Issue link: https://digital.copcomm.com/i/713388
Summer 2016 The Costume Designer 19 Game of Thrones "The Winds of Winter" Michele Clapton Costume Supervisor: Sheena Wichary Assistant Designer: Chloe Aubry The excitement of a new script, the process of ex- ploring the story with directors and writers or some- times alone keeps me inspired. To then fi nd a way with a creative crew to translate thoughts into a re- ality, so when an actor walks onto a set, everything about the character is complete and true for the au- dience to believe and accept. Downton Abbey "Episode 8" Anna Mary Scott Robbins Costume Supervisor: Michael Weldon Assistant Designer: Kathryn Tart The part of my job that keeps me most inspired is the immer- sive process of research. I enjoy exploring broader cultural infl uences and then honing in on more specifi c infl uences like fashion and textile design. I am constantly inspired by the art of the moment, music, photography, infl uential fi gures, and architecture. The effects of social change mid-decade on womenswear were especially pertinent to work, leisure, and cutting-edge fashion. Also, I was inspired by the feminism of the time. My love of textiles, embroidery, pattern, print, and colour informs my palette and designs. I am inspired by 1920s fashion designers and illustrators, the cut and construction of original garments I've sourced—the beauty of the atelier's craft fi lls me with a deep appreciation of the love that has gone into creating these precious pieces and the fascinating lives of the people that might have worn them. The People v. O.J. Simpson: American Crime Story "Marcia, Marcia, Marcia" Hala Bahmet Costume Supervisor: Elinor Bardach Assistant Designer: Marina Ray The most exciting part of being a Costume Designer lies in the anthropol- ogy of dress and adornment. I'm inspired by the intersection of the aesthetic with storytelling, carefully choosing symbolic elements, colors, and textures to build a foundation for the actors/characters to create a seamless narrative. Costumes in theater and fi lm do not exist in a void; they are intrinsic to the storytelling. Sometimes my work requires pulling back and creating costumes that recede, other times the story requires pushing the costumes to the fore- front. Working on The People v. O.J. Simpson, I was fortunate to explore both of these strategies. At heart, fi lmmaking is a collaborative art form. Every project brings to- gether a new and exciting group of actors, artists, and fi lmmakers: all working together toward a collective goal. I derive a great deal of inspiration from this collaborative effort.