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Costume designer Rafaella Rabinovich created a world that is both surreal and deeply human with Dandyland. A maximalist dreamland built on texture, color, and character, Dandyland is a visual playground where costume and set design speak in harmony. In this exclusive feature for Vents, Rabinovich opens up about the inspirations behind her bold aesthetic, from Rococo ornamentation to queer fashion icons, and how she uses visual storytelling to champion joy, authenticity, and inclusivity.
Read below to learn more about her work:
Dandyland leans hard into whimsy and maximalism. How did you develop the visual language of the world?
The world of Dandyland grew from a desire to create a space that feels both magical and welcoming. Whimsy and maximalism became our framework for building that world: layering textures, colors, and silhouettes so that every frame feels alive, joyful, and full of curiosity. I wanted it to be a place where kids, teens, young and old, even someone’s 99-year-old great aunt, as well as families and friends, could see themselves reflected in joy and imagination. Maximalism here is not about excess for its own sake; it is about showing that boldness, color, and community can coexist. Developing the language came through constant experimenting, always asking what more there is to explore, and pulling inspiration from the storyline in the most fantastical way.
Can you talk about how you approached the costume design, especially in translating Dandy’s personality into fabric and form?
Playful but authentic. The costumes are whimsical yet grounded, with exaggerated collars you might see in a history book, unexpected trims, playful colors, and patterns you might expect in a candy or toy store. All were chosen to capture Dandy’s mix of kindness and eccentricity. It was important to be inclusive and ensure that our younger viewers could immediately sense who Dandy is through the clothes, even before a word is spoken, and feel safe and seen. I embraced as many tactile textures as possible, because Dandy’s approach to life is so tactile and unique. That felt like a reminder for all of us to embrace our own uniqueness, too, and to remember that we can choose to play every day with the visual choices we make.
Were there specific historical or cultural references you pulled from, such as the Rococo period, queer fashion icons, or drag?
I find inspiration everywhere, in the garden, in galleries, in my library of art, photography, and costume books, as well as in day-to-day experiences. Rococo and queer icons were certainly strong touchpoints. I am a big art history nerd, and I love imagining mash-ups like Elizabethan collars with thigh-high rhinestone boots or using unusual fabrics in new ways. Rococo gave me ornament and shape, while queer icons and drag culture brought a spirit of freedom and exaggeration. Pee Wee’s Playhouse was as much a reference as Elton John, Madonna, or Lady Gaga, just as Versailles, The Triumph of Venus, or a Degas painting inspired the richness of texture and tone. These influences were softened and reimagined into something fantastical yet approachable, a visual invitation to celebrate self-expression in its own dialect that we developed for a long time.
How did your work in production design and costume design feed into one another? Was there a unified visual philosophy guiding both?
I approached production and costume design as two halves of the same conversation. The set and the clothing had to speak to each other, echoing shapes, colors, and textures. That cohesion is especially important for our audience, because it makes the world feel immersive, like stepping into a storybook where everything belongs together. The unified philosophy was simple: everything had to serve the story and the people living inside it, painting a picture that was inclusive and true to the heart of Dandyland.
How did you ensure that the visual design amplified the real people and stories being featured?
The most important thing was to honor the performers. Costumes and sets should never swallow people whole, even on this fantastical show. I follow the script and base what I bring to the table on that; the costumes should highlight the characters and their arcs. It might seem simple to put Dandy in a baby pink period costume, but we spent so much time finding the right pink, one that spoke to the character’s softness. We added vintage flowers referencing the joy he finds in small things, and carefully considered where pantaloons and boleros hit the body to allow for the right movement. All of those details came from collaboration with the performers, especially Ryan Fisher, who brings Dandy to life. That collaboration meant the visuals were not just decorative; they amplified the real voices and stories at the heart of Dandyland, which is especially important for audiences looking for authenticity.
What do you hope viewers take away from the visual world of Dandyland?
I hope they take away permission to be unapologetically themselves. For kids, teens, and families especially, Dandyland is a reminder that imagination is powerful, community is joyful, and difference is something to celebrate. If a young viewer feels inspired to embrace their uniqueness, or if a family feels a spark of connection through watching together, then the visual world has done its job, and I’m grateful for the opportunity.
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Thank you for reading! Keep up with Rafaella via her Instagram and Website.
