Sleepy Hollow had a lot of action in it, even though it was a fairy-tale movie.

I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in...

I choose colors I like and will photograph well. I don’t do color theory!

I’d say probably the most expensive costumes I’ve ever made were the costumes in ‘The Planet of the Apes,’ because of the research and development that went into them and the amount of layers.

I really don’t over-theorize about design. I’d rather feel it than talk it to death. A lot happens as you unroll the design.

It is such a pretty type of clothing. I can imagine people liking it and it’s very wearable.

I am always looking for ideas, whether it is in art on the street or in my world travels. It comes to me randomly and unexpectedly.

I think that sometimes people don’t understand that a costume that has to be worn every day and doesn’t change the whole movie becomes iconic. It’s very important because it requires a different design process,...

I’ve always loved movies, art and clothes.

I’d seen the current stage production and the 1975 production of Chicago. I liked them both very much, but I didn’t use them necessarily as inspiration.

It actually is as fun to make men’s costumes, especially if they are as good-looking as Chris Hemsworth.

What we wanted to create for the film was a sensual feeling using the traditional Japanese kimono as our key starting point. We took the creation of the kimono and changed it to make it...

I love designing costumes that I can actually construct, working to create an environment that people want to be in.

My work space is so visually crammed. It’s like an insane candy store. The number of textiles I’m surrounded with is mind boggling. It’s a treat to come home to a nice negative space.

In Chicago, I walked in knowing what the dancers were going to need.

It’s fun conjuring what people will be wearing in the future. We exist in this world today, and yet there are people walking around who still look like they’re in the ’60s.

It’s true that I’m not cozy. I’m more reserved.

Chicago is partly a fairy tale because it’s inside one person’s head, so that part of it’s made up and the rest of it is reality.

I think a lot of young girls go through that period in their life of finding who they are, and at that point, looking good matters the most.

On Planet of the Apes, I had a very knowledgeable team who knew good materials, but I had one main source person who worked online and on the street continually looking for the proper materials.

In real life, a lot of people at that level will have their kimonos made especially for them.

Knowing who the actors were as you were designing them helped, with Catherine’s beauty and Renee’s frailty, they directed me visually just by who they were.

My own style is pretty classic; I much prefer to design for others.

I really like the original Apes costumes. The colors were great, and the use of heavy materials was something that influenced me for this film.

It’s often said that costume designers are a faceless group of people. But we can contribute to fashion in a way that might be new and different.

One thing about costume design – and I think design in general – but especially costume design, is people have a misconception that it’s very glamorous work.

Inspiration comes from everywhere: books, art, people on the street. It is an interior process for me.

One of the challenges with period costumes is, on a technical level, making the scale of different periods work on contemporary bodies. We’re much bigger than what people were in older times.

The costumes had to serve the choreography.

I’ve been lucky in the things I’ve got to work on. I’ve been able to keep it fresh, always getting to do different kinds of things.

Some of the kimonos took as long as four to five months to make, with all the layers that go into it.

Planet of the Apes was a gigantic challenge, making the clothes work so people could do stunts and action in the clothes. I really learned a lot about that in that movie.

The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all.

People like to stir up the fashion vs. costume world, and I think what they mean by ‘too costumey’ is that it’s too much, or not real enough for everyday wear. You couldn’t say that...

The thing that’s great about being a costume designer is you never know what’s going to be next; you never what world you are going to enter.

The first Chicago was definitely a product of its time, and Chicago the musical is definitely a contemporary look at another time.

Costume design allows you to do a different type of research and create characters, whereas in fashion, you create an image and clothing for the masses.

I can create clothes for so many different time periods. I’ve always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.

I always loved clothes, just not clothes that were appropriate to the place I grew up in.

The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we’d gone strictly with the ’20s, the movement would have been impaired.

Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It’s the first impression that you have of the character before they open their...

As a designer, you have to solve a lot of problems. Even though people are wearing clothes that are supposed to look beautiful, they’ll have to do all kinds of things.

While researching design, I was inspired globally, from Peru to Turkey to Africa to Japan-from the 5th century through to today.

If you want someone to feel warm, you dress them in a warm color and put a warm light on them and you get the picture. Sometimes, all that needs pushing a little bit to...

I grew up in a small town in Washington State, so I wasn’t really aware of costume design as a career growing up, but I loved clothes. I remember I saved all my money, and...

I don’t design my own clothes. It’s so not what I think about.

When I do period work, I really like to read about the period as much as I like to look at pictures because sometimes the written word is much better at conveying what their lives...

Costumes are the first impression that you have of the character before they open their mouth-it really does establish who they are.

As for futuristic costumes, I loved doing ‘Gattaca’ because I’m a minimalist at heart, and it’s a very minimal film. Plus, with Uma Thurman, Ethan Hawke and Jude Law, how could you go wrong?

Sometimes a contemporary film like Silence of the Lambs is difficult. To make it look real but interesting is always a challenge.