Colleen Atwood Quotes
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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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When I do period work, I really like to read about the period as much as I like to look at pictures because sometimes the written word is much better at conveying what their lives were really like and how much they had and where their clothes came from. Because, a lot of time, people dressed in their Sunday best to pose for a picture.
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I like the architecture of lingerie.
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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.
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In Chicago, I walked in knowing what the dancers were going to need.
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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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I really don't over-theorize about design. I'd rather feel it than talk it to death. A lot happens as you unroll the design.
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I think a lot of young girls go through that period in their life of finding who they are, and at that point, looking good matters the most.
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I grew up in a small town in Washington State, so I wasn't really aware of costume design as a career growing up, but I loved clothes. I remember I saved all my money, and the first thing that I bought was a white blazer, which was to the horror to my parents. But I have always had a strange connection with clothing.
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I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.
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Planet of the Apes was a gigantic challenge, making the clothes work so people could do stunts and action in the clothes. I really learned a lot about that in that movie.
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The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we'd gone strictly with the '20s, the movement would have been impaired.
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It's fun conjuring what people will be wearing in the future. We exist in this world today, and yet there are people walking around who still look like they're in the '60s.
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If you want someone to feel warm, you dress them in a warm color and put a warm light on them and you get the picture. Sometimes, all that needs pushing a little bit to help tell the story.
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On Planet of the Apes, I had a very knowledgeable team who knew good materials, but I had one main source person who worked online and on the street continually looking for the proper materials.
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Inspiration comes from everywhere: books, art, people on the street. It is an interior process for me.
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As for futuristic costumes, I loved doing 'Gattaca' because I'm a minimalist at heart, and it's a very minimal film. Plus, with Uma Thurman, Ethan Hawke and Jude Law, how could you go wrong?
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I always loved clothes, just not clothes that were appropriate to the place I grew up in.
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I always have a moment when I know I'm designing the last costume that gets made for a movie, and it's always been floating up there, but it's kind of the last one. That's always probably the hardest one for me.
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The right costume determines the character, helps the actor feel who he is, and serves the story.
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Sleepy Hollow had a lot of action in it, even though it was a fairy-tale movie.
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I don't design my own clothes. It's so not what I think about.
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The thing that's great about being a costume designer is you never know what's going to be next; you never what world you are going to enter.
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I've always loved movies, art and clothes.