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It's often said that costume designers are a faceless group of people. But we can contribute to fashion in a way that might be new and different.
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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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Knowing who the actors were as you were designing them helped, with Catherine's beauty and Renee's frailty, they directed me visually just by who they were.
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Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are.
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I had to work out that it was something that could move, without having everybody in spray painted leotards.
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I get more distracted by hair or a really bad wig than I do costumes any day of the week.
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Each simian had a much different body suit, so besides trying to define class across species, there was a definite attempt to dress each group in different styles.
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My work space is so visually crammed. It's like an insane candy store. The number of textiles I'm surrounded with is mind boggling. It's a treat to come home to a nice negative space.