![]() Then I just sort of go off and do it have a fitting. We sort of talk about it for a minute and then I go out and get materials and images and sort of bring things to Tim – my ideas, my thoughts, textiles, things like that, just to see his reaction to different things in different colors. ![]() It’s just great in the room when we kind of collaborate and get excited about what we’re doing together. Well, who wouldn’t want to work with him? He is so much fun to work with as an artist. What was it like collaborating with him again? And why do you keep coming back to do so? You have worked a lot with Tim Burton, with beautiful results. That one break led to this amazing filmography and project after project of visually stunning work. Some people work their butts off, and then one day, get that break. ![]() I’m forever curious where it all begins because there are so many origin stories. I got a job by, by happenstance, in New York as an assistant on a film and then just kept doing that. Then, when my daughter was older, I moved to New York and started my career in costume design. So I always embrace fashion and art and stuff. I had to make a living and ended up working, selling designer clothes in the 70s. For me, I studied art in school, I wanted to be a painte and then I had a child really young, when I was 17. So my first question is, Where did costume design begin for you? Was it inspired by a family member or something you watched growing up? First of all, hello and congrats on the stunning work that you did on this series.
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