"This was just insane. We had so many fittings for the coronation because literally every single badge, if it was slightly to the right… We had royal consultants because we wanted it to be so accurate. I think less clever costume designers would've mimicked and made copies, but Michelle took shapes and concepts and made them fit to us and to the imaginary character in our story. We tried to tell the story of Margaret's emotional journey through the costumes. It became completely collaborative. In the end I sort of developed this shorthand with Michelle; I could be like, "Don't you think it's better if we come in at the waist?" or "Don't you think it should be a bit shorter?" I'm so not that kind of person, but it became helpful to me because that's exactly what Margaret would have done. She had so many fittings; she would go into corridors and swish the dress around to see how it looked and how it went in the wind. She wanted all the photographers... she wanted to be the leader of that 'New Look.' You can't get that kind of attention without courting it, I think.