For the second season of The Witcher, costume designer Lucinda Wright wanted to bring in more realism to the armor. The Witcher follows Geralt (Henry Cavill), a mutated monster slayer known as a witcher, as he seeks to protect his surrogate daughter Ciri (Freya Allan) from the monsters and people that hunt her. Wright joined the series in the second season and began to build upon the design groundwork that was established in the first season. She is nominated for an Emmy in the Outstanding Fantasy/Sci-Fi Costumes category, and the series is Emmy-nominated for its Visual Effects and Stunt Coordination as well.

DEADLINE: What did you have in mind for costume design coming into season two?

LUCINDA WRIGHT: It was important to follow the scripts, to follow how the characters progressed. I wanted to bring more realism to the costumes and I wanted to incorporate a new look for the armor for Geralt and for the Nilfgaard, to make it more grounded. Even though it is fantasy and magical, you should still really believe in what people wear and it should really reflect the storyline and take the characters onto a different level. So that’s the idea I brought: to design costumes that look like you can actually fight in them and move in them and they can be broken down and they have a purpose for them. Sometimes costumes do need to look glamorous and fantastic, but when you see a Nilfgaard soldier, you must believe that he could come and attack you and defend himself in a fight. Especially with Geralt, to make him look like more of a killing machine and showcase Henry [Cavill]’s physique. It needed to be like his second skin, so he should be able to just zip into action. That’s what realism is for me for the clothes, and you almost don’t notice them as much.

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DEADLINE: Why was the season finale “Family” chosen for Emmy consideration?

WRIGHT: It was the climax of the season, where you saw the emperor Duny (Bart Edwards) as the true Nilfgaard ruler. You saw all of the armor in the battle with Geralt and his army of witchers vs Ciri. I thought it showed every level of all the characters and it brought them all together in a real finale. It showcased the costumes in the best way.

DEADLINE: What were the biggest challenges for you on this project?

WRIGHT: The biggest challenge for me was to make sure the fans really liked it. I didn’t want it to look like, “Oh, there’s another costume designer for season two.” I wanted to carry along certain aspects from season one, so it kind of gave it a flow and was able to keep the fans happy, and to also make sure production and the actors were happy as well. That’s the biggest challenge in costume design, to make sure you do your vision but also take into account everyone who’s wearing it and everyone who works with the sets and with the makeup.

DEADLINE: What was your favorite costume that you designed for this season?

WRIGHT: I think it would be Gertalt’s armor and the Nilfgaard… Oh God, there’s so many, like Francesca the new elf and Yennifer. I mean, they’re all such brilliant characters that it’s really hard to decide, but I would say the one that made me smile every day was putting Henry into his armor. For many reasons.

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