A Quote by Irving R. Kaufman
Courtrooms contain every symbol of authority that a set designer could imagine. Everyone stands up when you come in. You wear a costume identifying you as, if not quite divine, someone special.
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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.
Every photograph could be set up. If one could imagine it, one could set it up. The whole discussion is a way of not talking about photographs.
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.
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.
There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.
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.
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.
In my opinion, the greatest single failure of American education is that students come away unable to distinguish between a symbol and the thing the symbol stands for.
Pick clothes that you really love. And wear them. And don't make anything "special." If it's being held for something "special," wear it to the market. Wear it every day!
I remember at one point being in fellowship, and everyone used to wear the fish symbol; it said you were a Christian. So I asked my father, 'Dad, why don't you wear that at work?' And he said, 'Your religion should be in your actions.' He set a great, great example.
I had no special training at all; I am completely self-taught. I don’t fit the mold of a visual arts designer or a graphic designer. I just had a strong concept about what a game designer is – someone who designs projects to make people happy. That’s his purpose.
I always have separated myself from my critiques of collections. My judgment is not about whether I would wear it - but how the collection stands in the lexicon of an established designer. As I am a maximalist, not a minimalist, I don't wear Armani or Celine - but I so appreciate what they have achieved.
Yes, I love going to fittings and talking about the history of a costume. For 'Versailles,' a play set in 1919, the costume designer told me that pocket squares had just been introduced. The tango was becoming fashionable in London, and dancers used them to mop their brows. I love to learn fascinating stuff like that.
My mum was a costume designer and costume supervisor in the theater and, especially, the ballet. But that was before I was born.
I'm a big comic book nerd so every time I'm in costume and see everyone in costume I'm just like "This is sick."
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.
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