For most of us, if we found ourselves being forcibly evicted from our homes, we’d run for our electronics, memory boxes, saved up cash, or furniture. For Moira Rose, when the government raided her mansion after her family’s business manager ran off with their fortune, she rushed to pack up her own personal fortune: wigs. 

The Pop TV comedy series Schitt’s Creek that first aired in January 2015, has recently wrapped up their final season. Mainly due to their recent streaming on Netflix, and widespread adoration from celebrities (Mariah Carey, Nicole Kidman, and Paul Rudd— just to name a few), Schitt’s Creek has risen enormously in popularity over the past few years. At the Emmys this September, the Canadian cult-favorite surprised the world with their complete sweep of every comedy category, taking home a record-setting nine awards, including Outstanding Contemporary Costumes. 

Creator and showrunner Dan Levy has been praised for different aspects of the series’ success- the erasure of homophobia within the town, the dramatic dialect of leading lady Catherine O’Hara, or the carefully curated balance of humor and sentiment throughout the series. When people think of Schitt’s Creek, they can be expected to mention an array of different defining characteristics. At some point, though, the fashion is sure to be brought up.

Each member of the Rose family has their own style. Johnny is clean and sleek, dressed to the nines in a fresh pressed suit. Alexis brings us back to the world of boho-chic, rocking large gold earrings, sparkly headpieces, and floppy hats— picture a washed up influencer stuck in the 2010s. David creates a new aesthetic of printed sweatshirts and designer knits. His wardrobe is strictly black and white, featuring bold sunglasses and choppy skirts. Most notably, however, is Moira. Already an eccentric woman, her personality is enhanced through the most over-the-top costumes imaginable: bright pink wigs, furry hats, huge black bows, jewel studded fingerless gloves, feathers, sequins- everything is fair game. These riches-to-rags characters stick out like a sore thumb amongst citizens dressed in plaid work shirts and zip-up hoodies. 

Typically, on larger film sets, the element of intimacy between departments is easily lost. Actors, creators, and designers rarely come into contact, much less have the opportunity to extensively discuss their visions. Because this production was smaller, as well as Canadian, decisions were open and honest. For example, before shooting began, Dan Levy met with Catherine O’Hara to discuss the kind of life she wanted to breathe into Moira. In terms of appearance, she expressed that Daphne Guinness was a big inspiration, and she wanted Moira to be dramatic and unconventional. Along with designer Deborah Hanson, Dan scoured the internet and vintage & consignment shops in order to find authentic pieces, stating, “If we were going to base this on reality, the clothes needed to be real designer clothes. They had to be expensive and they had to look like a million dollars.” 

In terms of storyline and character development, the clothing also assists in telling an authentic story. Previously, the family lived as CEO’s, actors, models, and art curators, constantly gallivanting around the world. When they lose all their money, their only option is moving to the town of Schitt’s Creek, which Johnny had purchased as a joke for his son’s birthday. Surrounded by dinginess, they all force themselves to keep up a facade of wealth and exclusivity. They cope with their hardships by dressing themselves up as neatly as possible, or in Moira’s case, hiding behind colorful wigs. Catherine has said in the past that she matches the wigs to whatever mood her character might be in, sometimes even giving the wigs names, wearing them backward, or putting them over her hair like a hat.

So at the end of the series, when the characters are embarking on independent journeys, it’s no surprise their clothing mirrors this growth too. Johnny leaves the town in his signature suit, the constant holding his family together. Alexis, ready to live alone and expand her business, gives away bags of clothing to a friend. David walks down the aisle in a designer suit, with pleated skirt bottoms as an homage to fashion aficionado Levy. Moira, splendid as ever, officiates her son’s wedding in a golden papal tunic and her longest wig yet. Levy shared, "The minute it all came together, it felt like such a celebration of the character, but it also felt like this celebration of our costume department.” 

And rightfully so. This master class of connecting appearance and character is something rare to come by, and deserves to be celebrated.