A Quote by Alexandra Byrne
I think color, for a costume designer, is one of your biggest storytelling devices.
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I graduated from Academy of Fashion and Costume Design in Rome. At first, I thought I was going to be a costume designer for films, and then I ended up working in fashion - not as a designer, but mostly as a model.
Fashion designing involves a lot of work, and, as opposed to the general perception, it is different from costume designing for films. While a fashion designer can take up a costume designer's role, it is not possible vice versa.
You get to say, 'Here's my philosophical idea about what the costume should like,' and the costume designer comes and gives you choices and sometimes they're all good, and I say, 'What do you think?' and they pick the right thing.
I would've been a really good costume designer because, basically, my clothes were like costumes, and I wanted to be a dancer, so there's all of that tulle and color.
Costume is always an asset. Normal costume you have a lot to say about - if you're wearing suits or ties, and what color you want, and how it's going to be cut, and stuff like that, and whether or not you're going to wear a hat, and blah, blah, blah. But, when you're wearing a special costume, and of course, costume is probably the second ingredient in character, script being first, I always find that the costume does a lot to cement your character, to put it firmly in mind.
My mum was a costume designer and costume supervisor in the theater and, especially, the ballet. But that was before I was born.
I used the same designer and costume designer on 'The Eagle' and 'The Last King of Scotland.'
The costume designer, her name is Anne Hardinge. She's done "Shaun of the Dead" and "Hot Fuzz." She's really comedic costume designer, which was right up my alley. She was a joy to work with. She was like fabulous Geena Davis. She was just floating with her red lip and kind of fabulous.
I enjoyed studying costume, learning about the corsetry and the historical context of fashion. I never had any real intention of being a costume designer.
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.
I don't gravitate toward any one designer because I think of fashion as the costume of the everyday woman.
Screenwriting you don't necessarily have to do the job of the costume designer and the prop master and the set designer. It's more just about finding the visuals and finding these characters through dialogue.
Be able to take any job that gives you experience on a film. Don't just think that you have to be in one department or the other, because through working on one and seeing what other people do in the movie makes you realize what your role is if you become a costume designer.
I think Jenny Beavan is a masterful costume designer and very deserving of the Oscar for 'Mad Max: Fury Road.'
I have been a scrappy actor for 10-plus years, and when you're playing supporting roles, your relationship with the costume designer is very different.
If I weren't a theatre designer, I wouldn't be any other kind of designer. Design is interesting to me as it relates to narrative: the design has to support the narrative. Storytelling is the most important thing.
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