When Nzingha Stewart, who directed four episodes, envisioned a montage in which Billy and Daisy visited dozens of radio stations, the production design crew built one radio broadcasting booth that Kender remade over and over again with decals and details summoning Tulsa, Dallas and Fort Worth. In a concert scene, merch stands are piled with band T-shirts, like one with a sepia photo of Keough that reads, “Daisy Jones and the Six: Amsterdam, the Netherlands 5 Jun 1976.”
Denise Wingate, the costume designer, once traveled with the 1980s band the Bangles. When she read “Daisy Jones,” she said, “I was like, ‘I have to do it.’” During the pandemic delay, she spent hours every day searching eBay and vintage sites. Once lockdowns eased, she said, “I went to flea markets every weekend for a year.”
And she fielded requests. When Keough asked for “Stevie Nicks vibes” for the Soldier Field performance, Wingate found a Halston caftan in gold lamé that she cut up the front to turn it into a cape and paired with a vintage metallic crochet dress. (“Daisy’s wardrobe was a true highlight of my life,” Keough wrote.)
To find inspiration for the “Aurora” album cover, Wingate made a mood board featuring Nicks in a billowing white dress. In the cover that resulted, Billy is in a denim shirt and Daisy wears a dress similar to the one Nicks wore, which Wingate had made. Just as it is described in the book, the rock stars are staring into each other’s eyes, but a space exists between them.
For Reid, who imagined this story and took it from her head to paper starting in 2016, it’s hard to believe it’s all happening. “If your book is like your baby,” she said, “then the adaptation is like my grandchild. I don’t really get to take credit, but boy am I so proud of them.”
She is thrilled by the show, she said. “When I think of Daisy now, I see Riley’s face. When I think of Billy, I think of Sam.”