Inside the Wardrobe of “The Roses”: A Conversation with Costume Designer PC Williams

When you walk into a screening of “The Roses,” you can’t help but notice how much the clothes tell the story. Written by Tony McNamara and directed by Jay Roach, the film stars Olivia Colman and Benedict Cumberbatch as a seemingly picture-perfect couple whose world begins to unravel when his professional dreams collapse. What follows is a sharp, emotional ride—one where costume design plays a key role in revealing just how much the characters are shifting beneath the surface.

That’s where London-based costume designer PC Williams comes in. Known for her BAFTA-winning work on We Are Lady Parts and recent projects like “Back to Black” and “The End We Start From,” Williams brings a signature mix of creativity, detail, and storytelling to her designs. In “The Roses,” she gives Olivia Colman’s chef character a wardrobe bursting with prints, textures, and handmade details that reflect her artistry with food—while still evolving as her career takes off. Benedict Cumberbatch’s character, by contrast, embodies a sleek kind of “quiet luxury,” with subtle but telling shifts as his role in the family changes.

And it doesn’t stop with the leads. From collaborating with cinematographer Florian Hoffmeister to weaving in motifs from wallpaper patterns and production design, Williams built a visual language that resonates across the entire star-studded cast.

I caught up with Williams to talk about her inspirations, her process, and the joy of crafting costumes that make both characters—and audiences—come alive.

“The Roses” is now in theaters.

What brought you to this opportunity with “The Roses,” and what excited you about this collaboration and role?

I think for any British filmmaker, getting the chance to work with Olivia and Benedict is gold. When a script comes in and you see those two attached, it’s instantly exciting. Then you realize it’s written by Tony McNamara—who created The Great, one of my favorite shows for its wit and intelligence—and suddenly you know you’re looking at something really special. And then Jay Roach as director—it had everything.

For me, I always look for a project that feels different from what I’ve just done, and “The Roses” couldn’t have been further from the film I was making when the script came in. It was the perfect next step, the kind of opportunity you can’t turn down.

How did you approach working with Tony and bringing his tone and vision to life through the costumes?

Interestingly, I didn’t spend a lot of time with Tony in prep, but we spoke often during filming because he was always around. The amazing part was how collaborative the process was. Tony put these brilliant words on the page and then handed them over to Jay, who really steered the ship. We all looked to Jay for guidance, but everyone’s voice was included.

As a costume designer, I was trusted to bring my expertise, while still working within this larger framework. Ideas I shared with Jay or with Michelle (Michelle Graham), our producer, often shaped how things evolved. That openness made it feel like a true team effort, and when I watch the film now, I can see those little touches everywhere.

Olivia Colman plays a chef. How did you reflect her creativity and career growth through her wardrobe?

It was exciting to dress Olivia in contemporary costume, which we don’t often see. I approached her character, Ivy, as an artist—chefs are incredibly creative people. So I wanted her clothes to mirror that artistry through color, texture, and detail. Many of her pieces had hand-stitching or trims added to give them an artisanal, expressive quality.

At the start, when she’s more focused on home life, her clothes are practical—oversized jumpers, baggy trousers—but still full of color and quirk. As her career grows and she steps into a more professional role, her wardrobe becomes sharper and more considered, without losing its playful edge. It’s a reflection of her shifting environment and responsibilities, while still holding onto her personality.

And what about Benedict Cumberbatch’s character?

When we first meet him, he’s in a suit—very work-focused, very much the breadwinner. His wardrobe carries a sense of quiet luxury: beautiful fabrics, refined silhouettes, carefully chosen pieces. Unlike Olivia’s vibrant variety, his style is restrained, but every piece is deliberate.

As his arc develops and he spends more time at home, his wardrobe shifts to softer, more practical pieces—knitwear, casual shirts—while keeping a consistent palette of navy, beige, and earth tones. Jay and I talked a lot about his character being like an architect designing his dream home, with nature and craftsmanship at the core. So his clothes reflect that—lots of natural textiles and dyes, understated but deeply considered.

You also worked on “Back to Black.” How did that project compare to “The Roses”?

“Back to Black” was completely different because Amy Winehouse was a real person. There’s so much material to draw from, but also a lot of responsibility—people feel ownership over their version of her. You have to make strong choices and stay true to the version you’ve connected with, knowing not everyone will see it the same way.

With fictional characters, you have more freedom to invent. I build them as if they’re real—what artists would they admire, what spaces would they inhabit, what objects might they hold onto? I work closely with actors to merge their emotional understanding with the visual world I’m building. I don’t think of it as creating “looks” but as curating wardrobes that feel lived in, with pieces that carry backstories—even if those stories never make it onscreen. That authenticity is what grounds the characters.

Did you collaborate much with the cinematographer, Florian Hoffmeister, on how costumes worked with lighting and environment?

Absolutely. I love working with cinematographers. With Florian on “The Roses,” and with Polly (Polly Morgan) on “Back to Black,” there was always an open exchange. Camera tests are crucial because fabric can read very differently under specific lenses and lighting.

What made “The Roses” special was the collaboration across all departments—Florian, Mark Ricker our production designer, Wakana (Wakana Yoshihara) on hair and makeup. We constantly shared references and ideas. Sometimes I’d send a costume choice to Mark, and he’d adjust the set dressing so everything complemented. That kind of open dialogue creates the richness you see on screen.

What do you hope audiences take away from your costumes in “The Roses”?

I hope people leave the cinema with a sense of joy, that their eyes feel happy after taking in the colors, textures, and details. The film is an emotional rollercoaster, but visually I want it to feel uplifting and relatable.

Costume design, to me, should feel inclusive. It’s not about creating something untouchably aspirational—it’s about sparking ideas. Maybe someone leaves the theater thinking, I could bring a bit of that into my own style. That’s the kind of resonance I love.

Looking ahead, what kinds of projects are you interested in tackling?

I really love contemporary and “present-future” design—it’s where I feel most at home. But lately I’ve been drawn to the idea of doing a period piece. I’d like to see how my instincts translate into that space, and whether I can still make it feel authentically me