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26 The Costume Designer Fall 2018 Finding Hope Mentoring isn't just a passion for Hanafin. She sees guidance as integral to the Costume Designer's role, and has raised it to an art form. That perspective has been informed by her early experiences working with Costume Designers, and the nurturing they provid- ed. "There are many freeway entrances to being a designer," she explains, "but I wouldn't be a Costume Designer if I hadn't been an assistant first." Hanafin's own path was circuitous. After trying her hand at several careers, she decided to make the leap into Costume Design and spent a year taking undergraduate classes at the University of San Diego before receiving a scholarship MFA from NYU. "I love the theater, movies, and storytelling more than anything and I thought, 'How can I be a part of that?'" If I Can Make It There... "Being a part of that" meant doing the hardscrabble hustle in New York. Hanafin designed parties, worked at Parsons-Meares, and Barbara Matera, while designing for Off-Broadway and regional theatre. "I remember while delivering costumes to the Met having the driver ask me what I did, and I almost burst into tears because I was paying off student loans while living in Manhattan, and making $7.50 an hour without health insurance." Hanafin's break came when Robert Blackman called. He was assisting Aggie Rodgers on The Color Purple, and they needed African pieces. "I went shopping in New York and sent the gar- ments to North Carolina. When Aggie designed Batteries, Not Included, she brought me on to assist." Hanafin also took inspiration from working with Albert Wolksy, whom she continues to consider an example to live by among Costume Designers. "I wouldn't say that Albert was my mentor, because we only worked on two projects together. But he certainly is my example. Seeing not only his superb design work and his palette, but how he behaves in fittings and how he moves through the world with such graciousness and integrity, he is just so real." The sentiment is shared by Wolksy, who noted Hanafin's tal- ents early on. "She worked with me on Enemies: A Love Story," he recalls. "We had to establish New York in the early 1940s. Her contribution was enormous. We had very little time, but she was undaunted and did wonderful work. I realized very quickly that she was an assistant that one can depend on. A couple of Paul Mazursky projects came up that I was unavailable for and without hesitation, I recommended Hope to design them. As you well know, she's been a working designer ever since, as well as a dear friend." Hanafin's first official project as a Costume Designer was After Dark, My Sweet. The project cemented her sense of the impor- tance of a strong team. "I think my budget was $6,000. I had two