JNCOs, Hype Priests, and Liberace: How Christina Flannery Costumes The Righteous Gemstones

Costume designer Christina Flannery was brought on to Season 3 of The Righteous Gemstones—the megachurch-centric installment in the triptych of Danny McBride HBO series, preceded by Eastbound & Down and Vice Principals—replacing the series’ previous designer, Sarah Trost. Having worked as the designer on a number of series and films since the 2010s, including Fresh, Them That Follow, and Cam, coming onto Gemstones wasn’t just a new gig for Flannery, it was a really big deal—she was getting to collaborate with an artist whose work she was a huge, longtime fan of.

That exhilaration was only reinforced throughout her time working on Season 3, in which she costumed the arrogant, opulent Gemstone family in all their lurid and glorious pageantry. This season, the series sees the three Gemstone children—Judy (Edi Patterson), Kelvin (Adam Devine), and Jesse (McBride)—struggling to take control of their retired father’s megachurch enterprise. But you can sense that something is different in the way the Gemstones are dressed this season. Flannery knows that you can sense it, too; although, as she expressed to me, she took care to ensure continuity in the show while adding her own personal creative touch.

Still, between the decadent oyster shell get-up that Baby Billy (Walton Goggins) dons to serenade a poolful of tourists in Episode 3, and the unholy mix of flannel, mock neck, cut-off sleeves, and tie-wrap that come together to create a ludicrous shirt Kelvin wears in Episode 4, I knew that the designs had changed in Season 3, and that I had to talk to the person who made them. Paste spoke to Flannery about the endless joys, occasional challenges, and all-around creatively rewarding experience that was costuming The Righteous Gemstones.

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Paste Magazine: What was it like getting brought onto Gemstones? I saw that you worked on Them That Follow, which also starred Walton Goggins. So, I didn’t know if there was maybe a connection there, or if that was just pure coincidence.

Christina Flannery: Pure coincidence, really. I think I was coming off of a TV show—maybe The Chi? I don’t even remember; it’s been a while now. But I am a huge fan of Danny McBride, I love Eastbound & Down. Pretty much anything he does, I’m like, sign me up. So, I watched the show as a fan and I remember telling my agents, “Oh my God, I would love to design a show like Righteous Gemstones.” And about two weeks later, I got an interview. And that doesn’t ever happen. So, it was like, “Oh my god, this is crazy.”

But I also knew the designer from Season 1 and 2, and I didn’t know that she wasn’t doing Season 3. So, I was kind of caught off guard. But I mean, it had nothing to do with Walton, and it was actually really great because I was super nervous. I hadn’t seen Walton since Them That Follow, and that was such a special project for, I think, all of us. It went to Sundance. That whole film, to me, had been one surprise after the next. And him coming into the fitting room, and me being like, “Oh, I wonder if he’s gonna remember me, it’s been so long, it’s a different context.” And he just opened the door, poked his head, and he’s like, “Christina…” and I was like, “Oh, my god!” He kind of had figured out that I was gonna be on it, and he felt comfortable. But it was like kismet, the stars aligned for me, and I felt very fortunate.

Paste: So, what was your approach to building off of the material from the first two seasons? How did you expand upon that in your own way? What was that process like?

Flannery: I think the storylines lead me to be able to have an opportunity to grow the characters. It is hard, as a designer, to come on. This isn’t my first time I did that; I’ve done another show called The Chi, that I think I came on third season. It’s hard in ways because I am pretty intensely creative. So, it’s finding a path where you don’t confuse the viewers with a huge transition, but also are able to do what you want.

I think that Sarah set me up for a direction that I could really expand on. They came in and they had color palettes that they use for each Gemstone—typically, I wouldn’t do something like that. But that’s some way to follow the direction to not confuse the viewers, because it’s a subtle thing. You don’t necessarily notice that Judy’s blue and Kelvin’s green. But if you set up a lot, then that is a subtle thing that the viewer will be like “Hm—something’s a bit off.” But I definitely think with watching the show, you can tell even in the trailer that something has changed pretty drastically in our department.

Paste: I wanted to ask you about the clam shell costume that Baby Billy wears in his big entrance. Between that and Kelvin’s mock neck, that’s one of my two favorite costumes this season. Did you have a specific inspiration there? Why did you choose him to introduce him in that?

Flannery: So, it’s an oyster shell. And it’s funny because I talk about that a lot, because a lot of people are like “Clam shell!” It really depends on where you’re from. So, coming together with this concept, I was like, I really want to do something that’s a nod to Liberace, and old days of Wayne Newton, lounge singers—and what does that entail? And what does that look like for Baby Billy, and how he has this over-the-top ego? And in a way, it kind of brings a little humility to his character, it humbles him. It’s a one-man show.

I love that costume. It’s so near and dear for me; I was so excited. Danny [McBride]—his mind was blown when I sent him the costume. He was like, “Holy shit, what the fuck are we doing? This is incredible.” And he basically sent me an email and was like, “Look, I rewrote the intro to the episode to be around this costume.” Initially, in the script, it’s very much like Baby Billy’s by the pool, somebody jumps in the water, splash, we move on. And then it turns into this Coen Brothers, weird-ass music video thing that got so expansive, even on set. We got cranes in the pools and the background actors have no idea what the fuck they’re doing. And it was so incredible to see that.

Shout out to Kelly Rose, who helped me bring this oyster shell from something that was still something so simple that became this massive stationery piece. Then, I flew to LA, and I got some fabrics. And a lot of the beading is hand-beaded panels—it’s cut-out little panels of pearls that are put in different things intentionally, in the cummerbund, and the leaves that are hand-stoned with crystals. It was a collaborative effort, even from Walton being so game, because it is so fucking weird. But I think that costume, for me, as a designer, is the one I’m the most proud of, because it was just so fucking amazing.

Paste: The costumes on Gemstones are so gaudy, and they’re so ridiculous, but they also never feel goofy for the sake of it. Every piece has a purpose, even if oftentimes it feels very placeless and out of time. How do you strike that balance when conceiving these designs?

Flannery: I think that’s a nod to Danny. With how we do this show, there’s a fine line, a balance you have to find within the show with everything, even the religious aspect. And how it’s obviously a megachurch, but it’s so subtly put in there that it’s not a direct “fuck you” to Christians or anything like that, which I think is smart and I love that about him. Obviously, the clothes are over-the-top and hilarious, but it’s no so far from reality. Like Judy in a Gucci dress, or Danny in a Versace top—it’s heightened. And I think with comedy, we’re allowed to kind of ride that line. Especially with a Danny McBride type of show.

But yeah, I think it’s a balance of figuring out how sometimes to make the viewer laugh before the actor even opens their mouth, but not to ruin the actor’s experience. Obviously, Baby Billy—that whole intro of that episode is Baby Billy, crazy ass, and the costume [the oyster shell]. It’s not just the costume. So, I think it’s kind of a nice balance to always ride as a designer within projects.

Paste: How closely were you working with all the directors: McBride, Jody Hill, David Gordon Green? Were they all very collaborative?

Flannery: You work very closely with Danny. Danny is like father, he is king. He answers every email within 10 minutes, just so supportive. He goes on set and he knows everybody’s name—just a big smile and just a joy to work with. So, you work very, very closely with him. Jody’s incredible, he’s a beautiful, beautiful soul. He’s just so hands-on and lovely and kind. David Gordon Green: fucking bonkers. He’s a crazy-ass director and he is so silly. And what I loved about him is that he does a lot of weird easter eggs that you wouldn’t necessarily catch. Like in Episode 5, there’s a scene where there’s a blazer, and he wanted to put a blow-up glove in the blazer hanging off the chair.

But we actually double-pranked him back. There’s a scene when Judy walks in in the beginning of the episode—we put Danny McBride’s character in Pineapple Express in the background, which obviously was directed by David Gordon Green. And he was watching the screen and he was like, “What the fuck is that?” And the dude is wearing a robe and a chain and a jersey—we obviously didn’t have this [gestures to her neck to mime the neck brace McBride’s character wears in Pineapple Express], but he caught it. It’s so hard to prank him. He’s like the king of easter eggs and weird shit, like that whole flip-around scene with Judy sitting on the toilet. He’s crazy, and he’s very hands-on, and really exciting to work with. He’s a great filmmaker.

Paste: That’s so awesome. It sounds like a really fun set to work on.

Flannery: Oh my God, it is so fun. Everybody’s amazing. The whole crew, the actors are phenomenal. It’s just fun. I mean, how lucky are we to be able to work with somebody [McBride] who’s leading the front of a show like this, that’s incredible and super collaborative? It’s because of him that we have this pyramid of amazing people and incredible, loving actors that are just a joy to be around every day.

Paste: Going back to Episode 5, I wanted to ask about the Y2K costumes for that, since you’re styling for a different time period now, and you’re styling for kids. What went into designing these separate period costumes while keeping it in step with each individual character’s personality?

Flannery: I definitely think that I am lucky in the way that that was kind of my generation, so it was nods to certain things. For example, Trent in the JNCOs—I remember that kid, in my class, that sat at the skater table. And Danny’s character is very much a nod to Fred Durst, Eminem, 50 Cent, Ja Rule; those people of that era. And then Judy is kind of like Britney Spears, Christina Aguilera, over-the-top shit that you would see on the cover of Teen Bop Magazine. Because even then, [the Gemstones] had so much money, so they would have whatever was on the trends at that time. And then, of course, my favorite little guy is Kelvin’s character, who’s inspired by Even Stevens, which is like that little puka shell necklace and the Hawaiian prints.

I feel like, as a whole, that was really, really fun. Looking back on that episode, and just seeing it now and…God, that fashion. How did we survive? And it’s coming back again!

Paste: So, those were your inspirations for that time period. What were your inspirations for the present-day Gemstones, whether TV, movies, real life, or other televangelists?

Flannery: I would say, Judy—Dolly Parton, Cher in the Bob Mackie era. I would say Madonna, Paula Abdul. Judy is stunted. It’s actually just generally the whole show, people are stunted; even Aunt Tiffany [laughs]. It’s like Tammy Faye Baker, but also touches of that that you’ll find in Amber, Cassidy [Freeman’s] character. It was a lot of vintage Mugler, runway references. And then for Kelvin, he is leaning heavily into the hype beast, hype priest, sneakerheads, with Off-White, Supreme, Fear of God. And I think he has a big pivot in this season, as well. And then Danny is, and always will be, I feel like on The Righteous Gemstones what Elvis or George Jones would emulate in modern times.

Paste: Obviously, in your past work, you’ve worked in different styles, periods and colors. But was the specific garishness of Gemstones exciting or intimidating for you to tackle?

Flannery: I did this film years ago in Budapest—it was like 85% built, it was this Melanie Martinez movie from the 1700s to the 1950s. And that was all custom-builds in a different country where nobody spoke English, and that was really like going to school. So, learning that, and dressing a whole school and uniforms, and every teacher is different. So, the enormity of it wasn’t always as scary, because when you’re given the tools that you need to succeed, you can make correct choices with people who you choose and trust to be in your department.

I think in moments, [the costume department] were like, “Shit, man, today we’re doing doomsday preppers, and tomorrow we’re doing church people, and then we’re doing Y2K.” You know, it is a massive show, but I think it really comes down to when the stars align and you find a project that’s so perfect for you, and the people that you surround yourself with—it’s not fear, so much as really fucking excited. I’m so lucky I get to go into work today, and I get to build doomsday preppers. I get to spend all day with my crew and make weird “Smut Busters” shit. There’s a level of fear, I guess. But I’ve learned that if I’m not afraid of something, then it’s not necessarily worth it, or it’s not gonna fulfill my needs as a designer.

Paste: Are there any major challenges you faced during the process?

Flannery: I think that we had some schedule conflicts, obviously COVID, things like that happen. Shopping in Charleston isn’t the easiest, so, you know, shipping delays. Those “Cape and Pistol” costumes we had to send out to this team that I work with in Chicago. Just up to the wire and timing, and just being like, we’re not capable of handling shipping—shit gets lost. Like the Gemstone tracksuit, the fire suit in the beginning, we had to build it, fit it, tailor it, and then send it out to be hand-stoned and embroidered. And you’re like, “Shit, what if UPS loses this?” That is so scary.

Paste: As the costume designer, how do you feel your role relates to the development and psychology of the characters?

Flannery: I think a costume designer is… you know, again, I say it’s kind of an unsung craft. You cannot tell who a character is without the clothing. You need to do your research, you need to dive in, immerse yourself, in the way that I’ve downloaded TikTok so I could literally watch hype priests all the time, and follow Hillsong, and watch stuff that Danny’s done before, rewatch other seasons. It’s such an honor to have that responsibility, to be able to portray what a character is to a viewer. Because the first thing you see is the clothes. To me, that’s how you know who and what the character is supposed to be, based on what their clothes are. You could watch a silent film and they’re not saying a thing and they’re in a dark room and it’s just the clothes, and that’s how you can kind of tell.

Paste: Who was your favorite character to design for?

Flannery: I love, obviously, Baby Billy. I did really love Judy, though. Just having her come in for fittings once a week, like she would go to set and work all day and then she’d be like “No, it’s cool, I’m coming in!” and slipping her into a Bob Mackie fringe. She was great to work with, but Baby Billy is my favorite to design. And then I really loved working with Amber as well—and Keefe!

Paste: Keefe, oh my God. His leather outfits!

Flannery: His stupid flame-throwing, criss-cross leather. And that has to be a certain kind of fabric, because when you’re dealing with fire, it can only be 100% cotton or leather. And I’m like, “I think we’re gonna be alright. I think we’ll be fine.”

Paste: Without getting into too many spoilers, are there any more costumes for the rest of the season that you’re particularly hyped for audiences to see?

Flannery: Episode 6 has an outfit that Judy is wearing that I call the “pink flamingo.” And then I really think the finale episode…we just went out, we were just showing out on that one. Baby Billy’s finale costume, Kelvin’s, Judy’s…that finale episode is so fucking funny. So, I’m really looking forward to that, for sure.

Brianna Zigler is an entertainment writer based in middle-of-nowhere Massachusetts. Her work has appeared at Little White Lies, Film School Rejects, Thrillist, Bright Wall/Dark Room and more, and she writes a bi-monthly newsletter called That’s Weird. You can follow her on Twitter, where she likes to engage in stimulating discussions on films like Movie 43, Clifford, and Watchmen.