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Stephanie Collie obituary

Costume designer for TV and film – notably Peaky Blinders – acclaimed for the accuracy and range of her period detailing

She studied old police mugshots, plus the solid woollen cloths and narrow cuts seen at the racecourses, where Savile Row-tailored nobs dealt with horse-breeding and betting mobs who had developed their own sporting style over more than a century around the stables, including nattier caps – six-panelled, generous towards the rim and with a canvas-reinforced brim (easily razor-blade enhanced for plot purposes). Photograph: Hubert TaczanowskiShe replicated that style’s attention to laced boots and leather gloves, and exploited to the max the variety of neckwear arrangements – crucial in television where so much of a show’s footage will always be head-and-shoulder shots – that had been possible when shirt and collar were separate items, attached to each other only by metal studs front and back. Her first major menswear movie, Lock, Stock and Two Smoking Barrels(1998), had also been an anthology of precise characterisation by clothing choice – from a big softie crook in a supersized sheepskin coat, to hard boys in slender dark suits over the thinnest jersey sportswear tops, which were 1990s laddishness pointing towards Hedi Slimane ’s oncoming 21st-century male silhouette.

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