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Absolutely Fabulous: The Movie – Rebecca Hale
My main aim when embarking on Abfab: the Movie was to keep the essence of Edina and Patsy from the early 1990s, but to make it still feel anarchic/fresh, but totally from the new millennia. I wanted to celebrate every element of British fashion. It was very fortunate, everyone from established designers like [Vivianne] Westwood, Giles Deacon, and Anya Hindmarch, to young graduates fresh out of art school wanted to be involved. Everybody has a deep affection for AbFab, which in turn allowed the film to have a rich and varied texture to it.
Captain Fantastic – Courtney Hoffman
ACD Anastasia Magoutas
Captain Fantastic had an incredible amount of heart and soul on the page, so we strove to put that same love into our work. We had an extremely limited budget—so it was a hands-on job. We painted, embroidered, stitched and decorated everything. Making the film was so special and immersive. We wanted to channel the mindset of the characters. We would pick wildflowers trekking through the forest to get to set and add them to the costumes in the next scene. Matt Ross and the actors were all dream collaborators who let us really explore and never put boundaries on our creativity. I felt inspired every day.
La La Land – Mary Zophres
ACD Jo Kissack
On La La Land, my first three days of prep were spent going over the script, scene by scene, with the director, Damien Chazelle, the production designer, and the set decorator. It was in those first three days that we conceptualized the use of color in the film, decided what colors those colors would be, where they would be used, and that they needed to be choreographed between the costume and art department. We discussed the intention behind every scene and learned many of the important camera moves that would be used in specific scenes like the overhead crane shot and the underwater scene. Sometimes we were able to hear the score that went along with the scenes. Those three days were like a launching pad for me, and I knew exactly what I wanted to create for the film. Also, my office was right next to dance rehearsals so that really was inspiring and a real joy.
Lion – Cappi Ireland
Costume designing Lion was a very unique experience as we were immersed in India from the beginning. That is where we shot the beginning and the end of the film, which were some of the most poignant scenes.We then flew to Australia to fill in the rest. The process was also unique as it was like we were all on the journey together. As it was a true story, we had lots of references to draw from, which was fantastic. However, being in the heart of Kolkata with the incredible Indian crew was so visceral and put us right where Saroo was as a lost little boy. I felt very humbled to be a part of this project and to help tell the unbelievable story of Lion.
Nocturnal Animals – Arianne Phillips
ACD Corey Deist
Nocturnal Animals proved to be a very unique and special experience both logistically and creatively. On the logistical side, I had been (not so) patiently waiting for the past seven years to get the call from Tom [Ford], for his follow up to A Single Man. When that call did come, it conflicted with my prep schedule for Madonna’s Rebel Heart Tour. So, for the first month of prep I worked with Tom via digital reference and Skype meetings. Since it was a short prep schedule with an independent budget, it definitely had its share of challenges working remotely. Lucky for me I had a great team and wonderful ACD, Corey Deist. Creatively, the challenges were working between three interchanging storylines: the present world, the film within a film, and the flashbacks. Creating story links with design between these three storylines was both unique and inspiring. I focused on specific color, character, and story “clues” in the design to link the three worlds.