"I researched [the Native American] outfits for a year, because I knew we had to do it right. It's unbelievable how similar my research was for them as it was for Scotland. There was a heart-stopping moment with both when I realized that there's not a lot of information. What I learned on [all four seasons of] Outlander is that you're constructing a puzzle, and the pieces you're missing are as important as the ones that are there, because the ones that are missing, you have to fill in yourself. Then you go to intuition, you go to your heart, you go to your knowledge of people, to anthropology, sociology. What would you do in those circumstances? Why would you choose those colors? What are your physical circumstances? What do you use from the environment around you? Then you have to trust yourself and take a leap.

"Details were really tough. [There's] no visual representation. A lot of our information came from finding text written by 18th-century white men about what people were wearing, which is dicey as hell. But finding enough of them and a few little sketches here and there, a few paintings, and going, 'Okay. I'm starting to feel something coming through." I learned this from my mom, who always says, 'At a certain point, you're finding a truth. You're finding what feels true to people when they look at it.' When we started fitting our indigenous actors, I could breathe a sigh of relief, because they came in and went, 'This is right.' You're representing a culture. You're not of that culture. It's really important that you get it right."