Michele Carragher: Master of Hand Embroidery in Costume Design
- Илья Суворов
- Mar 9
- 4 min read
Michele Carragher is a highly skilled hand embroiderer and artist specializing in costume design. Her exceptional talent has contributed to numerous award-winning productions, including Elizabeth I, The Crown (Season 1), and Game of Thrones. With a passion for textiles from an early age, formal training at the London School of Fashion, and sheer brilliance, she has carved out a dream career that many aspire to.
We had the pleasure of speaking with Michele about her journey in costume embroidery, her favorite pieces, and her approach to bringing intricate designs to life.
The Art of Costume Embroidery
Costume embroidery sounds like an incredible profession! Can you share what it entails and how you got started?
I consider myself incredibly fortunate to work in such a creative field. Every detail in a costume—from cut and color to fabric and embellishment—plays a role in telling a character’s story. My process begins when the costume designer shares illustrations and mood boards. From there, I conduct research, sketch ideas, gather materials, and create samples to present to the designer. This collaborative process continues until the final embroidery is applied to the garment.
There are no formal courses specifically for costume embroidery, so my journey was unconventional. I studied fashion design in college, where I was drawn to craft-based modules such as millinery and embroidery. Although my training focused on machine embroidery, I was fascinated by hand embellishment techniques, which I explored independently.
After college, I worked in textile conservation, which helped me refine my hand embroidery skills, improve speed and precision, and gain exposure to historical textiles. That experience proved invaluable when I transitioned into costume work.
A Career in Film and Television
You’ve worked on productions like Game of Thrones, The Crown, Assassin’s Creed, and Elizabeth I. How did you break into the industry?
Once you establish yourself, most work in this field comes through word of mouth. Costume teams often move from project to project together, and new contacts expand your network. My first opportunity came through a low-budget feature film, where I met costume designer Mike O’Neill. He became a mentor, teaching me the intricacies of costume design, from script breakdowns to fittings and fabric sourcing. As he recognized my embroidery skills, he gradually assigned me embellishment work, leading to my first major role as the principal costume embroiderer on HBO’s Elizabeth I, starring Helen Mirren.
Starting in television, where smaller teams handle a broader range of tasks, was a great way to gain a comprehensive understanding of the costume department. In contrast, large-scale film productions often require specialization, limiting exposure to different aspects of costume design.
How involved are you with actors and on-set work?
As a costume embroiderer, I’m usually in the workroom, juggling creativity and deadlines. However, attending fittings is invaluable, as it helps me see how embroidery interacts with the costume’s fit, cut, and overall design. While I don’t spend much time on set, visiting occasionally helps me understand how costumes appear on screen under different lighting and settings.
Crafting Iconic Costumes
Do you have a preferred genre—historical, fantasy, or something else?
I enjoy both historical and fantasy projects. Historical costumes require in-depth research, and while complete accuracy may not always be feasible, I strive to capture the essence of a period. Fantasy and sci-fi, on the other hand, allow for more creative freedom, though designs still need to feel authentic within their fictional worlds.
What was your first memory of stitching?
I first learned embroidery at school and from my grandmother, who was an avid craftswoman. One of my earliest projects was a sampler, and I remember embroidering my name on a PE kit bag in chain stitch with purple thread. I also helped my grandmother with an embroidered tablecloth, developing a love for intricate details—especially French knots!
The Embroidery Process
How do you approach commissions for film and TV productions?
Each project and designer is different. Sometimes, I’m asked to recreate a historical piece, which involves sourcing authentic materials. Other times, I have more creative freedom to experiment and develop unique embellishments. Designs evolve through fittings and discussions with actors, directors, and producers, requiring flexibility and adaptation.
What materials and techniques do you work with, and how do you age embroidery for historical productions?
Time constraints are always a challenge. Since I often don’t receive a garment until after fittings, I developed a technique of embroidering motifs on silk crepeline or illusion tulle, which can be applied later. This allows me to work ahead without delaying the costume’s construction.
Aging embroidery is handled by the breakdown department, but I choose materials with an antique aesthetic to minimize the need for distressing. I source a mix of vintage and contemporary threads, beads, and trimmings from around the world—no haberdashery or fabric shop is ever overlooked!
How do embroidery and costume construction come together?
I work closely with cutters and makers. Once the costume is fitted and adjustments are made, I begin embroidery. In some cases, I can embroider fabric before it’s cut, particularly for men’s waistcoats, as their fit tends to be more predictable. For example, in The Nevers, I embroidered a waistcoat for Hugo Swann featuring silk floss-painted starlings, passion fruits, and flowers.
For Queen of the Desert, I worked on two ball gowns for Nicole Kidman’s portrayal of Gertrude Bell, inspired by Charles Frederick Worth. I also collaborated on The Secret Garden (2020), where a team created hand-printed fabrics that I then embellished.
Notable Works
How did you create the embroidery for Game of Thrones?
Many of my designs for Game of Thrones were built in layers. For the Dornish dresses, I embroidered wildflowers on organza, later applying them to the costumes with added ribbon work and beading.
For Daenerys Targaryen’s costumes, I developed textured embroidery to resemble dragon scales, reflecting her strength. These smocked pieces were stitched onto the garment, blending seamlessly into the fabric.
One of my favorite pieces was Queen Cersei’s gorget and pauldrons, which acted as jeweled armor. The cutter created the base shapes, and I crafted filigree details and stumpwork lion heads, adding trims and glass spike beads.
Michele Carragher’s extraordinary talent has shaped some of the most memorable costumes in film and television. Her meticulous attention to detail, historical knowledge, and innovative techniques continue to bring characters to life, ensuring that every stitch tells a story.
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