While audiences eagerly anticipate a 3rd season of “Euphoria,” A24 is offering fans a more in-depth take a look at the costumes which have helped establish the series as a cultural talking point. The production company and costume designer Heidi Bivens have commemorated the show’s impact on fashion with the discharge of “Euphoria Fashion,” a coffee table book, which was released Tuesday. 

Along with appealing to “Euphoria” fans, the book serves as an insider’s guide to the creative process that goes into constructing the visual language of onscreen characters. “Hopefully it is going to encourage individuals who perhaps hadn’t thought of costumes before to explore that as a occupation,” Bivens says. 

The book features interviews between Bivens and solid members including Zendaya, Hunter Schafer and Alexa Demie, in addition to series creator Sam Levinson and makeup artist Doniella Davy. The book highlights standout looks from the show, and details the reasoning behind sartorial selections for every character through “flat lay” breakdowns of specific looks. There’s the burgundy hoodie that Zendaya’s Rue wore throughout season one and a compilation of her graphic T-shirts; various heavily layered ensembles worn by Schafer’s Jules, and the strappy two-piece I.Am.Gia set worn by Demie for the carnival episode in season one. 

While Bivens describes her process for season one, her first TV project, as “one foot in front of the opposite” — some episodes featured 30 costume changes for one character — season two offered a chance to reflect on the evolution of every character. While the book offered a chance to detail the minutiae of sartorial selections for the most important characters, it also highlights the notable fashion shifts that took place. Bivens notes that heading into season two, fashion brands took note of the show’s impact and were desperate to align themselves with the show.

“The primary season of ‘Euphoria,’ I remember reaching out to brands and telling them that Zendaya was attached, which often will open any door, but still having some resistance from brands who didn’t quite yet understand the worth,” says Bivens, adding that several brands who ignored (or “missed”) her initial emails about clothing requests for season one later reached out. “TV is now given a platform for contemporary costume designers to have this wider pool of resources,” she adds. “Fashion has began to grasp the worth of putting clothes on camera and never just on a red carpet.”

The book incorporates a foreword by designer Jeremy Scott, who designed the embroidered Moschino dress worn by Sydney Sweeney within the second season, and a conversation with costume designer Arianne Phillips. Although Phillips didn’t work on the show, Bivens highlights her colleague as a “chosen mentor” and an example for what was possible for her to attain throughout the industry. 

“I referred to her as a mentor before I even met her,” Bivens says. “She has been such an inspiration to me, because she has worked in fashion after which also in film. Once I first started off, there weren’t many — if any — costume designers who were working in each industries,” she adds. “She set a precedent within the costume and fashion world that I all the time thought was really exciting.” 

Bivens recently worked as a creative producer on Levinson’s upcoming series “The Idol” starring Lily-Rose Depp and The Weeknd. “Because I used to be unavailable to leap on on the time and do the costume design, I asked them if I could come on as a creative producer, to seek out the designer and construct the team and oversee costumes,” Bivens says. “It’s just been amazing to work with producers who value a dressing up designer in a bigger creative way and never just, ‘you place clothes on people.’ And I’m hoping to do more of that.”

Bivens is considering moving into the same role for the third season of “Euphoria,” when prep starts later this spring.

“We’re still ironing out details,” adds Bevins, noting that she’s also excited by directing. “This season, if I’m not on the bottom designing each costume and I’m taking more of a producer role because the season progresses, then I’m hoping to shadow Sam and observe him more as a director. And hopefully turn a corner and do more of that.”

Bivens recently directed 4 episodes of animated YA series “Gossamer,” and can also be within the midst of pitching her own show, a period piece set in Milan. “Directing actors felt really natural and I’m all the time coping with and dealing with the actors within the fittings. Moving a step beyond that and interested by their motivation and with the ability to communicate with them on a set with a purpose to get the specified performance is something that feels natural to me. I’m excited to do more,” she says, adding that she’s enjoyed taking over a more comprehensive creative role that permits her to talk to all points of a project’s aesthetic. 

“Prior to now, as a dressing up designer, you’re expected to sort of stay in your individual lane,” she adds. “The producers of ‘Euphoria’ have entrusted me in a recent way with bringing me onto ‘The Idol’ as a coproducer. It’s made me feel more confident about creating my very own opportunities in ways in which I feel I didn’t think were possible before.”