Colleen Atwood Quotes
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It's great fun that my grandkids get to see the costumes in 'Alice in Wonderland' or a doll with grandma's dress, but then they also let me know they're bummed I didn't do any of the 'Pirates of the Caribbean' movies.
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I have always loved beautiful leather objects, especially the detail that goes into designing them both inside and out.
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I am always looking for ideas, whether it is in art on the street or in my world travels. It comes to me randomly and unexpectedly.
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It actually is as fun to make men's costumes, especially if they are as good-looking as Chris Hemsworth.
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Costume design allows you to do a different type of research and create characters, whereas in fashion, you create an image and clothing for the masses.
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People like to stir up the fashion vs. costume world, and I think what they mean by 'too costumey' is that it's too much, or not real enough for everyday wear. You couldn't say that about John Galliano's shows, right? I mean, they're awesome, and they're total costume.
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Some of the kimonos took as long as four to five months to make, with all the layers that go into it.
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It's true that I'm not cozy. I'm more reserved.
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I'd seen the current stage production and the 1975 production of Chicago. I liked them both very much, but I didn't use them necessarily as inspiration.
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I wanted to be a painter when I was a kid. And then, I had to make a living. I had a child when I was in high school, so I kind of had that work phase in my life.
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Costumes are the first impression that you have of the character before they open their mouth-it really does establish who they are.
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The costumes had to serve the choreography.
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One thing about costume design - and I think design in general - but especially costume design, is people have a misconception that it's very glamorous work.
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In real life, a lot of people at that level will have their kimonos made especially for them.
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The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all.
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My own style is pretty classic; I much prefer to design for others.
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I think that sometimes people don't understand that a costume that has to be worn every day and doesn't change the whole movie becomes iconic. It's very important because it requires a different design process, since you have to make something that people aren't going to get tired of looking at.
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As a designer, you have to solve a lot of problems. Even though people are wearing clothes that are supposed to look beautiful, they'll have to do all kinds of things.
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Every story is different, so what is a detail in one might not be in something else. Diversity is something I embrace and love about my work.
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The exposure I have had to beautiful materials across the world, from Japan to Italy, enables me to pull design ideas together. This, combined with years of historical research, has created a great fountain of ideas for me.
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In Chicago, I walked in knowing what the dancers were going to need.
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I worked in fashion, but I worked more in the sales side of fashion than in design. I was an assistant buyer for a department store back in the '70s and the early years of Saint Laurent. And I used to have a lot of private clients that I bought for.
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I grew up in the age of polyester. When I got to touch real silk, cotton and velvet, the feel of nonsynthetic fabrics blew me away. I know it's important how clothing looks, but it's equally important how it feels on your skin.
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One of the challenges with period costumes is, on a technical level, making the scale of different periods work on contemporary bodies. We're much bigger than what people were in older times.