Latest / The Art of Costume Podcast / Crimson Peak with Costume Designer, Kate Hawley

Transcript

Crimson Peak with Costume Designer, Kate Hawley · The Art of Costume Podcast

• 0:14
  I think my dog actually peed on some of the fabric once rolled
• 0:18
  up to silk, so he was sort of banned from the work group and
• 0:20
  we had to start again. So that's.
• 0:23
  Number one, etiquette. These are the behind the
• 0:27
  wardrobe facts that we live for. Hello and welcome to the Art
• 0:35
  Costume Podcast. I'm Elizabeth Joy Glass.
• 0:38
  And I am Sir Thomas Sharps. Nosy neighbors Spencer Williams
• 0:43
  would. Be the nosy neighbors of Crimson
• 0:45
  Peak. Oh, my gosh.
• 0:46
  Can you imagine? Can you imagine?
• 0:48
  All right. We live back then and we like
• 0:52
  live on the adjoining estate, but we can like see the house.
• 0:57
  Oh yeah, the most. Strongest We would have
• 0:59
  binoculars, Spencer. We would be.
• 1:02
  We'd be watching them. I would be infatuated with
• 1:05
  Lucille. You would be stalking Thomas and
• 1:08
  you and I would be like, you know.
• 1:11
  Those two siblings are really, really close, Elizabeth.
• 1:14
  They're so yeah. Would be like, they're weirdly
• 1:16
  close. And what Who are all these women
• 1:19
  that they keep bringing in? I never see them leave.
• 1:24
  I'd be taking baked goods on The Reg just like this is how
• 1:28
  they're staying alive without having any money.
• 1:30
  I just keep bringing them food. I would be very nervous to bring
• 1:33
  any baked goods to Crimson Peak. Elizabeth.
• 1:37
  Happy Halloween. Happy Halloween, Happy Halloween
• 1:41
  everybody. I hope you either had a very
• 1:44
  spooky activity filled weekend or have something fun planned
• 1:48
  for tonight. Although it is a work night.
• 1:52
  It's a Tuesday, but how exciting.
• 1:55
  I mean, just to sit at home and pass out candy to strangers.
• 1:59
  Children, I mean, I couldn't think of a more exciting night
• 2:02
  than tonight. I mean, I live too much in the
• 2:04
  middle of nowhere to do that. But yeah, like if I did.
• 2:08
  Same. No one comes to my house and
• 2:11
  when they do, they look very scared because my lights are off
• 2:14
  and they're like, I don't know, I don't know if this is a real
• 2:16
  thing. I don't know.
• 2:18
  I know there's like candy in there.
• 2:20
  I come out in a hoodie and I look like Smeagol from The Lord
• 2:24
  of the Rings. So.
• 2:25
  You want some candy, children? I'm very excited.
• 2:30
  It's Halloween. Have we actually had a episode
• 2:33
  come out on Halloween? I'm not sure, but this just
• 2:36
  feels right. It does feel right.
• 2:38
  I don't think so, 'cause we this is the third season.
• 2:41
  Mm hmm. So because because Halloween's
• 2:44
  been like Sunday, Monday, the past two.
• 2:46
  Years. Oh yeah, That is how calendars
• 2:49
  work. Yeah, I got it.
• 2:49
  Yeah, but what a great spooky season we've had.
• 2:53
  I mean, I know, starting. Off with Aggie Rogers, which,
• 2:57
  you know, bucket list, moment, interview with the Vampire.
• 3:01
  I've been really obsessed with vampires ever since then.
• 3:05
  Same penny dreadful like. I can't stop talking about Penny
• 3:09
  Dreadful. Yeah, truly, it's.
• 3:13
  I've actually started watching it again, Elizabeth.
• 3:15
  I just it's now my new comfort show, which isn't very
• 3:18
  comforting. But yeah, I actually, I think I
• 3:21
  might watch it again too. I don't know.
• 3:23
  It's. So good Sleepy Hollow, which I
• 3:27
  finally saw after, I don't know, 28 years of life.
• 3:31
  So. Yeah, still shocked you hadn't
• 3:34
  seen it before. Yeah, it blows my mind.
• 3:37
  It's just. It's been a year.
• 3:40
  It's been it's the spooky season.
• 3:43
  It feels like it's been a year. But man, Elizabeth, I'm excited
• 3:47
  about this episode though. Oh, do we have a trick or treat
• 3:54
  for you all? So this week we not only watched
• 4:01
  a Art of Costume podcast favorite Crimson Peak.
• 4:05
  Me and Spencer interviewed costume designer Kate Holly.
• 4:11
  Yes, I am so excited for you all to hear this interview, mostly
• 4:15
  because it's been about a year and a half in the making.
• 4:19
  I know, like, literally it took us so long to get this
• 4:24
  interview, 'cause she's a busy woman.
• 4:26
  She she's not taking much time off.
• 4:29
  She's always doing something. I'm.
• 4:31
  Very busy designing some of the best costumes to ever exist.
• 4:35
  We were actually gonna do this episode the last Halloween, but
• 4:38
  she was busy on a project which still very excited about.
• 4:42
  So when it finally happened, Elizabeth and I, as soon as she
• 4:46
  had room in her schedule, Elizabeth and I recorded the
• 4:49
  interview you're about to listen to, I think, in March of 2023.
• 4:53
  So you're gonna be listening to two younger spring chickens.
• 5:00
  The winter's ending? We're excited for spring.
• 5:03
  Yeah, we're excited for summer, I mean.
• 5:05
  We're two different people, but we just, we just really want to
• 5:09
  do this episode because I love Crimson Peak.
• 5:12
  I you actually introduced it to me on a podcast and now it's
• 5:16
  like a regular addition to my rotation.
• 5:18
  And you all can't imagine how hard it has been for us to sit
• 5:22
  on this interview until Halloween.
• 5:24
  So I'm actually very proud of us because we've almost blown it
• 5:27
  multiple times. We have, we have, there have
• 5:30
  been times we're like should we just, should we just release
• 5:33
  that? But no, we stuck to our original
• 5:36
  plan and here we are today. Spencer For those who don't know
• 5:42
  about Crimson Peak, do you want to give a little summary?
• 5:47
  I would love to. Crimson Peak follows Edith
• 5:51
  Cushing, an aspiring author who travels to a remote Gothic
• 5:54
  mansion in the English hills with her new husband.
• 5:58
  And his sister Thomas and Lucille.
• 6:00
  Very nice people there. She must decipher the mystery
• 6:04
  behind the ghostly visions that haunt her new home, that
• 6:07
  breathes and bleeds and remembers.
• 6:11
  Beware of Crimson Peak. And that is Crimson Peak.
• 6:17
  That is Crimson's peak. If you haven't seen it, go watch
• 6:20
  it. I don't know what you're doing.
• 6:22
  Go watch it. It's.
• 6:25
  So good, it's so worth it. It's so good.
• 6:27
  I still remember that when I had a 'cause I think it was on our
• 6:30
  very first spooky season. It was, yeah.
• 6:33
  And you were just like, what's this?
• 6:35
  I also was deathly ill too, so I felt like having a fever vision
• 6:40
  the entire time and I snapped out of it and I still loved it
• 6:44
  without the fever vision. So yes, and it is worth it
• 6:48
  because we are gonna go behind the costumes.
• 6:52
  We have director Guillermo del Toro, costume designer Kate
• 6:56
  Hawley, whose notable work is Pacific Rim, Edge, Tomorrow,
• 7:02
  Suicide Squad and The Lord of the Rings, The Rings of Power TV
• 7:07
  series for which she has a Emmy nomination.
• 7:12
  And also she has something upcoming, Elizabeth.
• 7:15
  She does. She has.
• 7:16
  I am very excited for this Spencer.
• 7:19
  She will be working on Guillermo del Toro's Frankenstein.
• 7:23
  That's gonna be good. That has to be good.
• 7:27
  I'm so excited. I'm so excited, especially for
• 7:30
  him to be taking over like the universal monsters.
• 7:33
  I'm like, yes Sir, please. I and Guillermo del Toro, we
• 7:37
  trust. I think he's really become I
• 7:39
  think my favorite director in recent times.
• 7:42
  Just and you've really, I've really gone on appreciate just
• 7:45
  every work. You know like what is the throw
• 7:47
  line between all these films that I love.
• 7:50
  I mean that's him. Guillermo del Toro.
• 7:52
  Kate Hawley Louis Ikeda this like.
• 7:55
  This Trinity of the amazing artisans coming together, it
• 7:59
  just always works. Absolutely.
• 8:02
  And I like that. Like, you can always tell like
• 8:05
  something is directed by him. But I feel like unlike a lot of
• 8:11
  other directors who was like, there's a very clear, like, this
• 8:14
  is my style. He, like, changes it up.
• 8:17
  He, like, always goes with like, what's best for the story?
• 8:22
  Oh yeah, 'cause it's like. Pacific Rim and Crimson Peak?
• 8:26
  Like you can both. You can like they're absolutely
• 8:30
  both Guillermo del Toro movies, but you're like, Nah, these look
• 8:33
  different. They're slightly different in
• 8:36
  terms of the content, but I am so excited for y'all to listen
• 8:41
  to this interview. This is actually the interview
• 8:44
  you're about to listen to was our first interview with Kate
• 8:47
  Holly, but since then I've really gotten to know Kate Holly
• 8:51
  This past year I. Interviewed her at the Costume
• 8:54
  Designers Guild when we talked about The Lord of the Rings, The
• 8:56
  Rings of Power. My very first in person speaking
• 9:01
  conversation. So I was very nervous.
• 9:04
  But I just grew to love Kate Holly and I felt so comfortable
• 9:08
  with her and she is hilarious and just such a wealth of
• 9:12
  knowledge too when it comes to costume.
• 9:14
  So you're all gonna fall in love with her.
• 9:16
  And then I traveled to San Diego Comic Con to also talk with Kate
• 9:21
  Holly about. The Lord of Rings Rings of Power
• 9:24
  once again. So we have kind of developed
• 9:26
  like this traveling clown show over the past year or so.
• 9:30
  Excited for you all to get like a little sneak peek of what that
• 9:33
  show's been like. So we're very thankful that Kate
• 9:37
  Holly for being on the podcast and I'm excited for you all to
• 9:40
  listen to it. Yes, everybody, enjoy our
• 9:43
  interview with Kate Holly. And when it's done, make sure
• 9:46
  you stick around because then we need to talk about what's
• 9:49
  happening next week. So don't go anywhere.
• 9:51
  Yes, None. All right, everyone.
• 10:21
  I am so excited to finally introduce one of our heroes, the
• 10:25
  costume designer Kate Hawley. Kate, thank you so much for
• 10:30
  joining. All right, You picked a good
• 10:32
  time to Get Me Out of bed. It's so funny.
• 10:36
  Me and Kate were messaging and I was like, hey, let's do this on
• 10:39
  Sunday. And as I start doing a math, I'm
• 10:41
  like, I don't know, wait, that's actually my Saturday.
• 10:44
  But you know, it worked out. It worked well for me, so sorry
• 10:47
  about that. No, it's perfect for us too.
• 10:50
  I'm just bad with math. Anyways, we're so, so excited to
• 10:55
  talk about Crimson Peak. This is one of our favorite
• 10:57
  films. Actually, Elizabeth is the one
• 10:58
  who forced me to watch it a few years ago, and now I can't stop
• 11:02
  talking about it like the classic date night.
• 11:05
  I want to watch a romantic, gothic movie.
• 11:08
  Really. Yeah.
• 11:09
  He was. He kept me like, really?
• 11:12
  You want to watch that for the podcast?
• 11:14
  I was like absolutely one of my favorite movies of all time.
• 11:17
  So yes, we are going to watch it.
• 11:19
  Yeah. And when we did that episode, I
• 11:21
  was so sick. And I still was like, Elizabeth,
• 11:24
  we have to do this episode. I don't care.
• 11:26
  I'll get out of bed. I'm wondering where that was
• 11:30
  going. Yeah, no, not mean.
• 11:33
  What does this mean with youth today?
• 11:34
  I am so sick, you know? Is that another word, phrase or
• 11:37
  something? No, I mean, I was running like
• 11:40
  101 fever. Yeah, here on you gotta talk
• 11:44
  about it. Some people would have
• 11:45
  absolutely chucked up during this.
• 11:47
  Yeah. OK.
• 11:50
  I'm so excited to get into us, but let's kind of start with the
• 11:53
  bigger picture. You know, Crimson Peak is by
• 11:55
  far. My favorite Guillermo del Toro
• 11:57
  film, I could think Yeah, it's definitely my favorite.
• 12:02
  It's haunting, disturbing, tragically beautiful.
• 12:05
  It's a masterpiece. So you worked with Guillermo
• 12:08
  before. So was your collaboration like
• 12:10
  with Guillermo del Toro? I I, well, I can say.
• 12:13
  I mean, I had a a crush on him from me from years ago, too.
• 12:16
  Sitting I was doing an opera and I was watching Pan's Labyrinth.
• 12:20
  It's my first experience. It would be me too.
• 12:22
  And I just remember sitting there watching going oh what a
• 12:25
  dream it would be to work with that director and then should
• 12:28
  happen. It was amazing.
• 12:32
  But you're the the we'd had some experience together.
• 12:38
  You know, I was with him when he was concepting the early stages
• 12:42
  of The Hobbit, when he was involved in that in The Hobbit
• 12:44
  movies. And so we got to know each other
• 12:46
  very well and wonderful. Peter had actually introduced
• 12:50
  us, and it was actually, he just brought Guillermo down this
• 12:53
  corridor. I was kept in corridors a lot at
• 12:55
  the time. He he, in his wonderfully quiet,
• 13:00
  wonderful way, sort of sort of tip, toed in with his bare feet
• 13:03
  and so said, oh, I'm just bringing Guillermo in and I'd
• 13:06
  never met Guillermo in before. And actually I had all this
• 13:10
  working stuff on the boards that I was working on another
• 13:12
  project. And Guillermo went straight to
• 13:14
  my bookshelf and he looked at my bookshelf and he said we can
• 13:18
  work together. You know, I think my bookshelf
• 13:20
  had Goya, Joel, Peter Witkin, you know, a lot of really
• 13:26
  popular novels and photographic books on my shelf.
• 13:29
  But it was an understanding of that there was a common
• 13:31
  language. And so we did, you know, a bit
• 13:34
  of work together on The Hobbit, which was an amazing experience.
• 13:37
  And and then he went on to do Pacific Rim, which is a very
• 13:43
  different sort of project. And I just got this phone call
• 13:46
  and he said, hey, do you want a bit of fun?
• 13:47
  Do you want to just come and play and and look, I think
• 13:49
  everyone who's with Guillermo would say when he says come and
• 13:53
  have a play, that does mean a lot of fun and.
• 13:56
  That means yes, yeah, yeah, yeah, totally means.
• 13:59
  And it's like he always says little things.
• 14:01
  Like it's just a period movie or it's just about robots and you
• 14:03
  know that it's never you know there's a whole world that
• 14:06
  unfolds in the process of creating these things and and
• 14:10
  and it is a joyous thing to work with him.
• 14:12
  I can truly say that and you know he he's the most benevolent
• 14:17
  dictator and a wonderful old fashioned.
• 14:20
  I love the hierarchy of it but but he's he's a genius and I
• 14:25
  think he he's an artist himself and I think he treats his crew
• 14:29
  like artists as well. And I think in a world that's
• 14:32
  become more and more commercial and we jump even higher and it's
• 14:35
  quite a machine these days, it's wonderful to be working with
• 14:39
  someone like him who values it. And they're not many.
• 14:42
  So for sensitive people like myself, it's quite lovely to
• 14:47
  have that and be in a fold of wonderful collaborators and
• 14:50
  things. So that's that's how we got
• 14:52
  going. And Crimson Peak, you know, you
• 14:56
  know, you leave a project with Gimmer and they say I've got
• 14:58
  another project coming and you hope that you'd be invited and
• 15:01
  that. And then he sort of said I've
• 15:02
  got this you know Victorian piece research you know showed
• 15:07
  me some pictures start research and he says it's just a you know
• 15:10
  a little period gothic film and you know understatement of the
• 15:14
  year and and and and then we embarked on the process.
• 15:18
  So it was a wonderful thing and and he was very generous and
• 15:24
  thoughtful and brought me on quite early because of the way
• 15:26
  he collaborates and that. So I was surrounded by led by
• 15:31
  Guillermo but surrounded by Tom who was our production designer
• 15:34
  and Guy Davis and Oscar Ticoni. And so part of that, you know
• 15:38
  you to be in early on the process and have the discovery
• 15:43
  and research side of things is the absolute luxury, but it's
• 15:47
  also the most important part of the process because you're at
• 15:50
  that point picking up things and distilling and discarding and
• 15:54
  all of that. So I find it the most invaluable
• 15:56
  part of the whole process really.
• 15:58
  Once you're running, you're running.
• 15:59
  But this is the magic time. So I'm always deeply
• 16:02
  appreciative when I'm brought in.
• 16:04
  It's as early as that to start the collaboration.
• 16:07
  Right. I mean, it's a beautiful
• 16:08
  collaboration. And that kind of leads me into
• 16:10
  my next question. You know that Crimson Peak is
• 16:13
  very vast and expansive, but the overall film is really close and
• 16:17
  intimate, I would say. So what was the collaborative
• 16:20
  process like between you and the actors?
• 16:23
  Edith Thomas, Lucille? Well, it's an interesting thing.
• 16:27
  And again, we were lucky because I'd say these days there's so
• 16:30
  much going on. You're lucky to get your actors
• 16:32
  two days before, but I cast my main cast, Tom, I think.
• 16:36
  I think they'd all Tom and Mia had been in, oh, the wonderful
• 16:41
  Jimjamush Vampire. You have to forgive my age.
• 16:46
  I can't remember the name of it, but one of my favorite films.
• 16:49
  Anyway, they were in Toronto, all three of them for the
• 16:51
  Toronto festival. And you know, I I start off
• 16:54
  always my process talking with Guillermo.
• 16:56
  He gives a sort of character Bible.
• 16:58
  You know, this is how he sees characters.
• 17:00
  And then also it's my job to you know deeply go into the script
• 17:06
  and and sort of work out things myself and and you know, know
• 17:10
  the script as well as the actors do.
• 17:12
  But I always start for myself with a series of mood boards and
• 17:17
  that that for me a sort of sort of links through the story and
• 17:21
  visual cues and things like that.
• 17:23
  And and I pull together images for each character and they're
• 17:27
  very varied. Some of those research images
• 17:29
  come from paintings of the period or sculptures or art or
• 17:35
  sometimes it's a more organic feeling about environment
• 17:39
  temperature. So my images are very expensive
• 17:44
  and I had a view for each of these on the board just to get
• 17:47
  conversation going. Because, you know, I work in at
• 17:49
  the beginning, I work in my own isolation response to the
• 17:51
  script. And then, you know, then you
• 17:54
  know, the next stage is Guillermo's going well, This is
• 17:56
  how I see it shaping. And so you always come with a
• 17:59
  vision of your own and then you're adapting it because your
• 18:03
  job is to fulfill the actor's, the director's vision.
• 18:07
  I wouldn't say come with a vision of my own, but you have
• 18:09
  responses to it. And Jessica and Tom and Mia came
• 18:13
  into the room because they were giving us some time from their
• 18:17
  schedule. And they all looked at all these
• 18:19
  images and each of them had very different responses.
• 18:21
  And I think it's a fascinating part of this process in terms of
• 18:24
  imagery that all of us can look at an image.
• 18:27
  You know, if I if we were all looking at a famous painting,
• 18:31
  we'd all see something different in it and respond to it
• 18:33
  differently or it would mean something to us.
• 18:35
  And I think a part of my job is to really listen to that and see
• 18:39
  what they're saying, you know, whether it's my director, as in
• 18:42
  Guillermo here or. And I remember Jessica looking
• 18:45
  at an image and it was a woman and all you see saw was her
• 18:48
  face, her pale face. And she said, that is Lucille.
• 18:53
  And I had another image of Tom. And he said he laughed.
• 18:56
  And he said, oh, you know, they always, it was one of Casper
• 18:58
  David Friedrich's, you know, beautiful image of a man with
• 19:01
  his back to us in the ocean. He said, you know, everyone
• 19:03
  finds that image for me. And it's it's fascinating, this
• 19:05
  thing, if they can each have. It's such an important thing to
• 19:10
  be make the act as part of this process because you're always
• 19:14
  integrating a little bit of who they are as a person and their
• 19:16
  qualities plus what they bring to the character.
• 19:19
  But for them to, you know, put a stake in the ground going, even
• 19:24
  if it's one thing, it might be a prop or a costume prop or one
• 19:27
  element. And for them to be part of that
• 19:29
  gives you a place to start the process and go.
• 19:32
  And then it's about collaboration, working with
• 19:34
  them. And I think if if you don't do
• 19:36
  that often, if you don't have the luxury of time to do that,
• 19:39
  it often creates more problems because suddenly they're just
• 19:42
  thrown all this stuff. So if you can allow them to be
• 19:45
  as much part of the process and Chemo's brilliant like that, you
• 19:48
  know, and he'll have lots of meetings with them and his own
• 19:51
  time of them discussing character, they'll come with
• 19:54
  ideas. I've got ideas, even the props
• 19:58
  department, you know. So it's a it's a massive
• 19:59
  collaboration to get there. And then, you know, you could
• 20:02
  look at the character one way, but they might find another
• 20:05
  element that completely changes the way you look at that
• 20:07
  character or a moment or, you know, looking through the script
• 20:11
  and the arc, you know what are the important beats for them.
• 20:13
  And maybe you start there, maybe that's the image of the
• 20:16
  character that you start from and then you're working
• 20:17
  backwards. So it's a big process.
• 20:20
  That's a long answer for you. No, perfect.
• 20:26
  I love that and one character I certainly worked out for is
• 20:30
  Edith. Especially at the beginning.
• 20:32
  She is very established in her life.
• 20:35
  Things are going fairly well for her and that is seen in her
• 20:40
  opening costume. She looks very put together,
• 20:43
  business detail oriented. What were you trying to
• 20:46
  establish with these opening looks?
• 20:49
  OK, well, there there's two things.
• 20:50
  And. And Guillermo always had this
• 20:52
  image of Edith as a writer and I think those are his sort of
• 20:56
  heroic versions of women and at this time period and set in
• 21:01
  Buffalo. So it's a very different world
• 21:03
  to the old world of England. And you've got wealth in, you
• 21:08
  know, new places, you know, you've got your, as they call,
• 21:12
  the robber barons, you know, you've got your Carnegies and
• 21:14
  all those big families with great wealth, industrial wealth
• 21:17
  and things. And also you've got at this time
• 21:19
  period when I, you know, I do my research based on the time
• 21:22
  period as well and then I throw all that shit out.
• 21:24
  But excuse my French, but Edith sort of representative, a new
• 21:28
  modern woman as opposed to the older world of Lucille.
• 21:31
  And that, you know, this is definitely in New Zealand.
• 21:34
  The women had the vote at this point.
• 21:36
  This is the Suffragette era. Machines come in and make
• 21:40
  clothing. Women take a more practical view
• 21:43
  on their working dress. They're riding bicycles, they're
• 21:46
  echoing men's suits and things like that.
• 21:48
  So and you know, even skirt pants and all these things, the
• 21:53
  women's clothing shifts hugely at this point.
• 21:56
  And so that was a huge part of her sort of, you know, trying to
• 22:00
  be the independent writer in a man's world and and representing
• 22:05
  the modern woman of the time. So her silhouette.
• 22:08
  Definitely reflects that. And also there's a a big part of
• 22:13
  the color palette. You know, color's a massive
• 22:16
  thing with Guillermo in this world.
• 22:17
  He wanted an enriched sort of golds and tobacco shades and
• 22:21
  things like that. So you know, every element of of
• 22:24
  this costume reflects what Guillermo wanted to see in the
• 22:27
  world of Buffalo and with the. I love that, especially because
• 22:32
  always so much. Time to build that.
• 22:38
  Keith's getting flashbacks right now.
• 22:41
  Jumping to the McMichael ball, this is definitely a a new kind
• 22:46
  of woman in this area, and it seems like a new chapter for her
• 22:50
  starts this night. Can you talk about this look?
• 22:54
  Absolutely. I mean, I I it was again, I
• 22:57
  looked at lots of paintings of the period.
• 22:59
  I think I even based this, maybe off a Baldini period, but
• 23:02
  Guillermo really wanted her to feel like.
• 23:05
  You know, like the the fairy tale Princess at the ball coming
• 23:08
  in, you know, he wanted her to be the the center of that.
• 23:10
  So that was the initial brief and the sort of, you know, the
• 23:15
  sort of feeling of petals opening and that and and again
• 23:18
  we still have there's another element to this costume, the
• 23:20
  black sash on the back and there's always this presence of
• 23:23
  mourning with her clothes and. You know that's everywhere in
• 23:28
  that world. So that that's where that dress
• 23:30
  came from. So every, every dress in the
• 23:32
  show ended up having a name and my wonderful.
• 23:36
  Persistent designer at the time, we were trying to get a heads
• 23:38
  around the script and so that's why we came up with a system of
• 23:42
  names. You know the Nancy Drew dress
• 23:43
  and you know all of these different dresses.
• 23:45
  So that's how I remember that show.
• 23:47
  It became a a show about dress names.
• 23:51
  You said you had a short time to work on this one specifically.
• 23:54
  Do you remember was how long that was?
• 23:58
  Well, you know, I think, well, the red dress we did for Lucille
• 24:01
  was 3 weeks, you know, and and which is wild.
• 24:04
  Well. You know if you've got a
• 24:06
  schedule that's got a lot of other things going on, it can
• 24:09
  be. And I think this was one of
• 24:10
  those ones that you know we've been so busy on the others
• 24:13
  because of where you're, you know the the practicalities of a
• 24:16
  shooting schedule and that change all the time and and more
• 24:19
  so. So sometimes you're left with
• 24:21
  very little time and I think my dog actually peed on some of the
• 24:26
  fabric once a sort of roll of duck the silk.
• 24:29
  So he was sort of banned from the work crew and we had to
• 24:31
  start again. So that's number one.
• 24:34
  Yeah, these these are the behind the wardrobe facts that we live
• 24:39
  for, yeah. Oh, is he a beautiful man?
• 24:45
  Yeah. Oh man.
• 24:46
  So Sir Thomas Sharp, Baronet, played by the Tom Hiddleston,
• 24:51
  who were big, big fans of over here, especially Elizabeth.
• 24:55
  Very fancy. And I wish I could dress like
• 24:57
  him every day. His black fabrics look so
• 24:59
  expensive, He really knows how to put on the charm when we
• 25:03
  first meet him. So what are you trying to convey
• 25:06
  when we first meet him? I don't have to do anything.
• 25:09
  You know, when you first meet Tom Hiddleston, he does that.
• 25:11
  Yeah. I remember him walking into the
• 25:13
  work room and he was looking at, you know, just the stuff that
• 25:17
  we'd gathered and that and he, he looked at us all with his
• 25:21
  shining blue eyes. And he was young Thomas, you
• 25:23
  know, he was this sort of you just looked at him and and went,
• 25:26
  wow, you know, his whole energy. And that was.
• 25:29
  Beautiful like that. But the whole thing of the sharp
• 25:31
  siblings was that, you know, we learn there's no spoilers now,
• 25:36
  but we learn that they murdered parents and Guillermo really
• 25:41
  wanted, you know, the whole idea came from them being dressed in
• 25:43
  their in the wardrobe of their parents clothes.
• 25:45
  It was almost like that sort of world.
• 25:48
  I don't know that. Yeah, represents a different
• 25:51
  era. His clothing as well as
• 25:52
  Lucille's much more the 1880s, eighteen 70s.
• 25:55
  But of course, being a Guillermo film, there's.
• 25:57
  Allowances made for period sort of thing, which doesn't always
• 26:02
  appeal to the purists in that way.
• 26:04
  But Guillermo's works more dreamlike than that.
• 26:06
  So I I tend to let go of certain aspects and use period stuff
• 26:10
  when it's always use that as a starting point.
• 26:13
  But the character takes over from that point and he's sort of
• 26:16
  a young idealist man trying to escape the sort of world you
• 26:21
  know, in one way that you know, such an amazing thing with the
• 26:24
  siblings. That sort of absolute reliance
• 26:27
  on their trauma together and that and then you know, trying
• 26:30
  to be and he sort of he never quite fits in the other world.
• 26:34
  You know he wants to be part of this modern world as an inventor
• 26:37
  and that. So his sort of wardrobe changed
• 26:39
  along with Lucille's. He was very much a reflection of
• 26:42
  her in that way. And Guillermo wanted him to
• 26:45
  stand out in the world of Buffalo, both siblings.
• 26:48
  That in their world they're old antique sort of dream world.
• 26:54
  The cold world of Cumbria. They're much more a part of that
• 26:57
  environment and they're wearing the clothes of their parents and
• 27:00
  when we come into the world of Buffalo they almost become like
• 27:05
  black shadows against the golds and things of Buffalo.
• 27:07
  So in in a way, you know there's always talk about how obvious
• 27:11
  some of this is but when you realize he's.
• 27:13
  Creating more of a melodrama. You know, it's like Betty Davis,
• 27:16
  whatever happened to Baby Jane or Sunset Blvd.
• 27:19
  You know, there's a thing that allows you to accept the rules,
• 27:23
  You know, I think when you understand that kind of form of
• 27:28
  Hammer Horror and all of that. You know you know who the
• 27:31
  baddies are and all of this sort of worlds and and and he wanted
• 27:34
  them to sort of just be like black ink in there.
• 27:36
  So we've spent a lot of time trying to find fabrics that did
• 27:39
  that but also suggested the age and things and and that world
• 27:43
  so. And Tom had a lot to do with
• 27:46
  that, with the fit and things like that.
• 27:48
  Again, it's working. He has these beautiful, long,
• 27:50
  lean proportions and that. So really it wasn't hard
• 27:54
  dressing him and. Working with it, you're looking
• 27:58
  at the physicality of your actor, and again, in discussion
• 28:01
  with them, you're. You know you're you're going
• 28:04
  well, this is your physicality and then what's your character's
• 28:06
  physicality? So sometimes you're working with
• 28:09
  it and sometimes you're choosing to work against it.
• 28:11
  So all these things are part of that dressing and proportion and
• 28:15
  things like that is a massive part of it And I lovely Cos
• 28:20
  Lovely Sands Films did all his shirts and that.
• 28:23
  And in contrast to EDA's machine World, you know, where all the
• 28:26
  suits and that was becoming under the industrial world, all
• 28:28
  their clothes were made by hand. Hand pitched and things so it
• 28:32
  makes a difference to the feel of something and the way the
• 28:35
  bodice sits and things like that.
• 28:37
  So they all their clothes were handmade, right?
• 28:40
  Wow, that's beautiful. Like such attention to detail.
• 28:43
  But also what you're saying is. Luxury of only a few characters,
• 28:46
  right? But what you're saying is. 43
• 28:49
  minutes is like 3 people going mad in the horror house.
• 28:54
  And also, you're saying Tom could show up to work in a paper
• 28:56
  bag and we still would all love to?
• 28:58
  Yeah, we had a few. Paper bags around, but all
• 29:04
  right, Kate, everything has been leading up to this moment for
• 29:08
  me. I have been wanting to talk
• 29:09
  about this specific dress. We all have different favorites.
• 29:13
  That's so funny. We're going to get.
• 29:14
  Stressed up a lot. They talk about the stress to
• 29:17
  anyone who will listen. And we are talking about
• 29:19
  Lucille's famous a red gown. It's incredible.
• 29:24
  It's just, I love the details, the spine, the way it looks like
• 29:27
  blood on the floor, which I think you call it the blood
• 29:30
  splatter dress. What What do you call this
• 29:31
  dress? Yeah.
• 29:33
  The blood, the drop of blood, the drop of blood do.
• 29:35
  You know, this was going to be a black, the black dress, you
• 29:38
  know, originally the rules were that she'd stay in the same
• 29:40
  dress, you know, and the black dress that we see her in the
• 29:43
  picnic scene and do that. And then a very sheepish looking
• 29:46
  Guillermo came in because I think he realized everyone was
• 29:48
  up against it. He's very good with us.
• 29:50
  And he goes. I think we need a different
• 29:53
  dress for that. And he was right.
• 29:55
  And and he wanted the image of of blood.
• 29:57
  You know, it was all tied up to the ring, the mother's ring and
• 30:00
  things. So, you know, again, the lead
• 30:03
  comes from your director and then you take those images.
• 30:05
  And I've been looking at lots of 19th century anatomy paintings
• 30:08
  and that there's some beautiful paintings by a Frenchman, I
• 30:11
  can't remember his name, but the backs of the gowns and that had
• 30:14
  all the muscle work on them. And that's where all the
• 30:16
  language for pleating came in into this show, as well as
• 30:19
  being. Kind of a beautiful sort of
• 30:21
  impressionist, you know symbolist romantic language and
• 30:25
  that so you know to to get the richness of color, but a lot of
• 30:29
  that came from the form of muscle and you know anatomy and
• 30:34
  the spine. Actually, I I think I did again
• 30:37
  with this. This is where real research is
• 30:38
  great. I found some research for, you
• 30:41
  know, the whole ribbons of the spine.
• 30:43
  I knew I wanted a spine motif in there.
• 30:45
  And then I found an image of something that worked for that
• 30:47
  and we and we took it and exaggerated as we did with EDA's
• 30:51
  hand belt, you know, So sometimes I take things and then
• 30:55
  sort of play with them a bit and change the scale and things like
• 30:58
  that. And you know, Jessica is a
• 31:00
  wonderful performer and made the most of it.
• 31:03
  You know, I think the a dress like this only works when
• 31:06
  someone can carry it off like that.
• 31:08
  The most impractical dress in the world, you know and put on.
• 31:12
  He You know, she again, these actors are so wonderful.
• 31:14
  You know when they're when they're part of it and they want
• 31:16
  to own it, they make it work and and and the lesson to learn is
• 31:20
  if you're doing something your actor doesn't want, they won't
• 31:22
  make it but these. Guys were so much a part of the
• 31:25
  process and and so that's where it came from.
• 31:27
  And I think the collars and things, you know I think I'm, I
• 31:31
  bought the garnets for this. I think it was one of those
• 31:33
  things where we're slowly running out of money, but having
• 31:38
  those drops of blood and taking some of the reference from sort
• 31:41
  of the older. You know, Victoria and
• 31:44
  Elizabethan, you know each period echoes other periods,
• 31:48
  something I've found a lot in the works of paintings and and
• 31:51
  and fashion actually. You know, a lot of them.
• 31:54
  You know when you look at the Regency period that's evoking
• 31:57
  the neoclassical world and that. So you know you find these sort
• 32:01
  of things that sort of back up your storyline for these
• 32:03
  characters and that. So that's why she sort of.
• 32:05
  It comes from that world and of course the Jewels and her hair
• 32:08
  echoed all of that, so that you'd catch the light and
• 32:10
  things. But really that endless pleating
• 32:12
  and that was all hand pleated, which was fantastic, but because
• 32:16
  we had tight budgets and that we had and again this was thanks to
• 32:18
  my assistant and that at the time and the team.
• 32:21
  Again, the wonderful team that I worked with had lots of systems
• 32:24
  of. You're taking trains off and
• 32:27
  putting them onto the next dress and neck dress and partly
• 32:29
  they've known your director. And you know, when this was all
• 32:33
  great in the ball scene where you have a a a ball scene.
• 32:36
  But when we were doing all the pleating for Edith and Lucille
• 32:38
  and Alledale, you know, Guillermo goes, oh, we're gonna
• 32:41
  wet the floors and we're gonna bring in a bit of rain and then
• 32:44
  red clay and that, and you're going coming.
• 32:47
  Out as it goes. So, but you again, it's known
• 32:50
  your director. So we built lots of trains that
• 32:52
  we could then pin on to the next dress and that so that we
• 32:56
  weren't building a horrendous amount of dresses.
• 32:59
  We could take elements and do that.
• 33:00
  And we did that with Lucille's Pasaman Teri that we created as
• 33:05
  well. So, you know, there's there's
• 33:06
  now a lot of practical stuff, but this dress came from the
• 33:09
  image of a drop of blood. And it was a a very much a
• 33:12
  Guillermo moment. And then I just worked with us
• 33:15
  and developed it for him, really.
• 33:16
  So yes, it's amazing. I mean honestly there.
• 33:20
  Was a train fluffing? There was a lot of train
• 33:21
  fluffing. I would do anything.
• 33:25
  You could be a sleep fluffer on the show or a train fluffer.
• 33:29
  I would do anything to travel back in time to fluff this damn
• 33:33
  train. I mean, this is a top five
• 33:35
  costume of all time. It is.
• 33:37
  That's so funny. Oh, thank you.
• 33:39
  Yeah. If you ever need like a if you
• 33:41
  do like a Kate Hawley exhibit, like, hit us up so I can fluff
• 33:46
  that train. It is.
• 33:47
  I talk about the stress all the time.
• 33:49
  It's just yeah. Well, give me a call afterwards,
• 33:51
  there might be something. OK, great.
• 33:56
  One element I am obsessed with when it comes to Lucille is this
• 34:00
  hat. I always thought it looked like
• 34:03
  a death. Death mask of some sort.
• 34:06
  Reminds me of Edith. Yeah, and and again, the burden
• 34:10
  of these mothers and parents on these because, you know, Edith
• 34:12
  takes her, you know, almost the the mother, her presence all the
• 34:18
  time in morning imagery. But the same for Lucille and and
• 34:22
  Thomas and. You know who their mother is a
• 34:25
  very big focus in their life too.
• 34:27
  I love it when Guillermo gets into sort of matriarchy of and
• 34:33
  so no that wasn't and I was actually sort of playing with I,
• 34:36
  you know, I love the Symbolists and all that part of the world
• 34:39
  as does Guillermo. So you know it's just finding
• 34:42
  different languages that changes the way you deal with costume
• 34:45
  and the shadow. And again, it's you're You're
• 34:48
  counting on the audience. To be part of that game in that
• 34:52
  way and understanding that again these are sort of, you know,
• 34:55
  things that are sort of here. It's not, it's not a a, a period
• 34:59
  fashion of the time, but I take the silhouette and I play within
• 35:01
  it. So absolutely, absolutely the
• 35:04
  idea there, yeah. Yeah, I love it, I said.
• 35:07
  After the first time I even saw it, I like, had to go back and I
• 35:09
  was like, wait, what is on top of her?
• 35:13
  Head and I know. The pain of course making that
• 35:18
  and yes the you're just pulling up the mothers, the mother ghost
• 35:21
  and that and that was absolutely the brief to echo the gravestone
• 35:26
  and the wonderful Guy Davis designed the gravestone and the
• 35:29
  silhouette of this, so that informed the costume.
• 35:31
  So you know again this is understanding how to work with
• 35:34
  your collaborators and the team and of course Guy Davis is a
• 35:37
  wonderful long time collaborator of Guillermo's and that too.
• 35:40
  So we had a lot of fun and. Yeah, often with Guillermo too.
• 35:46
  It's understanding and I I tend to do this in the work anyway.
• 35:49
  You're always looking at your actors and characters in
• 35:52
  silhouette against the landscape and they're either reflecting it
• 35:56
  or they're not. These are all decisions that you
• 35:58
  make so you're always, you know, you know long shot and and big
• 36:03
  scale or intimate and that. And Guillermo always asks me to
• 36:06
  reflect those things and and play with them.
• 36:08
  So I work closely with him and Guy on Mother Ghost.
• 36:11
  There's a lot of corridor action and all sorts of things going on
• 36:15
  and so yeah. And then and we.
• 36:19
  I think The thing is, with all of this, and this is the joy of
• 36:21
  working with Guillermo and with a team that constantly talk to
• 36:26
  each other. Because sometimes, you know, the
• 36:28
  way things happen so fast now you don't have time and it's so
• 36:30
  tempting to just sit in your world going shit, I've got to
• 36:33
  get all this shit done and. You know to to do that.
• 36:36
  But when you take the time to understand what other
• 36:39
  departments are doing, the set dressing department and set
• 36:43
  decoration, the props department, the special effects,
• 36:46
  the visual effects and when you understand what every single
• 36:50
  department's doing here and make up importantly, then then you're
• 36:53
  all collaborating and you can have this discussion.
• 36:55
  You know Guillermo would always give us.
• 36:57
  We'd sit around the table and discuss color pair for hours and
• 36:59
  remove colors from the palette that he didn't want and you
• 37:02
  know, and then it was the range within and.
• 37:05
  And sometimes it's about letting another element of your team
• 37:11
  take centre stage, you know? Sometimes it's more important
• 37:14
  for that element to take the foreground and for you to
• 37:18
  actually step back. And so there's there's that
• 37:20
  learning to give and take. It's not always, hey, it's us in
• 37:23
  the foreground, you know, It depends on what the beat of the
• 37:26
  story is about at that moment and how important it is.
• 37:29
  But I I love all these links that happen and it makes for a
• 37:33
  richer, deeper language. And then it.
• 37:35
  It tends to create a language that answers and solves problems
• 37:38
  more than creating them. You know, you then you start to
• 37:40
  get to know your world and you're going, these are the
• 37:43
  rules of the world and this is how I work within it.
• 37:45
  So that's a classic example. Mother Ghost there of that.
• 37:48
  And of course we had the wonderful Doug Jones.
• 37:51
  Oh yeah, we're we're big Doug Jones fans over.
• 37:53
  Here, and it's lovely. I'm seeing him as sort of Panto
• 37:56
  Dame. He likes a lot about and
• 38:00
  fittings and that. So it's quite extraordinary I
• 38:02
  never met anyone like him and then he can be so delicate from
• 38:05
  that So it's you know although the waist measurement went up
• 38:08
  significantly entire leading ladies but you know again it's
• 38:15
  nothing's complete until all these elements are there.
• 38:17
  You know, I don't think mother ghost would be complete without
• 38:20
  the gravestone to answer to it or the performer inside it, so.
• 38:23
  It's it's always amazes me what you learn.
• 38:25
  Every time I do a show and every time I do a character, I learn
• 38:29
  lots of things and sometimes they aren't always successful.
• 38:31
  But I do believe in, you know, there's lots of things.
• 38:33
  I look back and go, oh, oh, that was not not a great moment or
• 38:37
  that was a fantastic moment, but it's part of the process and you
• 38:41
  have to fail sometimes and hopefully you get better at
• 38:45
  making those decisions. But I always want to think that
• 38:47
  you should continue being brave. And I think it's interesting in
• 38:50
  this world that we're in now that certain language and that
• 38:52
  becomes, you know, but we only see it this way.
• 38:54
  Look at Shakespeare and the number of productions that you
• 38:57
  see of, you know it, Hamlets or anything.
• 39:00
  There are a million ways to do something and none of it's
• 39:03
  wrong. And some are better than others,
• 39:05
  and I think that's our job as artists and designers to do
• 39:08
  that. So, so Kate, when Edith arrives
• 39:12
  like Crimson Peak, I actually find this scene to be quite
• 39:14
  hilarious because she can't be. Happy on dog there, Don't you
• 39:17
  like it? Named after the Butterfly.
• 39:19
  Oh really? Yeah, there.
• 39:21
  You go. Another little jewel for you.
• 39:23
  Another little demo joke. There you go.
• 39:26
  I love it. Edith is so colorful, so girly,
• 39:30
  so feminine, and she doesn't realize she's walking into the
• 39:33
  most dark, depressing garbage piece of shit house you could
• 39:38
  ever go to. And it's, it's perfect.
• 39:40
  It's so funny. Was that like, your intention,
• 39:42
  That kind of like show? Like it's.
• 39:44
  Funny. I think that's fantastic.
• 39:45
  And also teaches me to be really careful about what the audience
• 39:49
  are reading. Well, it's phenomenal.
• 39:52
  It's just like she shows up and you're like, wow, this place
• 39:55
  really sucks. And she's like, oh, I'm so
• 39:56
  excited. Well, I'll tell you what it is
• 39:59
  and and maybe it's something again, it's something, but it is
• 40:02
  an interesting thing about what's.
• 40:03
  Mist or not in beats of stories, but when they murder her father
• 40:09
  Thomas has actually married her. So she's coming as a bride to
• 40:12
  Elladale and and and it didn't seem the right moment for a big
• 40:17
  romantic white dress. And I was looking again because
• 40:22
  her language was a sort of cornucopia of flowers.
• 40:24
  And then you know as you come into the winter things change.
• 40:27
  But I've been handmade all these violets, because violets were a
• 40:32
  symbol of mourning for the Victorians and remembrance.
• 40:35
  So it was sort of like this was sort of a a more down to earth
• 40:39
  version of a bridal ensemble really and.
• 40:43
  You know, I didn't see that. No, no, it was just interesting.
• 40:46
  It was just one of those, yeah, those things.
• 40:49
  And and also I think I'd been looking at a painting and and
• 40:52
  maybe I didn't quite sort of work with that but the the
• 40:55
  flowers were differently from that that sort of you know
• 40:58
  remembrance and mourning. And then you see the same app
• 41:01
  for the game, sort of stripped of the flowers, which was a sort
• 41:03
  of is a nice little joke about, you know.
• 41:09
  Well, it really speaks to, it really speaks to like the genius
• 41:13
  of you and your team and like those details that, you know,
• 41:15
  sometimes they get awesome because it's, I get a bit
• 41:17
  obsessed. With yeah, that's why the you're
• 41:20
  the best the bathroom. Yes, this is honestly one of my
• 41:26
  favorite. Looks.
• 41:27
  I feel like I've already said that, but this is one of my
• 41:30
  favorite looks, 'cause it's this crocheted lace, It's like, oh,
• 41:33
  she doesn't know she's getting trapped here.
• 41:36
  Did fabrics and textiles play an important role for these
• 41:40
  costumes? Huge.
• 41:42
  There was a number of things, cause of course, when Guillermo
• 41:44
  said, oh, we're doing a Victorian thing and then you
• 41:46
  know make it real and all of that.
• 41:48
  So you know, that was the initial brief and you know,
• 41:51
  actually there's very few original garments that you can
• 41:53
  get away with and put there and there's very few braid things of
• 41:57
  the period. So we used it as a stepping
• 41:59
  point and inspiration, of course, we had to do multiples
• 42:02
  of things as well. So there's again practical leads
• 42:05
  sometimes, you know, contributes to the problem solving in a more
• 42:09
  creative way. And I think also there was, this
• 42:13
  is a show that when we did the breakdown, when you do your
• 42:15
  script breakdown, you realize there's so many never done so
• 42:18
  many nightgowns and dressing gowns before in my life.
• 42:22
  But and it's like, how do we do this and sort of bring the
• 42:24
  sophistication of Buffalo in there.
• 42:26
  And this is actually a piano show.
• 42:28
  This was made-up of a piano show.
• 42:30
  We found a vintage piano. Show and and sort of draped the
• 42:33
  sort of you know again looking at the paintings of and grabbing
• 42:37
  some mocha and all of those symbolists and all those
• 42:41
  painters and so it was a it was a piano show that we turned into
• 42:44
  a dressing gown. You know it was a you know an
• 42:47
  original piece so it was one of those places where we can
• 42:50
  utilize that and and also I think and she's a a bride in her
• 42:54
  home and then she's got to live with her sister-in-law and it
• 42:58
  being ready for your beautiful romance at night and you know
• 43:01
  you've got face of doom looking at you but you know the the
• 43:04
  wardrobe created from a a modern woman in in Buffalo and and you
• 43:10
  know wanting to look beautiful for her husband and and she
• 43:13
  would have a beautiful wardrobe of these things.
• 43:15
  So it sort of speaks to that world a bit as well so and again
• 43:19
  the little doomed puppy on there in the and actually I'm looking
• 43:23
  at this photo that you've got here.
• 43:25
  I don't know if that audience can see it.
• 43:26
  And I'm going, yeah, there's Doug Jones hiding behind the
• 43:29
  screen or. No.
• 43:31
  The audience will see the pictures eventually once we edit
• 43:33
  it. But I think when I went with
• 43:36
  it's a very painterly approach to things and it's sort of, you
• 43:40
  know, it is very much trying to create a painting and you have
• 43:44
  to have many brushes in your, you know, in your kit and things
• 43:48
  and a lot of things that we had started off with, we also over
• 43:51
  dyed and reprinted over and added depth of color and that
• 43:55
  and I think one of the challenges when you're also
• 43:57
  dealing with this is so slightly going off subject, but it's one
• 44:00
  of my, it's an ongoing process of frustration and excitement.
• 44:04
  But the digital process of filmmaking now as opposed to
• 44:07
  film does cause some, you know, challenges for wardrobe and
• 44:13
  things like this and the way it flattens things out or
• 44:16
  highlights every single detail. So if you're reliant on, I mean,
• 44:19
  Dan Lauchdon, the wonderful Dan Gemo's DOP.
• 44:24
  We did lots of camera tests and this is Guillermo helping
• 44:27
  everyone to do their job and be as prepared as possible so we
• 44:30
  know what we're going to get and what's going to work as he
• 44:33
  develops a language. And I I love that about working
• 44:35
  with him. You know, there's safety in it.
• 44:37
  You know, you're not going to get, you know, this is about a
• 44:39
  process trial and error. Does that work?
• 44:41
  No, it doesn't. And all these fabrics, mother
• 44:44
  goes to everything. We've put that in front of the
• 44:45
  camera constantly to test things, put it together with
• 44:49
  fabrics that the set decorators and that we're using wonderful
• 44:53
  Shane with all his fabric upholsteries and that the scenic
• 44:57
  artists with their walls. We'd constantly have these sort
• 45:00
  of little sort of workshops and that where these things were
• 45:02
  tested. And the great thing about
• 45:03
  Guillermo is that then that happens.
• 45:05
  You know, it's not like, oh, and then we've changed it all on the
• 45:07
  day. So you know, it's a, it's a it's
• 45:12
  it's giving people the time to do their work.
• 45:15
  That's great. I like this one too, because
• 45:19
  it's. I feel like Edith is like
• 45:20
  accepting her new life now and almost growing in to the house.
• 45:27
  Was this intentional with this piece?
• 45:30
  Oh yeah, absolutely. And sort of taking her into the
• 45:32
  sort of the darker tones, you know, she's either going darker
• 45:35
  or fading as as her life also does here.
• 45:39
  And again, this was another painting I found with those
• 45:42
  colors, You know, sort of, you know, in some ways there's again
• 45:45
  the practical mixed with the creative and we were sort of
• 45:48
  trying to on our budget work out how we can sort of shift the
• 45:51
  elements up and we're in a world of winter now and and she's, you
• 45:55
  know, it's sort of that wonderful, sort of she's in her
• 45:58
  late autumnal tones and that. So it's it's definitely working
• 46:01
  there. And again, actually the little
• 46:02
  train at the back is a period train called the little
• 46:05
  Butterfly, the Swallow Pail Butterfly.
• 46:08
  On the back, that's amazing. Well, it's just things, you
• 46:10
  know. It's just things that you find
• 46:11
  as you research and then I dump it all and then sometimes they
• 46:14
  just make their way back in and and actually you know the
• 46:17
  Victorians, you know we had this wonderful lady Lorraine on our
• 46:22
  crew and she was she's a Milliner and she makes the most
• 46:27
  exquisite flowers and things and we'd bring in wonderful buyers
• 46:31
  would bring in all these little antiques and that and she these
• 46:34
  were little sort of plummy Berry things sort of made from antique
• 46:38
  monetary velvets that she hadn't dyed and leaves.
• 46:41
  So it all comes from a period research but we created it to
• 46:44
  fit the language of the film and things.
• 46:46
  So she was always sort of a, you know Edith's world was sort of
• 46:50
  luscious and things until she started fading and that so you
• 46:54
  know all of this all the Passimantaria and everything was
• 46:56
  created for this. Wow.
• 46:59
  I am not ashamed to say that Lucille Sharp is my favorite
• 47:03
  character. Yes, she makes some crushable
• 47:05
  choices. I don't care.
• 47:06
  She's amazing. And one of, yeah, Jessica
• 47:10
  Chastain's amazing. One of my favorite looks is this
• 47:13
  blue dark blue look because she is literally to me feels like
• 47:17
  she's just grown into the house. Like she is Crimson Peak in this
• 47:21
  moment and I just. Wanted to give you a moment to
• 47:23
  talk about this look it's so cool.
• 47:25
  That's exactly the brief from Guillermo.
• 47:27
  You know he wanted the walls to be Scion and his thing was his
• 47:31
  instruction to me was when we're in Alledale, she and Thomas are
• 47:35
  part of the walls and and it became I think it's the whole
• 47:38
  relationship to the house. It's like a, you know it's a
• 47:41
  metaphorical umbilical cord. You know they're tied to this
• 47:44
  thing. It's their their fate as well,
• 47:46
  you know. And she, she never leaves the
• 47:48
  house. So literally in every way.
• 47:51
  Her trains became longer and longer to reflect that, you
• 47:54
  know, in certain corridor shots. It's very funny actually because
• 47:57
  my, I did all the costume drawings and my assistant pulled
• 48:00
  me up on it. Wonderful.
• 48:02
  And and she goes, but mother, you always, they called me
• 48:04
  mother you always do costumes from the back all these drawings
• 48:07
  from the back never wants to know what's at the front.
• 48:09
  And I go, well, it's because we're always walking down long
• 48:12
  corridors, you know the whole thing and and Guillermo spent a
• 48:16
  lot of time working with Tom and Guy and the team on those
• 48:21
  beautiful corridors and they like, right and and the whole.
• 48:27
  So that imagery became part of it and there was a beautiful
• 48:30
  line in the script describing the hat, the exterior of the
• 48:35
  house cleared, that cleared in a withered vine.
• 48:38
  And it also reflects the barrenness of Lucille, you know,
• 48:43
  not having children and all of that.
• 48:45
  So it became a metaphor for all these things.
• 48:47
  So we found another little one tiny leaf that had come from
• 48:51
  some antique piece of trim that we'd found somewhere and we we
• 48:57
  used that vine language that was part of the house that was
• 49:00
  wrapped wrapping the house as a MO a motif for her dress.
• 49:04
  So we spent I think that oak leaves.
• 49:06
  So we spent quite a while working at how to do this with a
• 49:09
  piece of cording and then when we knew what we were doing we
• 49:12
  got all the girls into wonderful team and they were women.
• 49:17
  So a team of eight spent three weeks making all these oak
• 49:19
  leaves and that and then the acorns are American acorns and
• 49:23
  and Jessica loved it because it sort of felt like claws and that
• 49:26
  was reflecting the architecture of the corridors at the time and
• 49:30
  it was a spine down her back. And so that was the train and
• 49:33
  everything helped her sort of feel part of it.
• 49:36
  And Jessica I think is actually wearing 8 inch heels at this
• 49:40
  point. I always, you know, a lot of
• 49:46
  actors, you know, it's all illusion as well and sort of
• 49:49
  trying to create the height and of course Tom's very tall so
• 49:52
  trying to make both siblings sort of feel equal in that way.
• 49:56
  But I loved, I think I loved working on this and it was sort
• 50:00
  of because of everything it meant really.
• 50:03
  And and again sort of, you know, we again with that wonderful
• 50:08
  element of Guillermo wetting down floors using, we had to
• 50:12
  utilize these things. And I think we did multiple
• 50:15
  versions of this dress to sort of answer to the moment, You
• 50:19
  know, it's like, you know that he plays a lot with scale and
• 50:23
  illusion and with both these female characters, Guillermo
• 50:28
  would, you know, play with, you know, again working with the
• 50:32
  props and set dressing team. You know, furniture was scaled
• 50:34
  up or made small and we had to do the same with clothes.
• 50:37
  And there's a lot of playing with that and there was some
• 50:41
  things quite subtle and you wouldn't notice.
• 50:42
  But we we were part of that process and creating that
• 50:45
  illusion with Guillermo. Right.
• 50:47
  It's it's just so beautiful, the decay of it.
• 50:50
  And I think the coolest thing I've ever heard a designer say
• 50:52
  is working, designing from the back because of the quarters.
• 50:56
  I mean, that's going to stick with me for a while because
• 50:58
  you're right, this is a corridor, a heavy film, and
• 51:00
  that's why it's so cool. You have, you know, you're, you
• 51:03
  know your category and what's on the plan.
• 51:10
  One of the most corridor heavy scenes I guess is the chase
• 51:16
  scene at the end with this fabulous nightgown.
• 51:21
  Can you talk a little bit about its role in the film?
• 51:25
  Absolutely. Again, the lead comes from a
• 51:28
  director, you know, he talked about the house that breeds,
• 51:30
  this house breeds. And for me, it felt really
• 51:33
  important to have fabric that responded to movement.
• 51:37
  You know, I when you understand the language of the film that he
• 51:40
  was making, that's quite melodramatic and touches on a
• 51:43
  lot of those sort of there's lots of corridors, lots of
• 51:47
  staircases. So movement was a big part of
• 51:49
  it. Then there was the the big
• 51:52
  motifs of Lucille being the moth and Edith being the butterfly.
• 51:56
  So those were big, like motifs that affected the colour
• 51:59
  palettes of what they wore, the the detail and decoration.
• 52:03
  I don't like to use the word decoration, but the detail.
• 52:06
  I don't like trim. I'm notorious for not liking
• 52:08
  trim, so I don't use that word. But you know, it was essentially
• 52:12
  so that becomes part of the language and the colour palette
• 52:15
  and and when you look at a lot of Guillermo films, he actually
• 52:18
  loves ombre and and that world. And I think it's the
• 52:22
  relationship to environment again, you know that this, this
• 52:25
  House of blood is and clay is seeping up through everything
• 52:29
  and and through the floorboards you can't wash away the stain of
• 52:31
  the sins and all of that. So, you know, all of these
• 52:34
  things have to be thought about. And with this nightgown there's
• 52:37
  there's things with the wonderful poisoning cup of tea
• 52:41
  and the chair as Edith becomes sicker and sicker with the
• 52:43
  poison. And you know, his brief to me
• 52:46
  was, you know, we want to make her feel smaller and smaller.
• 52:48
  So I had to make the sleeves bigger.
• 52:50
  I think I did a whole exercise at the beginning of this film
• 52:52
  with the silhouettes of both women sort of going well, how
• 52:55
  big is a big sleeve? And and the poo one goes, oh,
• 52:58
  this is gigantic sleeves. Well, the period actually had
• 53:00
  gigantic sleeves. And we, a beautiful Christine
• 53:04
  from Sands Films, had an an original garment from Worth.
• 53:08
  And you know when you looked at those, they weren't just sort of
• 53:10
  gathered and there were some of those sleeves, just even the top
• 53:13
  half. And what we look at as a classic
• 53:15
  leg of Merton sleeve had 3 1/2 meters of fabric in it.
• 53:18
  And you know, so there's all of the actual, again, the reality
• 53:22
  of something can be really a creative answer to stuff.
• 53:26
  And so we and I I wanted her to feel fragile and more and more
• 53:29
  transparent. So she's almost like a sort of a
• 53:32
  gossamer, you know cocoon kind of world and and very vulnerable
• 53:38
  and that so she sort of fades and becomes sort of, you know,
• 53:41
  more X-ray like and things. So there's a lot of, a lot of
• 53:43
  work within that and we had to make many of these 90s.
• 53:50
  It's almost, it's almost like she's becoming a ghost, like in
• 53:53
  her own right. Like she's like transitioning
• 53:55
  into like that Wraith. Not to use a Lord of the Rings
• 53:58
  term, but she's like kind of transitioning.
• 54:00
  Absolutely. And I think that's a wonderful
• 54:02
  thing about gothic literature and and filmmaking that there
• 54:06
  are there. There's those languages that you
• 54:08
  can use and keep looking at and reinventing and things.
• 54:11
  So yeah, it was, it was great working on that.
• 54:13
  They had to do a lot of work that nighty.
• 54:19
  And the other fabulous gown in this scene is Lucille's With
• 54:24
  that that like little robe over it just sets it perfectly for
• 54:31
  me. What was your idea behind this
• 54:34
  one? Well again again it was First of
• 54:37
  all how do we make these endless nighties and light gowns have
• 54:40
  meaning and you know support the characters and and what
• 54:43
  Guillermo wants to do. But he and Jessica felt that she
• 54:47
  really needed to pre free at this point.
• 54:49
  You know when all the cards are on the table and the discoveries
• 54:52
  were made about the relationship of the sharp siblings and the
• 54:55
  incest and all of that, there was a sort of she wanted to be
• 54:58
  free and just it's almost like years of everything came out and
• 55:02
  she said I just want to be flying around and and and also
• 55:06
  there's a sort of still a sensuality about it and that and
• 55:10
  we'd so we used the finest. You know that whole thing when
• 55:15
  she's run chasing Edith and running down endless staircases
• 55:18
  in those heels, we chose yeah, yeah no.
• 55:23
  Jessica's amazing. Amazing.
• 55:26
  That's crazy health and safety. Maybe not.
• 55:29
  And she goes I'm wearing and I'll make them work and she goes
• 55:31
  and she she was hats off to her and but but to make the moment
• 55:37
  work for the action this is where it almost becomes a stunt
• 55:39
  thing. It wasn't about over 90s and
• 55:41
  cotton or linen or anything or so it was we chose I think we
• 55:45
  chose almost like the finest habitat because we wanted to be
• 55:49
  able to exaggerate every single moment and and set a you know
• 55:53
  exaggerate all of those things. So it became about that, really,
• 55:57
  and and it took her into a different place from all these
• 56:00
  constricted gowns and things that she'd be wearing.
• 56:02
  It was Lucille, as we hadn't seen her before.
• 56:05
  So it was a classic example of again, working with your actors
• 56:09
  and understanding their need for that moment, and then letting
• 56:12
  that inform the design process. Wow, so Kate, I am a huge nerd
• 56:19
  on like the costume breakdown process.
• 56:22
  I mean, I love when things get messy, dirty, and they say
• 56:25
  beware Crimson Peak for a reason.
• 56:27
  Because there is blood, there is clay, there's dirt, This is
• 56:31
  snow. Take us back.
• 56:33
  This must have been an absolute nightmare but also like the
• 56:36
  perfect nightmare to work on. I think I've got a photo of
• 56:39
  three crates of shoes coming from Pompeii of silk covered
• 56:42
  yellow boots for Edith because we were all happy chipping along
• 56:46
  and what we this the yellow dress was what we called the
• 56:49
  Nancy Drew dress because she was always snooping down corridors
• 56:52
  and. Yeah.
• 56:53
  And then guy always said no I'm going to have clay and mud and I
• 56:55
  want the ombre of clay coming up the dress and and then you go Oh
• 56:59
  my God, you know, so I don't want to compromise on the
• 57:03
  materiality and that but we have to be clever because there's not
• 57:05
  needless budget or time and things like that But you know
• 57:08
  shoes are a big thing. Again understand your director
• 57:11
  when we read the script I think in the opening scene in contrast
• 57:15
  this breakdown to the scene we see first see Edith and Buffalo
• 57:18
  walking along the boardwalk. The, I think the one of the
• 57:22
  paragraphs and script breakdown is you know we see feet, boots
• 57:26
  walking along the the duck boards and so you go, OK that's
• 57:29
  where his camera's going to be. You know that's where my time
• 57:32
  needs to go into the petticoat and the boots and things.
• 57:35
  So and I love boots. It's hard to always justify
• 57:38
  them. I've worked with producers go
• 57:39
  and we're not spending money on boots and I go, well, depends
• 57:41
  where the camera's going to land, you know or you say you
• 57:45
  swap out boots and maybe they're wearing gumboots underneath the
• 57:47
  paired dress and you don't know that until the camera changes
• 57:50
  and we're on, you know. So again, it's a practical
• 57:52
  thing, but I I think breakdown's just a part of Guillermo's
• 57:56
  language and it's not breakdown. It's part of the metaphorical
• 58:02
  world that he's in and that so you treat breakdown in a not
• 58:06
  fanciful, but it's a more painterly way.
• 58:08
  So again, it's always in relation to the landscape.
• 58:12
  Even on Pacific Rim, I think we had, you know, construction
• 58:16
  workers in that and they reflected the landscape.
• 58:18
  And so Kaiju workers, they all became stained with the blood of
• 58:22
  the blue blood of the Kaiju and that.
• 58:24
  So everything had that. So you know, it's just a
• 58:26
  language that is part of unique to him and his world.
• 58:30
  So and it becomes a heightened thing because of it.
• 58:33
  So yeah, and just endless blood. And when, I'd have to say, when
• 58:38
  Gemma says he's using rain, it's never a little bit of rain.
• 58:42
  It's always torrential. And it reminds me of a story
• 58:45
  when we hit what I love about them, that you can be doing
• 58:48
  something fairly kind of standard like Pacific Rim.
• 58:50
  And then you have a scene with nuns.
• 58:52
  He loves nuns. I love all of this in every show
• 58:55
  and and but he had torrential rain going.
• 58:58
  So all the hoods and things and you know we had these giant
• 59:01
  hoods at the nuns wore but they couldn't be done in Linden.
• 59:04
  We had to make them out of a sort of formed plastic because
• 59:06
  literally the water was so torrential, it acted like drain
• 59:09
  guttering on drains of roots and all this water would tip out of
• 59:12
  these poor ladies. So you know so again it's this
• 59:16
  amazing balance all the time between practical and and
• 59:21
  creative with him and I think they help solve problems and and
• 59:25
  lead you a certain way. So it's it's just a big part of
• 59:27
  his language and I I love that. I love that the world is always
• 59:32
  stained and it's you know materiality and that I I think
• 59:36
  it makes it very organic. It's a very organic way to work
• 59:39
  and I I love that part of the process with Guillermo.
• 59:42
  Right. Guillermo's a go big or go home
• 59:45
  type of director it sounds like. Yeah, absolutely.
• 59:49
  Absolutely. So far, our final question, in
• 59:51
  the end, our our favorite brother and sister couple meet
• 59:55
  their demise and they reappear as ghosts.
• 59:58
  And I feel like most people, when they look at this, they're
• 1:00:00
  like, oh, the CGI. But I could tell that there's a
• 1:00:03
  real costume underneath there. Yeah, it was all handmade.
• 1:00:07
  It was all made specifically for that, yeah.
• 1:00:09
  Wow. It's it's beautiful.
• 1:00:10
  Yeah. Kind of take us back.
• 1:00:12
  It's just. Looking at the colours and the
• 1:00:14
  white, especially on Thomas, it's really intricate.
• 1:00:17
  Yeah. And and it was sort of about the
• 1:00:19
  clay and all of those things sort of weeping the clay of Ella
• 1:00:22
  Dale and that you know he's a wonderful tragic romantic hero
• 1:00:25
  and that. So you know and we'd we'd spent
• 1:00:28
  ages testing how much is too much.
• 1:00:30
  You know Gamo would always be part of that process And but it
• 1:00:33
  was really just again about the environment and him being
• 1:00:36
  trapped there forever and that way and his sacrifice.
• 1:00:40
  You know. So it was sort of and again the
• 1:00:41
  painted language and I think you find that in the devil's
• 1:00:44
  backbone and things. You know there's little motifs
• 1:00:46
  that are very Guillermo that come through and but we had to
• 1:00:49
  work again with hair and makeup and this only works because the
• 1:00:53
  hair is now white instead of dark and because of the makeup
• 1:00:57
  test took us to this palette. So everyone has to be part of
• 1:01:00
  that collaboration. Absolutely.
• 1:01:03
  And and the same with Lucille becoming a ghost with black and
• 1:01:06
  like I can't. I was a long time ago, I was
• 1:01:08
  trying to remember. But you know, again the clothes,
• 1:01:11
  we tried painting things and then in the end we had to sort
• 1:01:14
  of make it again. So sometimes you try and do it,
• 1:01:17
  oh, we'll just paint it. But that doesn't always work,
• 1:01:19
  especially with, you know fabrics that you choose.
• 1:01:21
  And that's often you're having to find a new series of
• 1:01:24
  technical things to answer to the moment and really most of
• 1:01:28
  the time ends up being practical.
• 1:01:29
  And that's a great way to go. In many ways, I would say being
• 1:01:33
  practical rather than relying solely on visual effects is a
• 1:01:36
  great way to sort of, hey, it's great for your actress and
• 1:01:40
  actor, but also you know, there's some element of being
• 1:01:43
  able to control in an uncontrollable world.
• 1:01:45
  You know, once it's done your work, there's a whole thing
• 1:01:48
  onwards. But again, Guillermo's leading
• 1:01:50
  all of that. So you trust that he's got his
• 1:01:52
  overall vision there and and he knows what he wants.
• 1:01:55
  You know sometimes all these, all these wonderful directors,
• 1:01:59
  you know, they all have their own different language and way
• 1:02:01
  of working. And actually my crew say this to
• 1:02:03
  me, if only we had a microphone microchip that we could just
• 1:02:06
  download what's in your head and I say that about my directors
• 1:02:10
  and and that but you have to learn to trust them because
• 1:02:13
  everyone's got a different way and process and it's not always
• 1:02:17
  you know, it's never, it's not always a direct I want this or
• 1:02:20
  do that. It's a discovery in that.
• 1:02:22
  So you've got to trust that it's instinct, and somewhere along
• 1:02:25
  the line, if you test enough, you'll get there.
• 1:02:27
  So you know, you learn a lot on every project.
• 1:02:30
  Every project's different. Yeah, part of the interesting
• 1:02:35
  part of the process. Well, if you do start selling
• 1:02:38
  Kate Hawley microchips, please put us at the top of the
• 1:02:41
  reservation list. It's very dark.
• 1:02:43
  It's very dark. I think one of my my supervisor
• 1:02:46
  and one of them said, oh, Kate Hawley, I'd hate to be inside
• 1:02:48
  your head. That's what we're paid for.
• 1:02:52
  We're paid for our madness. So.
• 1:02:54
  Maybe most people, but not Elizabeth and I.
• 1:02:57
  So Kate, we would love to play a quick little game with you.
• 1:03:01
  Would you be willing to play? OK, I can't guarantee you'll
• 1:03:04
  like the answer, but we'll try. The one costume to rule them
• 1:03:11
  all. Spencer, Are you ready?
• 1:03:18
  I'm so ready. Oh, this is horrible.
• 1:03:20
  Now I'm like a rabbit in the headlights.
• 1:03:23
  Well, I'll go first, so you can have some time to think of
• 1:03:25
  yours, OK? I'm like, even though you've had
• 1:03:29
  10 years, but I already said it. But my one costume rule them all
• 1:03:35
  is a drop of blood dress. I mean it's it's, it goes beyond
• 1:03:38
  just this film. If I were to think of top five
• 1:03:40
  costumes and my history of being a costume design journalist,
• 1:03:44
  this is one of the top five. So I love this dress.
• 1:03:48
  Thank. You.
• 1:03:49
  Elizabeth, that's definitely your one costume to rule them
• 1:03:52
  all. Like seriously, you talk about
• 1:03:54
  it? All the time.
• 1:03:57
  All the time. We'll be watching something.
• 1:03:59
  And he's like, yeah, it's really like Lucille's dress and Crimson
• 1:04:02
  pee. I get like, Crimson pee vibes
• 1:04:04
  from this. I'm like, OK, Spencer, we get
• 1:04:06
  it. It's your favorite.
• 1:04:08
  My one costume to rule them all, though, is Edith's final
• 1:04:12
  nightgown. Just because it's.
• 1:04:14
  The house, that breeze. I love that the costume reflects
• 1:04:17
  that. The way it works with the light,
• 1:04:20
  the whole environment. I just think it's just stunning
• 1:04:22
  and perfect. All right, put things in the
• 1:04:27
  snow. I'm going to if I say this,
• 1:04:29
  you're going to hate me and. You hate all of them.
• 1:04:33
  No, No. Well, it's you know, again,
• 1:04:35
  you'd love and hate all of them, literally because they do
• 1:04:38
  different things on different days, on schedules and all of
• 1:04:40
  that. But I can I answer as an
• 1:04:42
  element? Sure.
• 1:04:44
  OK. The hand belt for me was the
• 1:04:48
  thing that was the the starting point of everything for me.
• 1:04:51
  The hand belt that Edith wears. The scene and all of that.
• 1:04:55
  So it's a piece of morning jewelry that we took and then we
• 1:04:59
  created these ivory hands that framed her waist and the belt is
• 1:05:02
  made of human hair and it's. Right, Yes.
• 1:05:06
  So for me it represents how I think and and that I've got a
• 1:05:11
  particular fondness for those little ivory hands.
• 1:05:13
  It's someone selling on the Internet and I don't get any
• 1:05:15
  money off it but anyway, but I, I and I I I think it's just
• 1:05:20
  because it represented all the Victorian language they've been
• 1:05:22
  looking at with with mourning and death and and their approach
• 1:05:26
  to death and that we always think of them as being slightly
• 1:05:29
  horrific. You know, the the Victorians
• 1:05:31
  with all their dead portraiture of, you know, loved ones sort of
• 1:05:34
  sitting up with a post up their back, but actually it was their
• 1:05:38
  way to cherish a loved one. And we didn't have camera, you
• 1:05:42
  know, the cameras weren't accessible like they are now and
• 1:05:44
  all that. So I think the hand belt is my
• 1:05:48
  favorite element. I find it so hilarious that you
• 1:05:51
  thought that we thought that would be a bad answer.
• 1:05:53
  The the hand belt made of human hair.
• 1:05:55
  Yeah, that's a brilliant answer. Yeah, I'm probably not
• 1:06:03
  desifying, so now you have to find a photo of it.
• 1:06:05
  But, oh, we'll find it. Yeah, we'll find it for sure.
• 1:06:07
  We have some time. Well, Kate, this has been
• 1:06:11
  brilliant. I've been we've been looking
• 1:06:13
  forward to this for such a long time and I'm so excited this
• 1:06:17
  was. This is great, and honestly,
• 1:06:19
  Crimson Peak is one of the greatest costume design films
• 1:06:22
  ever. We've been saying that for a
• 1:06:23
  while and it's an honor to have you here.
• 1:06:25
  Why don't we fix that? But I have to say my, my again,
• 1:06:32
  you know, you you are, you know, we all benefit from the crew and
• 1:06:36
  people that we work with around us.
• 1:06:37
  So that's all part of it. And it was a very special
• 1:06:40
  alchemy. It was a very special project
• 1:06:43
  and I'll always be grateful for it was a wonderful piece to work
• 1:06:46
  on and I, you know, it was a funny when it came out but I
• 1:06:49
  love that it's found its own following and understanding and
• 1:06:53
  you know, it's we're all very fond of it.
• 1:06:56
  And dear Tom, who passed away? Our production designer.
• 1:07:00
  It was a magical time. Oh, wow.
• 1:07:03
  Yeah, I mean it. It really means a lot to a lot
• 1:07:06
  of people, this film. And, you know, as the years go
• 1:07:08
  by, I think people are starting to discover it more.
• 1:07:11
  And, you know, this has been a real treat.
• 1:07:13
  Thank you so much, Kate. This is brilliant.
• 1:07:15
  All right, lovely to speak to you both and lovely to meet you
• 1:07:19
  properly. Really lovely.
• 1:07:37
  WhatsApp costume nerds, This is Spencer Cohost and producer of
• 1:07:41
  the Art of Costume blog Cast. I love the simple things in
• 1:07:44
  life. Free parking, air conditioning,
• 1:07:46
  and a nice comfortable hoodie. If you feel the same way, then
• 1:07:49
  I'm here to let you know that if you wanted to support our show,
• 1:07:52
  you can head over to the Arctic costume.com/POD store.
• 1:07:56
  There you can buy awesome blogcast merch through T public
• 1:07:59
  such as T-shirts, hoodies, coffee mugs and stickers.
• 1:08:03
  We even have a baby onesie for all those baby costume designers
• 1:08:06
  out there. To get your merch, head over to
• 1:08:08
  the Arctic costume.com/PODstore. Thank you for all your support.
• 1:08:33
  Elizabeth, I am so happy that we finally got to hear the
• 1:08:36
  interview. I know it's been so long and
• 1:08:40
  like before we did this, I listened to it again.
• 1:08:42
  Just like to refresh my memory. And I was like, that interview
• 1:08:46
  was everything I wanted it to be.
• 1:08:48
  It was perfect. It was everything.
• 1:08:51
  Just Kate Hawley is the best. She is hilarious.
• 1:08:54
  She could be a stand up comedian.
• 1:08:55
  She's so funny. She's so funny.
• 1:08:58
  And just all the insights she gave us into all the costumes I
• 1:09:02
  love talking about. The breakdown of them, you know,
• 1:09:05
  I was excited to talk about the drop of blood dress.
• 1:09:08
  That blue dress that feels like it's growing into the house.
• 1:09:12
  It's just. I finally got my suspicions
• 1:09:14
  about the. Hat finally that was.
• 1:09:18
  I was so glad for that moment. I felt like, you know, we
• 1:09:21
  finally revealed the the mystery ink villain and scooby-doo.
• 1:09:24
  We pulled the mask off. So it was just such a great
• 1:09:30
  interview and I'm sure everyone at home is just.
• 1:09:33
  Jumping up and down probably re listening to it, which I
• 1:09:36
  recommend if you gotta give it another listen once, twice,
• 1:09:39
  three times. We support that, yeah.
• 1:09:42
  Yes, we absolutely do. And tell us you what your one
• 1:09:47
  costume to rule them all is, or your one element, your one piece
• 1:09:51
  to rule them all as Kate Kate, Holly chose.
• 1:09:56
  She's the boss. I was like, pick whatever you
• 1:09:58
  want, Kate. This.
• 1:10:00
  Is your This is your movie you. Can I mean, this is your podcast
• 1:10:04
  for all I care? Yeah, we could do whatever you
• 1:10:07
  want. Whatever.
• 1:10:08
  Whatever Kate Holly wants from us is what she gets, but let us
• 1:10:15
  know. Your choice and leave us a
• 1:10:16
  little voicemail at 626-515-1826.
• 1:10:23
  Yeah, I know that you all have tons of thoughts and feelings
• 1:10:26
  about Crimson Peak, so just drop them all in.
• 1:10:29
  We know you. We know you have it.
• 1:10:31
  Yeah, it doesn't have to just be your one costume to rule them
• 1:10:34
  all choice, you know. Just tell us whatever you feel
• 1:10:37
  about Crimson Peak. Yeah, with that, Elizabeth, that
• 1:10:42
  is the end of our official spooky season.
• 1:10:45
  Yes. That's the time of the year that
• 1:10:48
  we look forward to every year when I can't believe it's over
• 1:10:51
  already. I know, I I'm a little sad, but
• 1:10:57
  we are going into next month with some spooky vibes.
• 1:11:01
  Spencer. Are we watching next week?
• 1:11:05
  Yeah, we can't really quit the spooky too much.
• 1:11:08
  So we're kind of doing like a soft spooky that help us
• 1:11:10
  transition back into regular life, I would say.
• 1:11:13
  And we're sticking with spooky scary homes.
• 1:11:17
  Maybe that's our theme. So next week we are watching
• 1:11:21
  Disney's The Haunted Mansion, the new film which you could
• 1:11:24
  currently watch on Disney Plus. Yes.
• 1:11:28
  I'm so excited. I love this.
• 1:11:30
  Too. Me too.
• 1:11:31
  I was shocked. I didn't think I was gonna like
• 1:11:33
  it this much. Me too.
• 1:11:35
  I'm just a big Haunted Mansion nerd.
• 1:11:37
  And you know, it was a kids movie, but it was, yeah, it was
• 1:11:41
  good. Like, what's wrong with it being
• 1:11:43
  a little bit of a kids movie? I mean, it's in a theme park, So
• 1:11:47
  what did you all expect? Plus, it's in New Orleans, which
• 1:11:51
  you and I both love. I just love New Orleans.
• 1:11:54
  We went on a trip. I know I've brought up on a
• 1:11:56
  podcast multiple times. We might go on another trip.
• 1:12:00
  Honestly, just to get back into our spooky New Orleans vibes and
• 1:12:05
  I'm very excited that we'll be joined by a special guest.
• 1:12:08
  I'm very excited about this because we've never done
• 1:12:10
  something like this before. We are having our first costume
• 1:12:14
  concept artist as a guest and we're talking about Jen Hancock,
• 1:12:19
  who was one of the artists on Disney's The Haunted Mansion.
• 1:12:23
  So she will be sharing with us her process, her work, and what
• 1:12:26
  it means to be a costume concept artist.
• 1:12:28
  Especially on the Haunted Mansion.
• 1:12:30
  What a crazy, crazy job. Until then, thank you all for
• 1:12:35
  listening. Don't forget to follow us on
• 1:12:37
  Instagram at The Art of Costume Pod TikTok at the Art of
• 1:12:40
  Costume. Don't forget to head to our
• 1:12:43
  merch store at theartofcostume.com/pod store.
• 1:12:47
  Get yourself a spooky little hoodie, because it is getting
• 1:12:50
  cold out finally now that October is becoming November.
• 1:12:55
  And as always, don't forget to leave us a 5 star text review on
• 1:12:58
  Apple podcast or rate US on Spotify.
• 1:13:01
  It really does help Elizabeth. Happy Halloween.
• 1:13:06
  Happy Halloween Spencer. And to all of you, have a spooky
• 1:13:10
  night. And beware of Crimson Peak.
• 1:13:12
  Whatever you do, do not enter the house.
• 1:13:15
  I don't know how many times we got to say it.
• 1:13:17
  No, don't. Don't trust random English
• 1:13:20
  baronets that come. Become interested your way.
• 1:13:24
  Don't trust them. Especially two siblings that
• 1:13:26
  seem to like really be into each other.
• 1:13:29
  Just. Look for the signs.
• 1:13:31
  Just be careful, everybody. Be careful.
• 1:13:35
  Happy Halloween, The Art of Costume blog cast is hosted and
• 1:13:43
  produced by Elizabeth Joy Glass and Spencer Williams.
• 1:13:48
  Our audio engineering and editing is done by Dan White.
• 1:13:52
  Follow us on Instagram at the Art of Costume Pod or visit The
• 1:13:56
  Art of Costume blogcast.com for all blog cast updates.
• 1:14:01
  If you want to support the show, go to theartofcostume.com/POD
• 1:14:06
  store. For more costume reviews, deep
• 1:14:09
  dives and interviews, head over to The Art of costume.com, A
• 1:14:14
  blog dedicated to highlighting the best in costume.
• 1:14:36
  We not only watched a Art of Costume podcast favorite Crimson
• 1:14:42
  Peak, me and Spencer. I interviewed Costume designer
• 1:14:47
  Hate Holly. You said my name wrong.
• 1:14:51
  What did I say? You call me like Spender or
• 1:14:54
  something. Did I?
• 1:14:57
  Yeah, do. You want to give that another
• 1:15:00
  go? Sure, Sorry.