Behind the spotlight: Behind the scenes of TV series creation through the story of stylist Khuc Manh Quan

About four years later, in mid-2020, I met actress Hong Diem, who was preparing for her role in Sunflower Against the Sun. She invited me to be her stylist for the series. I hesitated at first. Up until that point, I’d only worked on events, never on a film. This was a major TV production, with a huge costume requirement. As far as I knew, no stylist had ever worked alongside an actor in such a way before. She encouraged me to give it a go, so I accepted. We began without a script or any reference materials. After the series aired, viewers began asking her about the wardrobe. She passed the questions to me. That moment gave me visibility. Other actors reached out. And I continued on this new styling journey, this time, immersed in the world of film sets.

From that first production in 2020 to now, five years have passed. Khuc Manh Quan, what in your view sets styling for TV dramas apart from working on magazines or red carpet appearances?

The differences are quite stark. Styling for an event is fleeting. There are only a handful of outfits, and once the event ends, so too does the relevance of those looks. With a TV series, the work spans a much longer period. A character’s style needs to remain coherent from start to finish. The costume volume is significant, and the garments must be kept on hand for the duration of filming. That requires strong relationships with brands and clear communication, in order to gain lasting support that matches the shooting schedule.

Another factor is feedback photography. For events, I can share images with brands immediately afterwards. With films, it’s more complex. A scene might be shot in summer but not broadcast until winter. That time lag makes it harder to align images with a brand’s media calendar.

Then there’s the matter of consistency. Ensuring that a character’s style remains true throughout the film, matching their psychology, context and journey, demands a far deeper level of preparation than styling for a single occasion.

How does the process of coming up with ideas, analysing the film crew’s costumes, and sourcing outfits for the actors usually unfold?

I usually work directly with the actors, rather than through the production team. The first details about a character typically come from the actor themselves, as they tend to have a strong grasp of the role’s psychology, context and development.

I need to understand the character, but just as importantly, I need to understand the person portraying them. With artists I’ve worked with before, I already have a sense of their fashion style, measurements and preferences. For new collaborators, I ask more questions about what colours they like, which silhouettes suit them best, and what makes them feel confident. That helps me select looks that fit the role while flattering the actor and minimising any perceived flaws.

At events, actors are usually photographed from a few set angles. In film, however, the camera captures them from all directions. That means costumes must not only look good but function well across a range of movements and perspectives.

Once I’ve defined the style for the character, I reach out to brands that align with the vision. After receiving the outfits, I arrange fittings with the actors. For newcomers or unfamiliar roles, a fitting is essential. But when the relationship is well established and the role is clear, we sometimes skip it altogether (laughs).

Next comes the makeup session with the crew. The actor and I attend to receive feedback from the director and relevant departments. Even if everyone is happy, changes may still be made if the director feels something doesn’t fully match the on-screen image. After hair and makeup are finalised, I prepare a costume list for each episode and share it with the production team according to the shoot schedule. Filming then continues straight through to the final scenes.

What is the most important factor when shaping a character’s style in a film: fashion, personality or plot?

Although my work involves fashion, my top priority is always the character and the actor playing them. I follow three guiding principles: the costume must reflect the character’s spirit, it must allow the actor to perform comfortably, and it must resonate with contemporary viewers when the show airs.

Take, for instance, a character who comes from a modest background. They wouldn’t wear overly trendy clothes. But the outfit should still be neat, visually appealing, and sit well within the overall tone of a TV drama, where the audience spans many different demographics. A good example is Huyen Lizzie’s character in Thuong ngay nang ve. Because she played a fashion director, I had more room to introduce statement pieces and stylish elements. Still, that freedom came with boundaries. Having worked extensively with the broadcaster, I’m familiar with the dress code; nothing too revealing, no sheer fabrics, and nothing that undermines the visual integrity of the screen. These rules have become second nature.

For roles that require a polished appearance, I can borrow clothing from brands, often from their latest, trend-forward collections. But for characters with a distinct, even slightly unconventional style, I have to look elsewhere. I find myself exploring second-hand markets, places I rarely used to visit. Sometimes I borrow items from friends. Occasionally, the actors themselves contribute pieces or make requests, provided the clothing fits the character’s world.

Not everything needs to look brand new. At times, the outfit should appear worn, frayed or coarser, so that the character doesn’t just wear the clothes—they inhabit them. There are looks that need to be purchased, altered, and embellished to avoid repetition and to reflect lived-in authenticity.

Working with actors during long filming sessions, are there any “behind-the-scenes secrets” that outsiders rarely know? For example, the actors’ body changes, unpredictable weather, filming out of sequence and so on.

Issues crop up almost daily during filming. For each project and every actor, I set up a private chat group to deal with unexpected situations as quickly as possible.

There have been scenes involving three female characters filmed on the same day, requiring me to prepare a large number of costumes while maintaining continuity. On some occasions, a rain scene would be shot at night, followed by a dry scene using the same outfit the next morning. The costume needed to be dry, in perfect condition, and unchanged in shape. In those moments, I wasn’t just managing the wardrobe: I had to think carefully about the material, structure and resilience of each piece during continuous shooting.

Actors’ physiques also shift over time. A suit that fit just a month ago might now feel tight or hang loose. I monitor body measurements closely to make sure everything adjusts accordingly. These details may seem minor, but they have a direct impact on how a character appears on screen.

A particularity of TV dramas is that they’re rarely shot in sequence. Indoor scenes, for instance, might be completed in one week. I often need to prepare a range of looks that align with the character’s emotional arc. In the early episodes, when the character is more closed off, I’ll use sharper silhouettes and structured fabrics. When romance arrives, the mood and the wardrobe shifts to softer hues and lighter materials.

Weather is another unpredictable element. There have been cases where the first ten episodes were filmed in winter, only for the storyline to shift into autumn. I’ve had to change the entire costume concept from fabric weight to layering techniques to match the revised setting. Every scenario demands quick reflexes and a proactive mindset.

Khuc Manh Quan, is there a clear standard for the budget when preparing costumes for each film? And how does that affect the way you develop a character’s style?

Each film is given a costume budget, but there’s rarely a standard or consistent formula across productions. The size of the budget depends on several things: the genre, time period, location, number of principal and supporting roles, character design requirements, and the relationship or agreement between the stylist and the production team.

For larger-budget films, I can collaborate directly with brands, commission custom pieces for each character, and have backups ready. On smaller-scale projects, styling becomes more about resourcefulness. I rely on borrowing, renting, and repurposing old garments, sometimes altering them entirely to serve a new purpose.

This has a direct effect on how a character’s style comes to life. A film stylist must possess more than an eye for fashion and coordination. They must be highly organised, methodical, and quick-thinking. The challenge lies in staying within the financial limits while still delivering a credible, compelling look for the character.

The budget certainly matters, but it’s never the whole picture. What matters most is understanding the character, being clear on your boundaries, and devising practical, creative solutions that work within the context of the story.

See more: Jisoo and the moment that opened the Jonathan Anderson era at Dior

Is there a clear standard for the budget for preparing costumes for each film? How does that affect the process of shaping the actors’ style, sir?

Each film typically comes with its own costume budget, though there is rarely a fixed or consistent benchmark across projects. Spending levels vary depending on several elements: the film’s genre, its period and setting, the number of main and supporting characters, the demands of the character design, and the level of recognition or working agreement between the stylist and production team.

On larger-budget productions, I have the opportunity to collaborate with brands, create custom looks for each character, and even prepare duplicates. But on more modest projects, strategic planning becomes absolutely essential. I often have to borrow, rent, or rework existing garments, adapting and reshaping them to suit new roles.

This has a direct bearing on how a character’s style is developed. A film stylist needs more than just aesthetic instinct or an eye for pairing pieces. They must also be organised, analytical and ready to adapt in the face of real-world constraints. Working within budget while still preserving the integrity of a character’s image—that is the true test of the role.

The budget matters, of course, but it’s not the only concern. What truly matters is having a deep understanding of the character and a clear awareness of what’s possible, in order to craft an effective solution that aligns with the story’s world.

With your considerable experience working with actors and film crews, what do you believe is the first important element that helps fashion in TV dramas stand out?

I’m genuinely grateful that Vietnamese television dramas have been so warmly embraced in recent years. From writing and set design to lighting, editing and pacing, every aspect is now more thoughtfully executed. When viewers become invested in a character, their interest extends naturally to every detail, including fashion. When they begin dressing in a similar style, it’s often an instinctive form of admiration.

Another positive shift is that many television actors now have personal stylists. This helps them maintain a refined public image, but also allows them to concentrate more fully on their performances. When wardrobe is no longer a concern, they can devote more energy to the emotional layers of the role and the craft of becoming their character.

Thanks for your fascinating insights!

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