Colleen Atwood Quotes
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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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I can create clothes for so many different time periods. I've always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.
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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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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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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 like the architecture of lingerie.
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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 have watched 'Project Runway,' but I'm not a devout watcher of it. But I think it's a great show, what I've seen of it, and I think Tim Gunn is a very positive, amazing guy.
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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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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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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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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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Inspiration comes from everywhere: books, art, people on the street. It is an interior process for me.
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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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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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For contemporary fashion, I'm a huge fan of so many of the people out there. I think Azzedine Alaia holds up through three generations of very specific, beautiful design. I think Jean Paul Gaultier also is very interesting with a long span.
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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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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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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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I don't design my own clothes. It's so not what I think about.
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I've always loved movies, art and clothes.
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The right costume determines the character, helps the actor feel who he is, and serves the story.