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.
In productions such as 'Anna Bolena' and 'Rigoletto,' the costumes are tailored, and they're tight. In 'Moby,' it's like you're wearing pajamas, and you have more freedom. It's very comfortable on stage.
One of my favourite parts of acting is the clothes that you get to wear, because it's very important.
Any time you talk about the look of the film, it's not just the director and the director of photography. You have to include the costume designer and the production designer.
My mum was a costume designer and costume supervisor in the theater and, especially, the ballet. But that was before I was born.
Well, I design costumes because I started with the theater in Chicago, but somehow a few lines just sort of fell to me to do it. And I studied it in school and I always liked it.
A film is a great deal about what you see, and the silhouette of a character tells you a lot. I'd love to go into film costume.
I went to school for clothing and textiles and thought this is what I was going to do. Then I started working in costumes and literally said, 'I don't know if I can take the actors.'
On the clothes front, I have a designer who sits with the director for each film to chalk out a look for me based on the script.
But I've always loved the whole costuming part of acting.
I think wardrobe is a really important part of making a movie and developing the character.
I know what I am able and not able to do. Fashion? OK. Fashion... clothes in theatre, in an opera, in a concert - all that I love. To make a movie myself... no!
I'm a costume designer. My career is not in fashion, a field I'm basically unfamiliar with.
It actually is as fun to make men's costumes, especially if they are as good-looking as Chris Hemsworth.
I'm a pain in the ass to all of the costume designers with whom I work because I have very strong feelings about the subject.
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.
I have worked with some of the most amazing costume designers in the world.
I don't have the time to design my own costumes, but I do give suggestions and style tips.
I would love, just once, to do costumes for a movie. I almost did some theater, but it is very different from what I am used to doing as a fashion designer.
Costume design is so important and really helpful, and I really love that aspect of character development, just figuring it out.
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.
On-screen wardrobes are important. They help create an overall aura, and with local productions being viewed all around the globe, they represent our aesthetics to the world.
Without my husband's costumes I wouldn't have known how to accomplish what I saw in my own mind's eyes for choreography. And then seeing our choreography and knowing the background of it I am sure helped my husband a great deal with what he designed for us.
I design all of the costumes for my movies, actually.
It's funny: I don't get to play characters where I wear what I want to wear. With 'Mad Men,' if Janie Bryant doesn't laugh at me, then that outfit doesn't make it to air.
