at the nearby Feldkirch, Vorarlberg. The crew returned to Italy from 13 to 17 May to shoot a (planned) car crash at the marble quarry in Carrara, and a recreation of the Palio di Siena at the Piazza del Campo in Siena. 1,000 extras were hired for a scene where Bond emerges from the Fonte Gaia. Originally, he would have emerged from the city's cisterns at Siena Cathedral, but this was thought disrespectful. By June the crew returned to Pinewood for four weeks, where new sets (including the interior of the hotel in the climax) were built. The wrap party was held on 21 June. Design Production designer Peter Lamont, a crew member on 18 previous Bond films, retired after Casino Royale. Forster hired Dennis Gassner in his stead, having admired his work on The Truman Show and the films of the Coen brothers. Craig said the film would have "a touch of Ken Adam", while Michael G. Wilson also called Gassner's designs "a postmodern look at modernism". Forster said he felt the early Bond films' design "were ahead of their time", and enjoyed the clashing of an older style with his own because it created a unique look unto itself. Gassner wanted his sets to emphasise Craig's "great angular, textured face and wonderful blue eyes", and totally redesigned the MI6 headquarters because he felt Judi Dench "was a bit tired in the last film, so I thought, let's bring her into a new world". Louise Frogley replaced Lindy Hemming as costume designer, though Hemming remained as supervisor. Hemming hired Brioni for Bond's suits since her tenure on the series began with 1995's GoldenEye, but Lindsay Pugh, another supervisor, explained their suits were "too relaxed". Tom Ford was hired to tailor "sharper" suits for Craig. Pugh said the costumes aimed towards the 1960s feel, especially for Bond and Fields. Prada provided the dresses for both Bond girls. Jasper Conran designed Camille's ginger bandeau, bronze skirt and gold fish necklace, while Chrome Hearts designed gothic jewelry for Amalric's character, which the actor liked enough to keep. Sophie Harley, who created Vesper Lynd's earrings and Algerian loveknot necklace in Casino Royale, was asked to create another version of the necklace. The film returns to the traditional gun barrel opening shot, which was altered into part of the story for Casino Royale where it was moved to the beginning of the title sequence.