Costume designer Terry Dresbach will be leaving the hit historical costume drama Outlander after season four. “It’s been 6 years. I want to be with my family. I am spent, exhausted, worn out. Concerned about my health,” she said on Twitter.
Dresbach was instrumental in the launch of the series with her husband the writer and executive producer Ronald Moore and is the only Outlander crew member to receive two Emmy nominations for her work. One she only received last week.
“I didn’t design costumes on Outlander,” she said in an emotional statement. “I designed people. People I knew intimately. Worlds I knew intimately. Scotland, Paris and America are characters in Outlander. Two centuries and multiple decades. What I did not anticipate is that when I looked around me I would find 20 million fans – give or take a few hundred who think I am a menace – standing next to me, patting me on the back, whispering words of encouragement. Sending me cookies and handmade mittens and scarves, toys for my dog, books to read, handmade quilts, bouquets of flowers if I stumbled, or got sick, conversation in the middle of the night – friendship and love. You all have been incredible, right down to my announcement that it was finally time to step off. I am tired. Really tired.”
“But I have been moved and unspired by you every day. The love, the support, the kindness and understanding continue. You all were so unexpected and so absolutely amazing. I could work that seventh day because of you. You were always standing next to me inspiring me. I won’t even talk about the recreation of my designs painstakingly made by fans. I am incredibly moved every time I see one of your costumes. No award can ever compare.”
Outlander Historical Accuracy
The series is just one in a new generation of costume dramas to be met with a strong social media storm as audiences around the world are more aware of historical costume.
“You’re going against what is expected historically. Back to Gone with the Wind, people always changed their clothes every time they walked on the screen,” Dresbach told Entertainment Weekly. “This show has always been dedicated to the idea that it’s going to be historically accurate. The truth is people just didn’t have that many clothes. And what they did have they reworked and remade and they repaired and they patched. I just thought that was a really glorious, beautiful thing to see on camera.”
“People repeating things over the course of 20 years. You see the darning, the patching. It’s such a rich and incredible history there. I remember when I first started on the show somebody brought in an actual 18th Century coat owned by an incredibly wealthy person. When you opened up the inside it was all patchwork because even the wealthy kept their clothes for their entire lifetime. It’s a chance to look at history in a greater detail than we usually do onscreen. All these things challenge people’s assumptions. When you do that you have to expect a little blowback. And it’s okay. That’s the opportunity for conversation.”