Issue link: http://digital.copcomm.com/i/856930
The Handmaid's Tale Offred (Pilot) Ane Crabtree Costume Supervisor: Sheena Wichary I was a latecomer to social media and Instagram, my preferred platform. The greatest feeling is being able to show my inspirations with my "#homework" via Insta- gram, whether that is for Costume Design or painting. It has allowed me to interact with the fans of the show and up-and-coming designers. Through Twitter, I am able to keep up on news, politics, and work-related events (in The Handmaid's Tale, they go hand in hand). To be able to show the correlation between current politics and the modern-day costumes of The Handmaid's Tale has been an incredible experience. Mostly, I am proud to reach young people of colour like myself in areas where they may not have a lot of exposure to Costume Design. I have utilized FaceTime and Skype as a means to bring the ac- tors and creators of my shows to students at my old high school, Henderson County, to teach kids what it takes to have a job in the film and television industries—and that is priceless education. Westworld The Original Trish Summerville Costume Supervisor: Lynda Foote Assistant Designer: Jo Kissack Folsom Though I have used various forms of more mod- ern technology in designing past projects, I basi- cally went traditional, old school when designing Westworld. This all seemed very fitting and logical while shooting in the dust at Melody Ranch. The Crown Wolferton Splash Michele Clapton Costume Supervisor: Kate O'Farrell Assistant Designers: Alex Fordham and Emma O'Loughlin Gosh! I'm actually really old school in my design process. I research, look at colour and fabric, talk to assistants and draw. It's the only way I know, and although I don't draw well, and I'm very slow, it allows for my thought process, it buys me thinking time ... people leave me alone! So I guess the most useful recent tool, although it's not linked directly to design, is SyncOnSet. It allows me to play around with character plots at the touch of a key and easily cross-reference these choices. The other probably not-so-recent tool I enjoy using is digital printing. It's incredible that we can replicate original prints so exactly. The revolution in fabric manipulation generally is incred- ibly exciting and often contributes to the design process.