Picture Courtesy of Judith Feller and Netflix
When viewers return to Virgin River Season 7, the familiar small-town charm remains intact. But look a little closer, and subtle wardrobe shifts reveal how the series is evolving visually. Costume designer Judith Feller, who joined the show this season, approached the challenge carefully: modernizing the look of the long-running Netflix drama while preserving the cozy aesthetic audiences expect.
This interview has been edited and condensed for clarity and length.
Virgin River already has a recognizable visual identity. When you joined as costume designer for Season 7, what felt most important to preserve, and where did you see room to evolve the wardrobe?
My first priority was distinction. When a show runs for many seasons, wardrobes tend to blend into a generic blur. I wanted to give each character a visual silo. On the men’s side, for example, everyone seemed to own a Filson jacket. That piece is Jack’s look. It’s iconic to him. So, I clawed that back; that piece really belongs to him alone now. We preserved that while giving the other men different silhouettes.
We made small, intentional changes. Instead of a sea of V-necks and cargo pants, we assigned specific shapes. Preacher got the V-necks. Brady took the Henleys. Jack stayed in crew necks. We also locked Brady into a “gray and black” palette. For the women, it was about embracing contemporary fashion without chasing TikTok trends. I had to eliminate the skinny jeans. Even in a remote town, people stopped buying those years ago. The goal was timelessness, not trendiness.
When you read a script, what usually sparks the wardrobe idea for a scene? Is it location, mood, or something tied to the character’s emotional arc?
It starts with emotion. The characters are established; the audience knows them like family. Decisions come from their current headspace. Take Lizzie this season. She’s navigating postpartum anxiety. We reflected that by moving her into a subdued, quieter color palette. It matches her internal tone. I also lean heavily on the actors. They’ve lived in these roles for years. The wardrobe has to align with the character’s gut feeling.
When different creative voices are involved, the showrunner, writers, and actors, who ultimately have the final say on a character’s look?
It’s a massive collaboration. There isn’t one “god” of the wardrobe. Actors have strong opinions because they live in the clothes. Showrunners and producers weigh in on the “vibe.” Directors look at the framing. Sometimes practical factors win out; if we have a perfect green shirt but the character is standing in front of a green wall, we have to pivot instantly. There are layers to every decision.
Virgin River S7. (L to R) Alexandra Breckenridge as Melinda Monroe and Rachel Drance as Marley in Episode #703 of Virgin River S7. Cr. Courtesy of Netflix © 2025
How early in production do you begin working on costumes? Do you wait for finalized scripts, or are you already preparing while the season is still developing?
We are actually already neck-deep in Season 8 prep, and we don’t even have finished scripts yet. We start with mood boards. I’m always hunting, even on other jobs. I’ll see a piece and think, “That’s Mel.” We prefer scripts for the fine details, but the core of these characters is already set in stone.
How large is the costume department on a show like Virgin River?
On a heavy day, we have nearly 15 people. That includes a full-time seamstress, buyers, assistants, and on-set dressers. It’s a team effort to keep a whole town looking consistent.
Are most pieces custom-built for the show, or are they sourced from existing brands and tailored?
Most are sourced but then heavily tailored. Fashion right now is very oversized, which is a disaster on camera. Film makes clothes look twice as bulky. We tailor almost everything, even a basic plaid shirt, to make sure the fit is sharp and flattering on screen.
When scenes involve action, how many costume copies do you typically prepare?
We don’t do massive stunts, but for horse scenes or physical action, we keep three copies of the outfit ready. We need to be prepared for at least 3 takes. If there’s a stunt performer, they get their own version of the look, too.
The series has a very specific visual language: warm, cozy, and idyllic. How conscious are you of that tone when designing wardrobes?
The “grandmacore” thing is real. It’s part of the show’s DNA, especially with the sewing circle. But that look is trendy now, so we had to be careful. We didn’t want the younger characters, like Lizzie, to start looking like the sewing circle. She has to stay modern.
When Mel first arrived in town, she still carried traces of her city life. This season, we see hints of that returning. How did you approach that shift?
We wanted to bring back her casual sophistication and effortless chic style. She had started to blend too much into the town, too many florals and soft cardigans. We wanted to remind the audience she’s a city girl at her core. It wasn’t a total transformation, just a shift toward elevated silhouettes that reconnect her to her roots.
Which characters experience the most noticeable wardrobe changes this season?
Lizzie and Denny. They are young parents now. Their clothes reflect that weight. For Denny, we brought back youthful pieces. He had started dressing too “old” in previous seasons, so we pulled him back into his twenties. Lizzie’s shift was more emotional because of her arc, but there’s room to push her style further later.
Western elements appear more frequently in Season 7. How did you incorporate them without disrupting the established aesthetic?
We kept it grounded. For Clay, we skipped the “costume” cowboy look. It felt too fake for Virgin River. Instead, we used denim shirts and boots, subtle nods. The rodeo was the exception. We actually built Clay’s bull-rider chaps and protective vest from scratch. That was a rare, fun moment for the department.
Virgin River S7. (L to R) Kandyse McClure as Kaia Bryant and Alexandra Breckenridge as Melinda Monroe in Episode #702 of Virgin River S7. Cr. Courtesy of Netflix © 2025
Did certain scenes or storylines give you more freedom creatively, such as the honeymoon or the Founders Day celebration?
I approached it as “Virgin River in Mexico.” The idea was to keep the color palette connected to the show while introducing elements inspired by Tulum. Mel’s Isabel Marant dress in that scene is one of my favorites. For Founders Day, we put Muriel in denim and lace for her Annie Oakley moment. It was much more interesting than basic suede and fringe.
How do you balance practicality with flattering silhouettes when filming in Vancouver?
Vancouver fits the aesthetic perfectly. The key is just the tailoring. Even the most functional gear has to be adjusted to look “high-end” on camera.
Can you tease anything about Season 8?
Mel’s storyline will require some wardrobe pivots. We have to adapt to her new circumstances while keeping the look we built in Season 7. Lizzie will also likely return to work, so we’ll get to play with her professional shapes again, moving away from the pregnancy silhouettes.
Are there specific wardrobe rules that guide the show’s visual identity?
There is a definitive logic to the colors and textures in this town. We treat the palette like a character in itself. Certain hues are strictly associated with specific people to keep their identity sharp. Brady, for instance, is our primary black-clothing character. Brie also leans into those darker, more saturated tones to set her apart from the town’s softer aesthetic.
The sewing circle characters completely own that cozy, textured “grandmacore” look; it’s their visual signature. Meanwhile, Mel has become synonymous with dusty rose and soft pink. Those tones suit her incredibly well, so we lean into them to maintain her softness. Jack, conversely, is almost always in shades of blue. It’s a consistent, grounding element for him. Then you have olive green, which we use throughout the show because it anchors the characters in the Pacific Northwest environment. Preacher’s wardrobe is particularly tied to this, incorporating deeper autumn tones and hints of green. There are actually more specific color choices coming for his character, but I can’t go further without spoiling Season 8 developments.
