days at LCF, I made a concerted effort to use my spare time and weekends to work on student short films, fashion editorials, and occasional commercials.

In 2018, I tested my potential brand ‘Gospavic’, specialising in technical clothing and outerwear. My plan is to revisit this venture in the future with hopes of expanding it further.

My first significant dive into large-scale movie projects was as a costume assistant on "Emma," collaborating with the esteemed costume designer Alexandra Byrne. It was an incredible experience being part of such a prominent costume department. I'm particularly proud of Alexandra's nomination for Best Costume Design at the Oscars in 2019.

Following my experience on ‘Emma’ and several other engaging projects, including 'The Third Day' starring Jude Law, Katherine Waterston, and Naomie Harris, which was developed in collaboration with the renowned immersive theatre troupe Punch Drunk, I transitioned into the role of assistant costume designer on 'Benediction' starring Jack Lowden and Peter Capaldi.

Subsequently, I worked on ‘My Policeman,’ a film featuring Harry Styles, Emma Corrin, Gina McKee, and Rupert Everett. In this role, I contributed to the design and development of numerous costumes and individual clothing pieces, all tailored to the 1950s setting of the film. One particularly intriguing aspect of this project was the opportunity to collaborate on designing intricate patterns directly onto original materials from the 1950s. These materials, though technologically advanced for their time, provided a unique challenge and an enriching creative process.

After ‘Queen Charlotte’ I worked on the newly released Jacobean limited drama series ‘Mary and George’. More recently I concluded my work as an ACD on 'Suspect: The Shooting of Jean Charles de Menezes,' a new docu-series produced by Disney+ and ITV.

During the first COVID lockdown, I began working as a technical designer for a couple of companies specialising in the production of military uniforms and tactical equipment on a freelance basis. I continue to collaborate with them occasionally, assisting in the development of functional prototypes.

I'm eager to immerse myself in the creative process of newly developed sci-fi projects, although it's a shame that Dune and the Blade Runner sequel have already been realised. However, I'm also drawn to the idea of reimagining the intricacies of Edwardian culture. Or maybe, just a modern turn on Barbarella.