A Quote by Keerthy Suresh
It gives me a lot of joy when I wear my design at a show and someone asks me who designed my costume.
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I have two rules when you come to my house on Halloween. Wear a costume - 'cause if you've manned your door at your own house, you know how many kids will roll up, 14 years old with no costume and an attitude. My other rule: don't grab. Let me assess you and then design a candy situation for you.
One thing about costume design - and I think design in general - but especially costume design, is people have a misconception that it's very glamorous work.
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.
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.
My work gives me a sense of purpose that I never really had before - it gives me a lot of joy, and it would be wonderful to invite other people to get involved.
I like to wear clothes that look the best on my body, which is why I wear a lot of crop tops and high waisted bottoms - it gives me more shape and makes me look taller.
It reminds me of how grandmother always had the right costume for me to wear. You wear the right outfit and you feel like the person you're pretending to be.
This is very much my philosophy as a fashion designer. I have never believed in design for design's sake. For me, the most important thing is that people actually wear my clothes. I do not design for the catwalk or for magazine shoots - I design for customers.
The costume that I wear on the show is a little snug and doesn't leave a whole lot to the imagination. I don't have a problem with it because of the way this character's been written.
It gives me no joy to be praised at the expense of a better artist, by someone who does not know the difference or who thinks me too vain to be aware of it myself.
We are actors who show up for work in our sloppy gear, and we've got this extraordinary tailor. It's someone else who's done the design; someone else who's cut the suit; someone else who's measured it. Basically, your job is to just wear it.
For me, the costume is very important. More the feel of it than the look of it. I take it more from the inside. So if I wear something that's heavy, it will affect my character. Is it very tight, and do I feel almost imprisoned, or is it very comfortable? It's the feeling of the costume that tells me where to go with the character.
I don't want people to think that someone gives me something to wear, and I'll put it on.
If someone asks me to go to speak at, say, Princeton, I might or might not go. But if someone asks me from Norman, Oklahoma, I certainly will go.
When we think of design, we usually imagine things that are chosen because they are designed. Vases or comic books or architecture... It turns out, though, that most of what we make or design is actually aimed at a public that is there for something else. The design is important, but the design is not the point. Call it "public design"... Public design is for individuals who have to fill out our tax form, interact with our website or check into our hotel room despite the way it's designed, not because of it.
Memorizing dialogue has always come easy and quickly to me. My wife Eileen is also very helpful. She gives me choices, and asks me questions, and runs my lines with me.
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