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Hazel Pethig
Hazel Pethig
Hazel Pethig
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Hazel Pethig, (born 1944) also credited as Hazel Côté, is a costume designer for film and television. Her work on Monty Python's Flying Circus was described as "the definitive image of modern middle class Britain".[1] She was nominated for a Best Costume Design TV BAFTA for her work on The Singing Detective (1988).

Pethig was brought up in Southend-On-Sea, Essex. She has described her upbringing as "bohemian… I was used to looking at things upside down".[2]

Monty Python’s Flying Circus

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Terry Gilliam playing the character of Gumby, costume designed by Hazel Pethig.

In 1969, Pethig was assigned as costume designer to the BBC sketch show Monty Python’s Flying Circus, a surreal comedy ensemble featuring John Cleese, Graham Chapman, Eric Idle, Terry Jones, Michael Palin, Terry Gilliam and Carol Cleveland. Interviewed in 2013, Pethig recalled, "the reason I was given Python to do… was because some of the people at the BBC, perfectly good designers, wouldn’t have seen the humour… but I’d worked on Ken Dodd". Ken Dodd and the Diddymen was a children's puppet show featuring comedian Ken Dodd, that required improvised costumes and quick turnarounds – which Pethig considered good training for her work on Python.[2]

Pethig compiled the Python costumes from the "massive costume store at the BBC", she carried a stock of fabric and padding in case she needed to improvise a costume, and purchased extra pieces when required, including city suits. The Pythons’ "Gumby" characters became famous for their gumboots and knotted handkerchiefs. For the first appearance of the character, Pethig dressed John Cleese in gumboots because it was raining, and produced an iconic costume that worn throughout the series by all the Pythons, and emulated by fans. She explained that they were also inspired by older people at the seaside in Southend, who kept their collars and ties on, and "just rolled their sleeves up".[3]

Michael Palin described working with Pethig as "great… she wasn’t coming back to us from a background of a dogmatic 'costume design' world; she was very much her own person, she’s lovely, she had a nice, slightly dreamy, new age-y, way about her and she liked to explore the character".[2]

Python film projects

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Graham Chapman and other Pythons wearing knitted chain mail costumes designed by Hazel Pethig, for Monty Python and the Holy Grail.

Following her work on the television series, Hazel Pethig was recruited to design costumes for the Pythons' film projects. Monty Python and the Holy Grail (1975) was a re-telling of the Arthurian legend, set in Medieval England. Terry Gilliam’s art direction created a “grimly realistic period setting”, and much of the film was shot on location in Scotland, to a very tight budget. Pethig used knitted garments to emulate chainmail and painted cloth to represent embroidery.

British comedy historian Justin Smith has observed, "visual continuity and period authenticity are also achieved to a remarkably high standard through Hazel Pethig’s thrifty but effective costume designs. The knights’ 'string-vest' chainmail in particular took on a convincingly weighty appearance when wet... Doubtless Hazel Pethig’s experience of working with the team throughout the television series benefited her contribution to the film".[4] Recent critics have described Pethig’s costumes as "surprisingly good" for a low budget comedy film; "even if Camelot is a silly place, the costumes use correct medieval heraldry".[5]

Terry Gilliam’s first solo film, Jabberwocky (1977), was filmed immediately after Holy Grail, with double the budget of the previous film. Gilliam wanted "a more complex representation of medieval life", and brought in Pethig and Charles Knode, to design costumes.[6] Gilliam explained that Pethig could interpret his ideas and make them work: "I drew a cartoon … and she made it believeable, yet it still has the cartoon quality".[7]

Pethig designed costumes for a number of other films featuring the Python members: The Strange Case of the End of Civilisation as We Know It (1977, written and starring John Cleese); Time Bandits (1981, directed by Terry Gilliam), and A Fish Called Wanda (1988, written, directed and starring John Cleese).

Other BBC work

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Alongside Monty Python, Pethig’s BBC comedy work included The Two Ronnies (1971), Milligan in Spring (1973) and Christmas Pantomime: Robin Hood (1973).[8] She costumed The Planet of the Daleks serial for Doctor Who (1973).

Her BBC drama work included Brian Farker’s Steven (1974) and the six-episode series The Singing Detective (1986), directed by John Amiel, written by Dennis Potter, with Michael Gambon as Philip Marlow.[9] Pethig was nominated for a BAFTA TV Craft award for Best Costume Design for The Singing Detective. Pethig also costumed Talking Heads (1988) by Alan Bennett.[10]

Teaching

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Hazel Pethig has taught on the BA (Hons) Costume Interpretation course at Wimbledon School of Art.[11]

Appearances in pop culture

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Pethig appeared in the artwork for Kate Bush's 2011 remix album Director’s Cut, sitting in a train carriage next to Monty Python’s Terry Jones.[12]

References

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Hazel Pethig

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Hazel Pethig is a British costume designer known for her influential work on the Monty Python comedy troupe's television series and feature films, where her resourceful and imaginative designs helped shape the group's distinctive visual absurdity and satirical edge. Her contributions to Monty Python's Flying Circus established a definitive look for modern middle-class British characters in surreal sketches, while her costumes for films such as Monty Python and the Holy Grail, Life of Brian, and her work on Terry Gilliam's Time Bandits (credited as associate costume designer under Hazel Côté) demonstrated her ability to create memorable, often low-budget period and fantasy attire that enhanced comedic narratives. Born in 1944 in Southend-on-Sea, Essex, England, Pethig began her notable career in television wardrobe before becoming closely associated with Monty Python from the late 1960s onward. In interviews, she has described receiving the Python assignment somewhat unexpectedly and approaching it with flexibility rather than rigid costume design traditions, which allowed for creative collaboration with the performers. Her work extended beyond Monty Python to include credits on films like A Fish Called Wanda and various British television productions continuing into the 21st century with credits as recent as 2023, reflecting a sustained career in costume design for comedy and drama. She has occasionally been credited as Hazel Côté and remains recognized for her role in defining the visual identity of some of British comedy's most enduring works.

Early life

Upbringing and early influences

Hazel Pethig was born in 1944 in Southend-on-Sea, Essex, England. She grew up in a bohemian household in the same seaside town, an environment that instilled an unconventional worldview. Pethig later reflected on her upbringing, noting that it left her accustomed to “looking at things upside down,” a perspective that made her receptive to the surreal and absurd in ways that traditional comedy was not. Among her formative childhood experiences were observations of older men in Southend, who would sit fully dressed in deckchairs with knotted handkerchiefs tied on their heads to keep the sun off. These peculiar, stoic figures against the coastal backdrop made a lasting impression on her, embedding a sense of the eccentric in everyday British life. Such early encounters with the quirky and unexpected directly shaped her creative approach in later years.

Career

Entry into costume design

Hazel Pethig entered costume design at the BBC, where she gained early practical experience working on shows featuring Ken Dodd and the Diddymen. These productions demanded rapid, improvisational work, with Pethig often transporting hampers of assorted costumes to locations like Knotty Ash and adapting or creating outfits on the spot to suit the unpredictable performances. She thrived in this environment, later recalling that she "had a really good time" despite the challenges, a response that contrasted with other designers who found the fast-paced, make-it-up-as-you-go-along approach difficult. BBC allocation staff took note of her enthusiasm and adaptability, qualities they deemed ideal for an unconventional new sketch series initially titled Owl Stretching Time. They assigned her to the project because her background in surreal, flexible comedy work with Ken Dodd suited the emerging show's humor far better than the styles of more traditional designers, who might not have embraced its eccentric demands. Her bohemian upbringing likely further supported this flexibility in handling creative and unpredictable assignments. Pethig joined Monty Python's Flying Circus slightly late, as she was on holiday during the production of the first episodes and someone else covered for her. She did not create the original "It's Man" costume, which appeared in the premiere, and returned to leap into work without having read scripts for the initial shows. Around this period, she also took on other television costume roles, including designing costumes for six episodes of Charley's Grants in 1970, contributing to The Two Ronnies in 1971, serving as costume supervisor for the Christmas Pantomime: Robin Hood in 1973, and providing costumes for an episode of the Doctor Who serial The Planet of the Daleks in 1973.

Work on Monty Python's Flying Circus

Hazel Pethig served as costume designer for Monty Python's Flying Circus, contributing to numerous episodes throughout the series' run from 1969 to 1974. She was assigned the show after her experience on a Ken Dodd program demonstrated her adaptability to improvisational demands, qualities the BBC felt suited the unconventional Python format. Pethig relied on the BBC's extensive costume stock as a primary resource, supplemented by her own fabrics carried in the production vehicle, market purchases such as aprons, and hires from Bermans & Nathans for specialized items like ecclesiastical or military garments. Her approach prioritized character psychology over glamour or conventional fashion, ensuring costumes supported performance without overpowering it. Among her most recognizable contributions was the Gumbys look, directly inspired by older men she observed on Southend-on-Sea beach who retained collars and ties while rolling up sleeves and wearing knotted handkerchiefs on their heads for sun protection; gumboots were incorporated due to rainy filming conditions, with the overall exaggeration fitting the character's absurd demeanor. For Michael Palin's "little man" characters, including Arthur Putey, she selected ill-fitting suits that were slightly too short and awkward to visually underscore lack of confidence and social unease. In the Dead Parrot sketch, John Cleese's Mr Praline wore a transparent pac-a-mac whose see-through quality revealed the shirt underneath while reflecting the character's practical, weather-prepared mindset. The Pepperpots appeared in dowdy, lop-sided outfits reminiscent of styles in The Ladykillers, which amplified the characters' comedic presence and drew viewers into their world. Pethig also designed costumes for the Upper Class Twits sketch, which she personally found so amusing that she laughed until falling off her stool during preparation. For Terry Jones's Eartha Kitt impersonation, she assembled the sequined outfit in just a few hours while filming continued, with Graham Chapman staying up all night to assist. She created multi-stage lion costumes for the Scott of the Sahara sketch, adapting to the sequence's escalating absurdity. Pethig adopted a non-dogmatic, collaborative method, offering suggestions while encouraging input from the performers to refine ideas together. Michael Palin commended her for avoiding rigid costume design conventions, highlighting her originality and emphasis on character development. She described working with director Ian MacNaughton and the team as harmonious and conflict-free, characterizing the production as a true ensemble effort.

Monty Python films and collaborations

Hazel Pethig continued her longstanding collaboration with the Monty Python members on their feature films and related projects after the television series concluded. She served as costume designer for Monty Python and the Holy Grail (1975), where she devised inventive low-budget medieval costumes—including chainmail knitted from string vests and painted cloth embroidery—to convey period authenticity despite severe financial constraints and the demands of location shooting in Scotland. Pethig next designed costumes for Terry Gilliam's Jabberwocky (1977), translating the director's cartoonish illustrations into wearable designs that balanced believability with the film's whimsical, exaggerated aesthetic. She returned as costume designer for Monty Python's Life of Brian (1979), working alongside Charles Knode to outfit the production's historical and comedic elements. Her work extended to other projects involving Python members, including associate costume designer on Gilliam's Time Bandits (1981), where she was credited as Hazel Côté, and costume designer for John Cleese's television special The Strange Case of the End of Civilisation as We Know It (1977). Pethig designed costumes for Cleese's A Fish Called Wanda (1988) and its sequel Fierce Creatures (1997). She later contributed to additional Python-affiliated productions, including Not the Messiah: He's a Very Naughty Boy (2010), and Monty Python Live (Mostly) (2014). These ongoing collaborations underscored her integral role in realizing the group's visual style across film, television, and live performances.

Other television and film projects

Hazel Pethig applied her costume design expertise to a diverse array of television dramas, comedies, and films outside her Monty Python-associated work, demonstrating her range across genres and production scales. She served as costume designer for the BBC miniseries The Singing Detective (1986), handling costumes for all six episodes of the acclaimed Dennis Potter production. Her work on the series earned her a nomination for the BAFTA TV Craft Award for Best Costume Design, shared with colleagues. In 1988, Pethig designed costumes for Talking Heads, Alan Bennett's series of dramatic monologues broadcast by the BBC. Later in her career, she contributed to the ITV series The Lakes (1997–1999), providing costume design for 6 episodes of the rural drama. She similarly worked on the BBC supernatural series Strange (2003), designing costumes for 5 episodes. Pethig's additional credits include serving as UK costume designer for Joshua Then and Now (1985, credited as Hazel Pethig Cote), wardrobe on Of Unknown Origin (1983, credited as Hazel Pethig-Cote), costume designer for The River King (2005, UK unit), Close Your Eyes (2002), Hawkins (2001), Mirrorball (2000), Bostock's Cup (1999), Bye Bye Blackbird (2005), and Super Connected (2023). These projects reflect her continued involvement in British television and international film productions spanning several decades.

Later career and teaching

In her later career, Hazel Pethig maintained a selective involvement in costume design, taking on occasional projects across television and film. She served as costume designer for one episode of the revived children's anthology series Jackanory in 2006. Her work included the short film Reflections in 2013, where she handled costume design duties. More recently, Pethig contributed as costume designer to the 2023 feature Super Connected, a drama exploring themes of addiction and technology. Pethig has also taught on the BA (Hons) Costume Interpretation course at Wimbledon School of Art, supervising students in designing and creating costumes for productions. This educational role drew on her extensive prior experience in the field.

Personal life

Family and personal details

Hazel Pethig married Bernard Cote in 1976. The couple has one child. Following the marriage, she has occasionally been credited professionally as Hazel Côté (for example in Time Bandits) or similar variations such as Hazel Pethig-Cote (for example in films like Joshua Then and Now and Of Unknown Origin). Beyond these details, limited verified information is available about her personal life.

Recognition

Awards and nominations

Hazel Pethig received a nomination for the BAFTA Television Craft Award for Best Costume Design in 1987 for her work on the BBC television serial The Singing Detective (1986), shared with costume designer John Peacock. The nomination recognized their collaborative contribution to the series' distinctive period costumes and visual style across its six episodes. The award ultimately went to Verity Lewis and Janet Powell for their work on Bluebell. This remains the only BAFTA nomination associated with Pethig's career.

Influence and legacy

Hazel Pethig's costume designs for Monty Python's Flying Circus have been described as creating “the definitive image of modern middle class Britain,” capturing the absurdities of everyday life in a way that defined the troupe's visual satire. Michael Palin praised her collaborative style, noting that she was great to work with because she wasn't dogmatic or forcing decisions from a traditional costume background, instead bringing a character-focused, slightly dreamy, new age-y approach that liked to explore the character deeply. Her iconic creations, including the Gumbys and Pepperpots, became widely recognized and frequently copied by fans, contributing to their lasting place in comedy culture. Pethig earned appreciation from Terry Gilliam for her skill in translating his surreal animated drawings into practical, believable costume designs suited to the troupe's low-budget productions. Her ingenuity in achieving memorable results with limited resources exemplified her role as a key collaborator in British comedy costume design. This legacy extended beyond Monty Python, as evidenced by her appearance in the artwork for Kate Bush’s 2011 Director’s Cut album, where she was photographed alongside Terry Jones.
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