Emmy-nominated costume designers on dressing characters with success
Bergin: Yes. "The Tudors" is a strange blend of trying to be as authentic as possible but with a twist. I wanted people to look at it and say, "Look how sexy and foxy," rather than, "Oh! Who would wear that?" Balenciaga corsets and the Degas ballerinas inspired me. I also went to an auction and bought a trunk filled with fabrics collected by a woman from her travels all over the world. One of Catherine Parr's dresses was made with a 100-year-old obi.

Image: What was it like winning your first Emmy?

Bergin: "The Tudors" was a show I originally did not want to do because I didn't know how it could be done. I thought, "How on Earth could you do this?" And so when my name was called out, I was like one of those footballers and went, "Yes!" My friends claimed I knocked them down. I was shocked at how delighted I was. You often lack the security about what you're doing, and it was like being reaffirmed.

Image: Have you been star-struck yet?

Bergin: I've worked with a lot of great people — Brad Pitt, Meryl Streep — but the first time my knees buckled was while working on "The Prestige." It was when I met David Bowie.

Janie Bryant, "Mad Men"

Bryant, the 2005 Emmy winner for her work on "Deadwood" and 2009 Costume Designers Guild Award winner for "Mad Men," has been credited with inspiring designers such as Michael Kors and Prada. She has played a huge role in bringing vintage back in full swing and is debuting her line "Janie Bryant Mod" on QVC this September. Her book, "The Fashion File: Advice, Tips, and Inspiration From the Costume Designer of Mad Men," will be available this October.

Image: How did you get involved with "Mad Men"?

Bryant: I was in New Orleans designing a movie, and my agent called. I said I wanted to design another period show, and a week later she wanted me to see this pilot for "Mad Men." When they shot the pilot, I'd been designing "Deadwood." When they were gearing up for the show to go, I met Matt [Weiner, the show's creator] and we sat for two hours, and he hired me.

Image: Is vintage/historical costume design your specialty?

Bryant: I love period design. For me, it's all about the fantasy and the beauty of different time periods, so I gravitate toward that as opposed to contemporary.

Image: Where do you get your inspiration?

Bryant: Reading books, catalogs, old magazines, old movies, research on the Internet, research with Bobbie Garland, who runs the research library at Western Costume. I get inspiration from fabric stores or museums — I'm very visual. It's all about seeing it.

Image: Is it true your family might have influenced some of the looks in the show?

Bryant: Totally. I've used things that my grandmother made, and I've used my mother's things as well. For example, Roger's daughter wore my mother's wedding gown. Betty wears my grandmother's aprons, because my grandmother had an apron for every single outfit or made them herself.

Image: So this really was in your blood.

Bryant: I'm from a Southern textile family. I spent my childhood in my grandfather's sock mill.

Image: Does the cast want to keep the wardrobe, or are they thrilled to be in jeans and a T-shirt after shooting?

Bryant: (Laughing) I think they want to be contemporary.

Image: It's understandable — nobody wants the "bullet bra" look forever!