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20 The Costume Designer Winter 2016 god-friend who blessed my participation," Mirojnick says. Creating a credible Liberace required carefully balancing the flamboyant performer with the story's dark, psychological undercurrent. "I'm really, really spoiled," Mirojnick says of the film. "No, I'm happily spoiled. It really came at a time when I was disenchanted with an area of Costume Design—the directors, producers, and how many people were part of the committee. Working with the director really meant working with the producer and the studio and design became quite political, as opposed to creative. I was quite disen- chanted, until I met Steven. I feel like a whole new designer," she says. The director has a "brilliant and ambidextrous" mind, she notes, and a manner of working that both fascinates and encour- ages her. "He allows an ease. You have an ease without the tension of 'Is he going to like it, is he not?' You're hired as a Costume Designer because he trusts that you are going to create the world he is going to shoot," she says. "Just being able to work on that story with that man being our leader was pretty extraordinary." The praise isn't just flattery; it's part of a conscious effort to recognize and reward the work of her colleagues and acquaintances. "I've been trying to be mindful for years because I was really rage-full, and subsequent- ly, the rage was part of my artistic expression as well," she says. "Since I was a tiny, little girl, whether I painted or drew or wrote, it was filled with a fury of some sort. For the last 15 years, I have absolutely been a student of being generous, mindful, and openhearted. I purposely support other designers because I don't think we do it enough," she says. "Giving credit where credit is due." That sharing spirit shows up not just in the notes she sends, the dinner invitations, or the calls to offer congratulations, but also on set. "My goal is always to create an environment for my team, that is nurturing, creative, and highly productive." Costume Designer Ann Foley, who was assistant Costume Designer on Candelabra, says Mirojnick is "very kind and very sup- portive," and actively encouraged Foley to move into the ranks of designer. Unlike many highly visual and creative people, Mirojnick is exceptionally verbal and precise in her descriptions. Foley says watching Mirojnick clearly communicate her vision to the direc- tor and the actors was an important education. "But she makes it look effortless because she is a genius at deciphering character," Foley adds. Mirojnick also passed along many important lessons to her daughter, actor Lili Mirojnick, who plays Bernadette Tedesco on TNT's Public Morals. "I grew up being around crews, not just in the costume department," Lili Mirojnick says. "I have the utmost respect for every single crew member." That's Lesson One. Of the others? "The tools that she has given me are completely invaluable. Everything from knowing how to present the best version of myself to the valuableness of Spanx," she says with a laugh. Mirojick herself reflects with gratitude the turn of events that brought her to a new place in her career. On winning an Emmy for Candelabra—her 60th project—the designer took to her blog to recount her feelings. "That moment changed my life forever. […] I had hoped and prayed for an opportunity to get out of that grinding design rut and back into the joy of design I once remembered. But even this was beyond my wildest dreams. It beamed me into the limelight and brought me back home—to my true love of design." She found, in the end, that the projects she felt were uninspired also were good lessons. "With the support of Emmy's golden light, I've learned to embrace myself, my body of work, and my past, as it's a road that will forever lead to a greater tomorrow." Photos: Basic Instinct/TriStar Pictures, Chaplin/TriStar Pictures, The Knick/Cinemax, Lookbook Ellen Mirojnick.