The Season Finale of Mad Men Is Tonight! Look Back At the Best Style Moments

“It was really important that she be in this totally sexy dress,” said Bryant. “It was about taunting Ted and showing him that she wasn’t going to wait around. That was one of the first moments that we see Peggy have exaggerated decolletage, that’s how we see she is this very sexy girl and she is not waiting around for Ted to take the lead. We never see her in these moments of being sexualized. She doesn’t wear those colors. Everything about that scene was about Peggy being something she is usually not. It was a new side.”

“This is a very important costume,” explained Bryant. “Ted has confessed his love to her and said he was going to leave his wife for her. This is the same dress she wore to meet Ted in Season 5, Episode 11. That dress was such an incredible moment. When I read that scene, I just saw that dress. She had to wear it. It was intentional in Peggy’s mind. It’s the same reason I had him wear the turtleneck when she slept with him—wearing the turtleneck is how she fell in love with him. In my mind, she was going to wear the same dress she was going to wear when she first met him because she was feeling romantic. It looked strong and she was covered in love—which is why that dress spoke to me for that scene.”

"I really felt like she should be wearing pants in that scene," Bryant told InStyle.com exclusively. "She has such a progression for the whole season, and the last episode when her whole flirtation with Ted comes to a head, she goes through all of the emotions. At the end, she’s in command and control of her own destiny, and pants spoke to that. It’s the ultimate expression of strength and power. Matthew Weiner (creator) and I had a lot of discussion of what Peggy was going to be wearing for that last scene. It was one of those moments where the costume design spoke perfectly to that particular scene."

"Joan loves to wear themed outfits," Bryant said of this look. "Since it's Thanksgiving and autumn, this orange blouse and dark burnt orange skirt goes with that theme. The blouse is vintage and the skirt I designed for her."

"All of the scenes for Joan in the episode really show that she is the queen," said Bryant of this look, which consisted of a vintage leopard blouse and a chocolate brown skirt she designed. "I love that leopard blouse for her for the scene when she is talking with Sterling’s secretary, and the contrast between those two women. The leopard print is so appropriate because it’s that super feminine, femme fatale feeling."

"I really like her to be in colors against the men, but in that scene, it was important for her to be very dark and very serious," said Bryant. "I always loved the suit for the colors of the black and white for that scene. It’s so serious because they are firing Don. I felt like the autumnal colors would not be appropriate for that scene; it needed to be something that was contrasting that with that. You'll see though that she is still being seasonal, though. She is wearing a big dramatic acorn pin."

"I designed this green silk chiffon dress for her," said Bryant. "She’s surrounded by Bob and Sterling, so it was important for her to be the queen of the scene. It was also going with the whole autumnal color scheme that can be seen throughout the episode."

“I’ve been so obsessed with vintage tapestry garments this year, and this one has this incredible Indian influence,” Bryant said of this dress, jacket, and belt three-piece ensemble. “It’s so pretty. She’s dressier when she goes to work, so it’s the perfect ensemble for her to wear to work. It’s bohemian and artistic. It encompasses all the things I love about Megan’s character.”

Bryant wanted Betty in something modern but still classic Betty. “I loved this whole idea that Betty went out shopping because she lost all the weight, and this paisley dress is a very modern version of Betty Francis,” said Bryant. “The bohemian print has made it into everyday culture. The paisley is very modern, but I felt Betty would be attracted to it because it still has a classic moment. It’s almost the modern shirtwaist dress.”

“Here, Betty embraced the idea of tweed suits being the perfect style of what a politician’s wife would wear, especially for her to go to present her daughter,” explained Bryant. “It was important for her to be put together and classic and that façade that everything is amazing in her life, even though it’s not. It’s all about the presentation with Betty.”

“This is Joan’s the beautiful royal blue wool crepe suit that I designed for her, which she wore once before in the season,” said Bryant. “I love to repeat costumes. I love the idea of the characters repeating the costumes because the audience gets to relive the costume moments, and it roots the characters in reality because we all repeat our clothes. This look is all about Joan standing out, and she always does.”

"I love the colors of that dress - it is very muted, and I like to do more muted colors," said Bryant. "And it has this strong, commanding bow, and the bow is flirty in a way. It’s professional with a little bit of flirt in a sense to it as well. With Ted, they definitely have similar costume palettes. Especially as the flirtations have grown, like in this episode, you can really see them as a pairing."

“This is my favorite suit of hers for the season, and she wore it in the first episode, so we haven’t seen it for a while,” said Bryant. “For her, when she’s doing the presentation, it was such a strong suit. It had great balance between masculinity and femininity. It was important to wear something super professional and be able to be in the meeting with all the boys and hold her own. I like to make sure she has strong moments when she is presenting her work.”

"This is Joan being Joan," Bryant said of this vintage piece, which she redesigned just for the character. "I loved the fabric and those strong colors, but I wanted to recreate the suit so it was more in later sixties design. I recreated the neck scarf to tie around the neck, and I had the suit re-cut so it fit her shape."

"This is part of the same story of her coming to pick up Sally, and, of course, she would dress immaculately for that occasion," Bryant said of this aqua wool jacket and skirt. "It’s all about appearances. I wanted her to wear another suit and for her to look like the amazing mother that she is, and I mean that sarcastically. It’s about the façade of perfection and presenting herself perfectly to the world. It’s all about Betty."

"For me, the dress is perfectly Peggy," Bryant said of the jacket and dress two-piece linen ensemble. "She's worn a lot of navy and green this season. These colors are very strong. I wanted her to be in something that was a little more lively and brighter in that scene because she this is when she's with Ted and Pete in the seafood restaurant. I didn’t want her in something subdued. I wanted her in something flirty and lively."

Bryant felt this dress spoke to the period and to the character. "I’m obsessed with this dress," Bryant said of the knit dress with scalloped edges and covered buttons. "Knits were so important during this period and yellow speaks to me as a Betty color."

"That is a beautiful little dress, it's so pretty," Bryant said of this look for Sally Draper. "I wanted Sally to be in something different for the scene. She is in plaid a lot of the times, I thought it would be interesting for her to wear a print when she first goes into New York, and then transition back to plaid when she’s there. Sally can be a little dark as well. I love to explore that theme for her."

The pink of this look spoke for Dot Campbell's emotions. "That whole scene was really important because it was all about understanding and seeing the incredible change that Dot Campbell has had since she’s had Manolo take care of her," said Bryant. "Her costume was all about Manolo making her feel pretty again. I felt like pink was important for that scene because she’s talking to Peggy about her sexual exploration. Pink was important in the expression of love and romance. She had to look very contrasting from when we saw her last, when she was a total mess. The last time we saw her, she was disoriented and didn’t know where she was. The coat she wore then was old moth eaten coat, and I wanted her to be contrasting from last time we saw her."

"She is the character who is very modern, hence the bell-bottom jeans," said Bryant. "It was being at home, at ease, being relaxed, not having to dress up to go to work. Her costumes are very different at home than when she goes out. It’s fun to put her in bell-bottoms and explore the design of later sixties."

"The whole design for Sally for that episode was about her finding really who her dad was," said Bryant. And this influenced her costumes, including this red blouse and plaid top, a vintage piece Bryant pulled just for Sally. "The dress in the last scene is about the anger and the passion. The red evokes all of the emotions of distress and emergency. I like that it showed stress and emotion, for the character and for the audience."

"It’s been so great these past few episodes to see these fantastic moments of Megan Draper at home," said Bryant. "It’s really so different than how we saw her in beginning of season when she was dressed for dinners and parties and such. It’s such a nice switch to see her in different ways."

This was a vintage dress that Bryant re-cut and re-designed for Joan. "It was so floral and summertime, and perfect for a date, which she thought she was going on," said Bryant. "Because it was a possible date, I wanted it to seem a little different than what she would normally wear to the office. I love the romance of the floral chiffon. So pretty and she looked so beautiful."

Peggy wore this same look when she went shopping for her Upper East Side apartment. "I love opportunities to repeat costumes," said Bryant. It was also important for her to show how different Peggy is from Joan. "I wanted Peggy to be in something solid for that scene because she has to contrast from Joan," explained Bryant. "The silhouettes are completely opposite. I love when I see those two characters together."

"I always see Joan as the character who stands out," said Bryant. "I used two things to do that, color and silhouette. Joan is a character whose costumes are always cut to fit her perfectly to enhance her figure. It’s always a flattering hourglass silhouette. She knows that about herself. It was a professional meeting and this is her power suit."

"Peggy’s palette is opposite Joan’s," said Bryant. "The checked linen is a dress and jacket two-piece ensemble. I always love to use checks and patterns and textures for Peggy because I think that illustrates the multi-layers of her character. I always say that Peggy is that character who we’ve seen go through so many changes, that’s why the checks and plaids and polka dots illustrate that for me."

"This is the first time we see Joan in a dress that really hearkens back to her old days of being office manager and being in a secretarial position," said Bryant. "I wanted to do that for the scene because of her being reprimanded by Pete Campbell. For her to be in a power suit didn’t really have that same feeling. She had to look traditional Joan look for that scene."

"I love that costume. It has a geometric pattern on the top and the skirt and the skirt has the inverted pleats. Everything about it screams Peggy," said Bryant.

Bryant found this vintage dress and rebuilt it for Meredith. "During this period the baby doll was so popular, and it was the perfect moment for Meredith to be able to wear that dress," said Bryant. "It seems so crazy that the silhouette was so popular. Meredith was the perfect character to show the silhouette for the period. She has this little girl quality. I love that purple, the floral print, the puff sleeve, and the little bow."

"This is almost like a coming-out party for Betty Francis, and I wanted her to seem like the queen in that moment," explained Bryant of the scene where the character wore a beaded gown with dramatic wings. "And actually I bought that dress from Shareen, a vintage shop in downtown L.A. She looked so beautiful. It was so exquisite and perfect for this perfect scene, where she had this whole flirting session."

Betty Francis caught the eyes of the gas station attendant and Don Draper when she wore this look. "It was very important that it showed off her body. But I also wanted it to be a moment where Don sees her in something that he saw her in a lot before, like the button-down shirts and the Bermuda shorts," said Bryant. "For Don, it’s bringing back those memories of his formal life when he sees her. The silhouette is classic Betty Draper."

"This look is about Megan being herself and being relaxed at home," said Bryant. "It’s a little bohemian. It speaks to her as being an actress. We see her dressed up at these galas and affairs, and then you see the ease of her being at ease at home. It's so casual."

"When we see Megan Draper at home, I want her to have this ease about her," said Bryant. "She doesn’t wear shoes and she's always relaxed. That’s really the intention of how Megan is at home."

"This is so what Joan would wear to the beach," said Bryant. "There’s still the practicality of going through the city to get to Long Island. It was her being not so overtly sexy, but about being dressed appropriately to going to the beach." Of course, it still had classic Joan elements. "I wanted her to have the perfect scarf in her hair and this nautical theme sweater. It’s knitwear and shapely and sexy. Then, I designed and built her Capri pants. She wore espadrilles. You can't see it, but she had a very sexy one-piece bathing suit underneath."