Latest / The Art of Costume Podcast / Enchanted with Mona May

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Enchanted with Mona May · The Art of Costume Podcast

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possibilities from T. Public, thank you for all you do
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and enjoy the show. We started drawing and they had
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like little short shorts on the on character.
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And like, you know, I can't put Timothy spall short shorts,
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exactly. So you know it's a good ones, we
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work as a team to be like okay you guys you know it looks a
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little different. Yeah.
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Listen up nerds. Hello and welcome to the art of
1:52
costume. Blogcast I'm loose with joy
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glass and I'm Spencer Williams Elizabeth.
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Happy fairytale romance month. Happy fairytale romance, Mom.
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Oh this is so exciting. I love all the movies you seen
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so far. It's brought up my spirits so
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much. We all need like a little bit of
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love these. These days, you know, and like
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fantasy and dragons, and true, love's kiss, and all that.
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Good stuff. Pie pie, all of that good stuff,
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right? Cinderella dresses, glass
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slippers. I just, I love all these movies
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were watching and I think this week was a particular favorite
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of mine. What are we watching this week?
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Elizabeth everyone. This week.
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We watched Enchanted. Oh my God.
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Slide back, that's a good movie. I was 12 years old when this
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movie came out. I mean, I've Loved this movie
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for majority of my life Zane. I don't remember a day without
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Enchanted Amy Adams. Patrick Dempsey.
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Susan Sarandon. It's got like all the big names.
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It's fun, it's whimsical. It has a dragon.
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It has a dragon for you. Yeah, Anna.
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I feel like we should just jump into this with a summary Spencer
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Sir. All right.
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So enchanted and the fairy tale land of andalasia.
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Giselle frolics with her Woodland, Pals and falls in love
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with the handsome prince Edward. But when Giselle arrives at the
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castle to marry her prince charming his evil stepmother,
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sends the princess to be to a place where there are no happy
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ever Afters, New York City. That's a great premise to the
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film. So good, if you haven't seen
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this, turn us off. Put on Disney plus go.
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Immediately immediately you'll be happy.
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You did. Once you're back we're just
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going to jump right into behind the Wardrobe because this
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amazing fabulous wardrobe was brought to us by director Kevin
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Lima and costume designer Mona May who you all know from
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Clueless The Wedding Singer A Night at the Roxbury.
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The Haunted Mansion, The House Bunny, a million and two
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uncredible shows and Movies and best of all, Spencer.
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We have her with us today. Welcome Mona, Mona.
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Welcome, hi, everybody. Good to be here, especially for
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a fairytale romance month. I love that, right.
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We all need a little fantasy right now, Mona.
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We do darling. We do, it's harsh out there.
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So I'm glad we can get, maybe more fans for our Enchanted.
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You know, people who haven't seen it, we can get them in.
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Look at me. Yeah.
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Don't trust anybody who hasn't seen Enchanted yet, it's just
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the greatest fairy tale ever. You know, on some of those
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hardcore, you know, non romance fans, maybe now it's time to
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feel good, get to Disney plus and have some fun, right?
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So we're going to take a quick break.
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And after the break, we're going to get into our interview.
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I'm so excited. Me too.
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Okay, we're back. Are you guys ready?
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Let's do this Mona. I love talking to you.
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It's been a while since we last talked about clueless but It's
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all about you and Enchanted. But first for the podcast
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listeners, I always loved listening to your story.
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Do you mind just kind of giving our audience a little bit of
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background on how you got into this field?
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I love talking about it because I think it's an unusual way that
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I got into this field. I always wanted to be a fashion
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designer so that's kind of was my first love you know as a kid
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as a little girls dressing mom and friends and you know
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creating collections for my little princess Dresses.
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So it was just, you know, just part of me, it was my dream and,
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you know, I studied fashion, I'm from Europe.
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So I studied in Europe, I went to New York and ended up in LA
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and the Fashion Institute here in Los Angeles.
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And when I was in school, you know, I had a bunch of friends
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and UCLA film school and USC and you know, we're hanging out and
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they like hey, you know, fashion can you help us?
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We doing some little pieces films and you know, read the
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script and you Maybe you can bring some clothes and I was
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like, sure no sounds like a fun weekend.
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And this was really my introduction to costume design.
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And I have to tell you, I called the bug immediately, I loved
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reading the script. I loved being able to tell the
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story through the close to dive into the kind of psychology of
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this, the humans. And it was so much more than
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just fashion. But, you know, creating creating
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great clothes. And I also loved the
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collaborative kind of process of filmmaking, you know, being a
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director Their Vision. Bring my own version of research
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being able to go into different period time period as you know a
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fantasy and you know I was almost a good manager, you know.
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Sometime I can you know which is the part that you have to
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deliver right? Can just be fabulous you know
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artist but you have to deliver in film you have to be on time.
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You know you have to make sure everything fits and things,
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don't rip on, you know, on set and kind of happened and it
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really was very Yunos MTV times which ages me little bit, you
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know, MTV was starting out and I just started doing videos and
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music videos and there was a funny show on TV on MTV called
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just say Julie, which was like a skit comedy really fun show you
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and I would get. So, the whole nother World from
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me that I really didn't know it existed, you know, Hollywood or
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I mean I watched movies, but that was it.
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And I was able really to To marry, you know, my love for
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fashion and costume design. And my career, you know, being
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so lucky to have a big break and, you know, film clueless,
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which was about fashion, you know?
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So that was super fun and I think when I met any heckling
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the director, we did a pilot together that didn't
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unfortunately, get picked up, but we got to meet and form this
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super creative relationship and when she wrote clueless, he
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called me. She called me up and she said,
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you know what, you really the perfect person because you love
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fashion you from Europe, you know, You know, kind of the
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trends, you know, where to look for the Trends on the runway
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shows, and how now, we can marry that.
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And, you know, create this Beverly Hills Rich Beverly Hills
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girls world, and that film, really put me on a map, you
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know, I mean, we didn't know it's going to be such a huge
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success. We were just doing the fun cool
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film that, you know, hey, we love the script but it's just,
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you know, blew up. And here we are 25 years later
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and it's still, you know, one of the most beloved session films
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and yeah, countless lines of Clothes made after it and you
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know, yellow plaid even in 2022 all over the runways.
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I think the rest is history, you know, it's been a really fun to
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be kind of the queen of the 90s. You know, the all the big
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comedies, Wedding Singer Never Been Kissed.
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Romy and Michele, you know, to really have that kind of great
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success where the doors open and I was able to really kind of,
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you know, play and have fun. And I think, you know, and sent
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it was really cool for me because it was kind of like,
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after doing Stuart Little Which was a CGI live action film.
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I was able to kind of jump into the two different world for me,
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which was more of CGI fantasy and kind of marry my new lab,
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which was really more of the technical stuff, you know, kind
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of the CGI work and I really, really enjoyed it.
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So, enchanted really was super fun.
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It was, you know, such an interesting film to do 2D
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animation live action, and then, you know, CGI costumes.
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Yes and that all had to live, you know, one costume that lives
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in all the three different mediums.
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Yeah, jumping into that, part of it.
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What was the collaboration process like between?
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You know, the classic animators, the CGI, your work with the live
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action like that. The combination of those three
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is part of what makes this such a fun movie.
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Can you talk a little bit about the collaboration process with
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that? Well, the communal communication
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is always the most important thing and I took a lot about
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when I talk to students about the communicating Ideas and you
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know, communicating ideas, not only to the director actors but,
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you know, in between the different departments.
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So here, it's really. We had to had a very, very close
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communication because it was the same costume, you know, like
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Prince Edward nerissa, they never changed.
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That's it was really one costume that had to travel to these
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different mediums and what was really interesting, you know, in
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2D animation, everything is hand drawn and it was so awesome to
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meet these guys. As you know who are like all the
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Disney Guys, these kind of their special does that move around
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and you know, really to see this was incredible.
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And and you know the research I got to do, I got to go to the
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vaults of Disney and one of these to go in a special
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temperature with the gloves and the looks for the artwork of the
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20s and 30s and 40s. And and you know, see what
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hasn't been done and kind of what kind of a fresh look.
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Can we create in the animation? So it's modern but very much of
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Disney, you know, to I mean you kind of Reinventing these
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characters in a sense but they have to, you know, they live in
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our psyche, you know you when you think of a princess you know
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what it is. It's a big dress with the tiny
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ways, with the big puffy sleeves, you know, when you
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look, when you think of could nerissa, you know, it's like,
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how do you reinvent, these characters to give them
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freshness, but stay in the Disney World.
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And, and something that we really see in our heads, can go
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too far. So there was really interesting
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and what was Also interesting is that you are working with
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animators drawing these characters that.
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Now first time probably for them, they have to be living as
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a live-action. So the questions that we drawing
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has to be put on human bodies because, you know, animation,
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there's no gravity, right? Yeah, you can do anything.
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I mean, you can have the short shorts, you can have whatever
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everything just kind of stays and flows and plays and nothing
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falls off. You know, on this needs to You
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can completely control it which on the human body when actor is
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working. You know, walking through New
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York or Central Park dancing. You have to make sure that the
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shit is stays on. Yeah, you know, so it was
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interesting, kind of working with them because I had to bring
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the Royal reality into the room. Like, okay.
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You guys, you know, the great example, is this side, this side
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kick of of Edward, you know, play by Timothy spall because we
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started drawing his costume before.
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They hired a doctor and, you know, I'm very involved in the
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design part which was very cool. I was brought on very, very
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early to prepare the movie. I had about seven months you
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know, to prepare with the animators, you know, all the
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designs and we started drawing and they kind of do, you know,
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we started drawing and they had like little short shorts on the
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on character and like you know, can't put Timothy spall short
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shorts. Exactly.
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So you know it's once we work as To be like okay, you guys, you
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know, it works a little different.
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Yeah, listen up nerds. It was really cool to do that
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because also what was very interesting for me as a question
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is going to come to other side of that?
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Was that, you know, when you working with animation and I
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kind of mentioned that the when you think of the animated
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princess, it is. This certain kind of proportion,
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right? It's a dull, like proportion.
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So you have this body that has a tiny, tiny waist, Big sleeves.
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The big hoop skirt, you know, and now you have a human body.
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So what do you know, how do you reconcile that?
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So my job was also the other side of that sub drawing it with
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animators, you know, figuring out what we're going to do.
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But then taking that and having to make that happen in live
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action. So the proportion in these
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costumes was one of the most and tricky thing, how do you take
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for example, the dress wedding dress of Giselle and put it in
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New York City and you make her Collect the animated character.
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So this leaves were huge, the hoop skirt was you know bigger
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than King and I to really create that little doll like proportion
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on the human body and it was very very interesting and then
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look at the prints to you know you have these big sleeves.
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I mean it was so interesting doing the fittings, you know,
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and I think the first fitting we had and it was the fees were so
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big that we couldn't even see the actors.
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Had my goodness. Well, I mean Because you don't
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know you like making this thing and then not really tell you,
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put it on and then, okay, how do you take this character?
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Not make him stupid-looking. Right?
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Because I mean, it's like you're taking this weird cartoon with
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the big sleeves with this puffy chest and kind of, you know,
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it's off, right? I mean it looks great in a
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cartoon, but how do you take that now and and create the
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costume? So when you see him in New York
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City, let's say you know I think the opening shot with him is on
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the box. It he looks glorious that he
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looks handsome, that you You understand why she's still in
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love with him and maybe not Patrick Dempsey enough.
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He came to New York and look like a kind of silly goof ball.
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You'll be like ditch him, right? Right.
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Like forget it. So he had to look handsome.
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So it was a really tricky costume actually that costume
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for him to make the proportion. Right?
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You know, to make the sleeves like they look and act and
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animation in real life with the stitching with the piping with
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the, you know, embroidery On it. I mean it's almost like a
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mathematical equation that we had to do, you know, we just we
16:13
petted his chest, we petted his but we you know it was all like
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engineering and like that look and James Marsden you know what
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incredible actor he was so patients.
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You guys he was like, listen, we were prepping at Western and
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he's like, I live nearby, just call me anytime.
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I just want to make this work, you know, I want to make this
16:34
character in Curtis. I mean, I think we had about ten
16:36
fittings. Wow, that's really, really
16:39
Stacy, you know, and hit a cave. The cape has to work.
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You know, she's moving a lot of the cape couldn't pull the
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costumes backwards. I mean, truly engineering Feast
16:51
how to make that costume move in the perfect way and feel super
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handsome on him, you know. So it was fun.
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It was really, really, really interesting.
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So I think that was kind of the tricky part of the animation,
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you know, sitting with the guys, getting it right?
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First on the paper. With them and then being able to
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translate it. So it was, you know, super,
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super cohesive, and then your jump from there to, let's say
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the guy who's designing the dragon, you know, for nerissa do
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you have nerissa, Queen erisa animation live action now Susan,
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Sarandon is working on the 42nd Street in the costume and then
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she's turning into a CGI Dragon. So now how did the elements the
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colors, the textures of her costumes, the horns of her crown
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turned into the horns of the draw?
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Got you know that the farm that's you know, kind of her
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wings that she when she wears it turns into the wings of the
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dragon. All of that had to be worked
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out, you know, and he have to cut the consistency of color of
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textures of, you know, proportion.
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All of that. Again, seamlessly going through
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the medium. So it was a very very
17:58
challenging and you know, it's very time-consuming.
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The details to going back and forward.
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Making sure. You know, they have the Pantone
18:04
color of the right tone of the purple or, you know, really
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Understanding like how her costume was made to look like,
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you know, multicolored oil slick, you know, how does he
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translate that now onto the skin and the color of the drag?
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But I love this kind of stuff. I think that, you know, from
18:22
from doing Stuart Little was this Challenge and kind of, you
18:26
know, it's a learning curve because the technology austere
18:29
also is going, you know, each year is different.
18:32
And I don't know, certain terminology.
18:35
So, as a question designer, you have to learn the lingo in a
18:38
way. Of, you know, the 2D animator
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animator is and also the CGI guy.
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So it's interesting, you know, it's very fun to do that.
18:46
And I think that, you know, you have that stuff in Marvel films
18:50
to. It's just maybe a little bit
18:51
less pronounced, you know, because it's like there's so
18:55
much CGI World behind them and then CGI.
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Costumes here, you really everything CGI lived in live
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action. So we had to make that as real
19:06
as possible, you know, and I think that's also the charm of
19:08
this. I think it's like old Star Wars,
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you know, I was talking to a friend about it.
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It's kind of like, you know, we want some of that real mixed
19:16
with the unreal and that's what's cool.
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I think that's what makes this film so brilliant, you know.
19:22
And yeah, we've we often hear this from people but people
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costume designers are so important to films such as
19:29
Enchanted and like you mentioned like Marvel films and Star Wars
19:32
films. Even if there is a lot of CGI or
19:34
animation like this, we need costume designers who know how
19:37
close work on a body and how How to develop characters, you know?
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So I think such an important moment and I'm so excited that
19:44
were talking about this film because this is really the
19:46
Pinnacle of the crossover between costume design and
19:50
animation. Yeah, yeah.
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And I think kind of was the, you know, one of the beginnings of
19:55
still, you know, I don't think we've seen a lot of that before.
19:57
I mean, we I think we see some stuff on Shrek and different
20:00
things, but not so much. I think the 2D animation was
20:03
very different, you know, what was very interesting?
20:06
Maybe when we start talking about Jews.
20:09
And her costumes, you know, what was so fun when you, when you
20:12
really look at the beginning of the film and you see the dress,
20:16
you know, drawn, the wedding dress is drawn into the
20:19
animation, you know, it's really more like a cutout, right?
20:22
It's very flat. You know, there's very little
20:24
details, I mean, you see the outline of the sleeves, you see
20:27
the gloves, but you don't see really the details of all the
20:30
sparkle, the jewelry all the, you know, it's maybe I think you
20:34
have one flower at the waist that's about it and and what was
20:38
so cool when We were developing because, you know, we had to
20:41
develop the under the liusia world and then the New York
20:45
world. So the Andalusia was kind of,
20:47
like, art noveau, everything was around, everything was pretty.
20:50
Everything was very kind of feminine and then you got to New
20:54
York, and it was very linear, you know, very cold kind of, you
20:58
know, this whole buildings, not a lot of light.
21:00
So when the characters came to New York, from the Andalusia
21:06
words, you saw the difference, you know, you saw the It was
21:09
kind of juxtaposition of the Two Worlds and it's specifically, I
21:14
think in Giselle wedding dress, and I think Prince Edward, when
21:19
you have all this, you know, you can really see the Art Nouveau
21:22
in his costume. You know, the kind of the round
21:25
lines of the design of. I mean, even the sleeves, the
21:28
embroidery, everything on his costume and same for her.
21:31
So when she comes out, you know, she swirl swirl swirl through
21:35
the world wherever she is and comes out the men Hall, which
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was A real man whole you guys in New York City, Amy Adams was
21:42
stuffed into a stinking men Hall with that dress.
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I'm sweating. Oh my gosh dress.
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So, we had a mini short version that she could climb in.
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And then, you know, once she pops out, she changes into the
21:56
long dress. So, we had many versions, I
21:58
think about 14 versions of this dress.
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Oh, wow. But when you see her in the
22:04
film, especially when she's still inside the hole and she's
22:07
like, what the hell is happening?
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And then she called us out. Now the dress is like 3D crazy.
22:14
So now you have, you know, flowers, you have butterflies,
22:19
you have glitter everything, you know, again, Art Nouveau design,
22:22
you have to Ruffles, you have the crown, you have, you know,
22:25
just so much detail. We wanted to almost be like, we
22:29
just just, you know, and that's the kind of the again.
22:32
You see the juxtaposition to d flat.
22:35
Okay, now we are in live world, you know, in Inform just
22:39
exploding with details and that was really fun, you know?
22:43
So it's now you have the details, you know, the explosion
22:47
of the details and textures and glitter, as well as the do, like
22:51
human proportion on her, you know?
22:53
So the effect is incredible. I think, you know, when you
22:55
really see her, the first scenes walking through the streets and
22:59
just like, food, what the hell? Yeah, it really is incredible.
23:03
And it's incredible how much she can move in that dress because
23:07
it's like, you look at it and like, I feel like, I Be able to
23:09
like take two steps in it but she really she moves through
23:13
those streets. Well, I have to give.
23:16
Amy Adams is incredible, you know, kudos to any items because
23:20
the dress did weigh a lot, right?
23:22
I have to discourage had metal Hoops.
23:25
I mean, it was at least 150 yards of the tool to make the
23:29
Ruffles, you know, my God. Yeah, but again, engineering as
23:34
a costume designer, we got to be smarter.
23:36
We got to make the actors comfortable distance best we
23:38
can. The dress was designed in two
23:40
parts, the the bodice and the ruffle, and the sleeves.
23:45
And the kind of the overlay was one and this curved with the
23:50
metal hoop and all the raffle will s like a separate piece.
23:54
So we could only, we could take off.
23:56
She could step out of the skirt and still being addressed and
23:59
take a break and also the the skirt that way was able to sit
24:04
on her waist really well, kind of like rest there and pivot.
24:09
And move. So I love that kind of swinging,
24:11
you know, and she's running. She can pick it up.
24:14
She can it Swings with her? And I think that was a lot of
24:17
charm. You mean the dress itself.
24:19
It's a character in the film. Absolutely.
24:21
Yeah, I love running watching her like run across the streets
24:25
and that dress. It's just so magical and it's
24:28
like picking dirt up off the street and it's just a fan
24:32
that's like Pete costume design right there, van and I know then
24:36
the holding of coming through the doorway, you know, getting
24:38
stuck. Chuck.
24:39
And I mean, as I said, I think we had 14 different dresses
24:44
because we had the wet one. So we had like a permanently
24:47
fake wet dress for her. We had the clean one.
24:50
We had the singing dress when she's cleaning, you know, and
24:53
dismiss current becomes the apron.
24:56
So yeah, it's it was you know, pretty magical, I think.
24:59
And and again, having an actress who is so willing also you know,
25:04
to work with the costume designer and really understand
25:08
the physicality Something and plays with it, you know, in the
25:11
fittings and and you know, it's really important because you
25:15
don't want to be on set and be have somebody crying or, you
25:18
know, just go. Okay, I'm done.
25:20
I'm I can't shoot anymore because I'm tired.
25:24
It's hurts and blah, blah, blah, you know.
25:25
So you really, as a question designer have to think of all of
25:29
that as you making the costumes when you have the fittings, you
25:32
have to ask the right questions. You know, they hey run around
25:35
the whole way. Can we do it?
25:37
Is it, is it making a mark on your Your waist, you know, like
25:40
all of that kind of stuff, you know, can we put a little bit of
25:42
a padding there and we did for her.
25:46
So, you know, this is kind of the behind-the-scenes, but I
25:48
think it makes it for a better shoot, you know, the director
25:52
for the actors to show up. They know that we took care of
25:55
them. I really pride myself on that.
25:58
Taking that very, very seriously like, how to make, you know, I
26:03
work a lot with comedy. I mean, like, if you think of
26:07
Night at the Roxbury, The guy had to move the constantly dance
26:11
in their suits, you know, like I had to make the suits out of a
26:13
very different type of material. It had to have stretch and we
26:16
shine. Yeah.
26:17
And I found something like that in Japan, you know?
26:19
So they could actually move you put little gasps, it's okay.
26:21
Alright. A lot of my films, I mean, even
26:24
like Never Been Kissed when they throwing eggs at her, you know,
26:26
and she's Josie grossy. I made a dress out of like, you
26:30
know, mistake material where we could actually wipe the eggs
26:35
off, you know, and we don't have, you'll have to make five
26:37
dresses, you know, so So it's like okay how can you make this?
26:41
So it's easier for production better for the actor and still
26:44
it was great. You know.
26:45
So you're not compromising your look but I love, I love the
26:48
wedding dress. I am so proud of that.
26:51
I feel like you know, it really is such a magical costume and I
26:55
love the proportion. I love how magical she looks in
26:59
it. When she comes from this other
27:00
world, that it really such a princess that we all dream of as
27:05
our little girls or boys and it was a big enough turd.
27:09
Don't need to know and it was a kind of an arc that she had to
27:12
go through in the film where, you know, she comes this kind of
27:15
almost a fake person, right? She's saying she doesn't really
27:18
know feelings and she's just kind of in this world like what
27:22
the hell is happening? You know.
27:24
So this reflects that kind of this big hair and the big
27:27
eyelashes and all the Tiara and you know, the glitter
27:31
butterflies and stuff and as we go through the film she starts
27:37
to change, you know she's He's learns about Shillings and who
27:40
she is. She's kind of growing up, you
27:44
know, becoming more human. I mean the second dress, you
27:47
know, when she makes out of the car, the curtains, I love the
27:50
dresses. You know, that's a great one and
27:53
it's it was so much fun and again, you know, like talking
27:56
about communication with the production designer and this
27:58
case you know, what is the fabric for the curtain that's
28:02
going to work for the dress, you know that can be feminine enough
28:05
to make the dress but looks like in a maybe immense apart.
28:09
Because we don't really find out much about what happened to his
28:11
wife or something. Also, we had a lot of discussion
28:14
of what color of the curtains it's going to be, and then I
28:16
wanted to have the embroidery Incorporated and, you know, we
28:20
ended up having a slight different colors on the curtain
28:24
itself and on the dress, you know, the curd mix.
28:27
She was a little bit more yellow and I made the dress a little
28:30
bit more Aqua, you know, blue green.
28:33
Just to go with better with her skin tone, but it was very
28:37
simple dress. I think it was Again very kind
28:39
of quintessential. Princess dress empire waist it
28:43
resembled a little bit to dress that she wore an opening act as
28:47
an animated character a little bit.
28:50
So we kind of brought that in and it was a beautiful dress to
28:53
move to and that was also the design to go into the whole, you
28:58
know, Central Park scene for her.
29:01
Right. What's that?
29:01
The massive seen? I have seen this movie in a
29:04
couple years, but I forgot how crazy to Central Park.
29:08
See it Screams the bonum a to like it's so joyous and happy
29:12
and positive. It's just like, this is such a
29:15
typical Mona May colorful moment that I love so much.
29:19
Thank you. It was crazy.
29:20
I mean, it was like 4:00 a.m. calls 400 extra each of the
29:24
groups have to be pre fitted because it was so specific to.
29:27
I mean we had, you know, the wedding group.
29:30
We had the guys in the blue jumpsuits oh my God, it was
29:33
just, it was intense. But again and on top of it you
29:37
guys it was a heat wave. And Central Park when we were
29:40
shooting it. Oh oh no.
29:43
Those are the worst to a New York heat wave that has the
29:46
worst war. So imagine this when we were
29:49
shooting the scene with the went with the wedding dresses and you
29:54
know, the guys in the wedding outfit look and they had to pick
29:58
up the girls, it was like a dance sequence where I think, at
30:01
one point, they pick them up and they twirl them around.
30:03
They're like sponges you guys. After like 10 takes the sweat of
30:08
The guys, on the waist of the white dresses, turning yellow.
30:13
Oh God. And then we are not prepared to
30:17
have doubles for extras. Yeah.
30:20
It's like we don't have it. So, one of my genius assistance
30:23
and, you know, that's why your cruise.
30:25
Everything had a brilliant idea. I brought some white chalk.
30:30
So, we basically, how do, I don't remember what it was, but
30:33
it was kind of hide the wetness and this year You know, it's
30:41
never a dull moment, no, on a movie, you know, always trying
30:44
to solve problems and I love having smart people work for me,
30:48
you know, because it's like, okay, I can't think of
30:50
everything you have a great solution.
30:52
Yes. But I loved it.
30:55
Seen it at its so much kind of Joy.
30:57
It was you know, such a beautiful expression.
31:00
Also just Zell who she is. And I think the dress needed to
31:03
be bright needed to move you to flee to be feminine, you know?
31:09
Very much in that moment. She was a princess in our world,
31:12
you know. So the cap sleeve the little
31:14
little flowers in her hair. It was still very much of the
31:18
Giselle who came from this other world who sings and she doesn't
31:22
speak yet. You know, she's still kind of in
31:25
her own world, right. I guess I have that song.
31:29
Still stuck in my head to have been seen at Elizabeth all week.
31:36
Yeah. Talking about her next look.
31:38
Look the the white pink floral little dress.
31:42
I love this because it's still so judges L, but it looks like
31:46
something she could have walked into a store in New York and
31:49
bought. Yes, exactly.
31:51
So now we're starting to see the change, you know, it's still
31:54
very much feminine, you know, it has the flower ruffle the flower
31:59
pattern, the very chiffon, you know, still kind of moves this
32:02
way but now we made it a little shorter you know?
32:05
It's kind of like when you're 1950s made the dress short.
32:08
She's going for it, you know, she's kind of it's a
32:13
revolutionary for her and exactly what you said I think
32:17
was kind of the feeling that she could go and buy the dress
32:19
somewhere, you know, but it's still very much of feminine soft
32:25
changing, you know. Now, you see a little less of
32:28
the puffiness of the hair, you know, makeup maybe being a
32:32
little less. Eyelashes are less, you know,
32:35
less Perfect Skin. So we kind of moving her into To
32:38
becoming more of a real human being and slowly, you know very
32:43
slowly but a meal of the dress, we made the dress.
32:45
I designed a dress and we just had so much fun with it, you
32:48
know. Yeah.
32:49
I was like a perfect cocktail dress for, you know, it was we
32:52
shot in spring in New York to, which was kind of like, you
32:54
know, everything was in Blooming.
32:56
It was just so beautiful. Oh wow.
32:58
Yeah that's awesome. Talking about another beautiful
33:02
scene is the ballroom scene and yes, I did.
33:05
So interesting because it's like there's people from like all
33:07
different time periods. Like oh this is what I would
33:09
wear to a ball. And then she is just like
33:11
beautiful and modern among all these like, very elaborate
33:15
costumes. Yes.
33:17
Very like Versace, you know? Well, you know, again, working
33:24
with Amy was amazing, you know, she has such a great style and,
33:27
and kind of sophistication. She really understood where we
33:31
needed to kind of go in that moment, you know.
33:33
And we had a lot of discussion with her and it was a moment
33:36
where she basically strips ever. Everything you know Giselle is
33:40
now. It's human that she can be you
33:43
know she's like wrong. So she lost everything.
33:47
She loves the crazy hair, there's no more fake eyelashes.
33:51
There's no more puffy sleeves, there's no more ruffle.
33:55
It is just her. You see the shape of her body.
33:58
Completely nothing is hidden. You know, we kind of gave her a
34:02
beautiful cleavage. The color was really important
34:05
too because I didn't want to do it black red.
34:08
I'm really appropriate, you know, no more pink than more
34:11
color. So the this kind of Royal
34:14
lavender and kind of more Matt you know, not shiny at all.
34:19
I also was working very closely with Cha-Cha who's a famous
34:23
choreographer from Australia whose and you know all the good
34:26
Muslim and movies and he, you know, we watched a lot of old
34:30
movies like singing in the rain and stuff and the way that I
34:34
designed a dress, and when you see the bottom part, it's opens
34:37
like a tulip and as about maybe 15 layers of chiffon.
34:42
So when she dances it opens up, I mean it really is like the
34:45
moment and all glories, you know, and it just flows in the
34:50
in the air and I was so proud of the dress.
34:53
I really felt that this was kind of the bookmark to the dress
34:57
that we meet jizz Ellen. You know, when you really put
35:01
next to each other, the wedding dress and you put this dress
35:06
next to it, you know, that this person To a huge chain such a
35:10
magical theme. It gives me so much life and
35:13
Idina Menzel to. She looks, absolutely brilliant.
35:17
She does. I love making her dress, you
35:20
guys, it was so much fun and I don't get to do a lot of period,
35:23
period stuff. I mean, it was just so much fun
35:26
to kind of dive into that and because we were in the ballroom
35:31
scene when there were people from you know all different time
35:34
periods. I really could pick anything you
35:36
know and what was fun for For her in this scene was that you
35:40
know she was kind of harsh and strong and kind of like a you
35:44
know, New York girl who was you know, self-made and you know.
35:49
So her clothes were very if you look in the film very linear
35:52
very gray not super feminine. Even though the fabric was soft,
35:57
you know, she wasn't like boxy but they were was not a lot of
36:02
femininity coming through it and this was kind of this costume to
36:06
show her femininity and it was And green and a lot of little
36:11
rosettes and stuff. So it was fun, it was kind of
36:13
the opposite for her going the other way.
36:15
Because, you know, then she ends up with, with Edward, which is
36:19
so fun. But yeah.
36:22
So it was a nice thing to do, you know?
36:24
And of course, Patrick Dempsey and his glorious beautiful.
36:33
Princely outfit which was great. You know and also that out for
36:37
those are really important because he ends up in on the
36:39
roof in it and we have too many of that outfit you know, and
36:42
what is it and you know how comfortable it is.
36:45
I mean, imagine also the dress that Gizelle where she ends up
36:48
on the roof, you know, fighting the dragon.
36:50
So, alright again. Yeah, you have to be an
36:53
engineer. So you have to make the dress.
36:55
That looks like it's poured into onto her body, but then it has
36:58
to work on the roof being wet idea.
37:02
Dragon in it, you know. So, I didn't make my life.
37:06
Easy on that one here now. Well, to turn away from Giselle
37:12
for a little bit. We talked about Timothy spall on
37:15
this podcast all the time, it seems like he just shows up in
37:18
every film, we watch. As the mischievous, Timothy
37:21
spall character, I love his costume, I love his hat and the
37:25
Fabrics in the textiles. But also, he has so many fun
37:29
disguises to. I love the Central Park caramel
37:32
apple. All ridiculous have to talk to
37:37
us about this. He is amazing.
37:39
You know he's one of those actors that comes from you know,
37:42
England who is just like, you know, been in theater and really
37:47
completely gets it. So we really got into a lot of
37:51
discussions about his costume. You know, he really wanted to be
37:56
this cartoon character. Like when we started drawing him
37:59
after, you know, we moved all the from this short shorts and
38:02
And I've started find a big balloon and of shorts on them
38:06
and, you know, the big coat and the tiny hat, when I was
38:11
Translating that into real garment, you know, it was really
38:15
important that again, the animated proportion was there,
38:19
you know? So depends were huge.
38:22
We actually I put horsehair in depends to keep them balloon.
38:26
So, oh my goodness, laughs. Yes!
38:29
I love the right and same with the color.
38:31
So if you see the The color is so exaggerated on his coat and
38:35
then you have that little tiny hat.
38:38
So it's, you know, it's giving him that kind of humor that you
38:42
saw in the animated character in live action, you know?
38:45
And I love this extra. I'm so glad you talked about it
38:47
because I really loved the coat texture and the scarf and then
38:52
the burgundy had and then this tribe and and even the shoes
38:56
where report and we made them more clowning.
38:58
You know, we made them all Versailles.
39:00
I don't know if you can really see it in a But it's really fun
39:04
for him because he also felt weird when he was walking.
39:07
You know there were not meaning that were uncomfortable but
39:10
that's a good point. Yeah, she was such a game with
39:14
everything I just loved loved working with him.
39:16
You know when we had the sittings and for the silly
39:18
characters with changing the hair and makeup you know for the
39:21
waiter and the Apple Cellar, everything just was such a
39:26
clown. You know, I love when doctors
39:28
really kind of get into it, you know.
39:30
And and they it's not so much about the van.
39:32
Aditi. But like really making the
39:34
character cool and funny. Yeah.
39:37
So it's a hilarious character. But speaking of texture Mona.
39:40
You know what, you know what I'm about to talk to you about.
39:44
We have to talk about Queen Arisa.
39:46
I just have to start by saying, this is when I think of costume
39:49
is lying. I think of Queen.
39:51
Nurses dress is one of my all-time favorite costumes, from
39:55
any movie period, like book, that's it.
39:57
I love that one. Thank you, honey.
40:00
I love how. Animation.
40:03
It's very like flat. Like you know solid colors but
40:06
then as she translates into this live-action, the textures and
40:10
the colors, it's just like it's just it's beautiful.
40:14
You have to talk about it you know I love this costume so much
40:18
too because it was just really wonderful journey and I got to
40:21
work in New York with incredible.
40:23
Incredible Artists Craftsmen, who helped me build a costume
40:27
and it's really, you know, when you think of something in your
40:31
head and you You have this incredible designs ideas and
40:36
textures and colors but you have to have the people also to help
40:39
you to visualize it and make it, you know, and when you find
40:42
these people and I feel that these Craftsmen don't get enough
40:46
also play or, you know, we don't talk about those people, but
40:50
it's really is incredible. You know, I mean, look at the
40:53
crown that we've designed and you know, it was made of metal
40:57
and then you know, dipped in silver like all the different
41:01
details. Do you know the Just sold that
41:04
was made for her wings and burnt out.
41:07
And you know, the leather that I used was, you know, texture kind
41:12
of like little bit foreshadowing of the skin of the Dragon later.
41:17
You know, but then I decided to to feed it with like silver
41:23
leaf. You know we first applied solely
41:26
to and then we painted painted it with this French enamel.
41:29
That's like see-through. So when you see the There's kind
41:33
of the oils that colors on the texture of the leather of her
41:36
bodice. The silver kind of comes through
41:39
when the camera puts, you know, sees it in the light hits it.
41:42
So that's why it also became so magical, you know, so it's one
41:46
thing is the design and it was so fun to also do this design of
41:50
very differently. You know, when I think why I got
41:53
this movie actually is because of her costume when I went to
41:56
the meeting first meeting, you know, interview for the film.
42:00
There are so many huge designers everybody was fighting.
42:02
To get this job and you know, I created like a really beautiful
42:06
book as my presentation you know, and illusia and kind of my
42:10
ideas of it. And when I went on the page for
42:14
Queen Larisa, I brought something very modern to the
42:16
character and it kind of stunned.
42:19
The director wasn't a gown, it wasn't a cape, it's a per se,
42:24
you know, even the color behind her, I kind of made it a little
42:27
bit different that what really is and that was what I talked
42:29
about in the beginning of our conversation.
42:31
Like, how do you read? Invent something that's so
42:33
iconic. How do you give it a little bit
42:36
new of a Twist in a sense freshness.
42:39
But you don't go so far out of it that you don't recognize the
42:43
character you know that it's not Disney anymore, that's not the
42:46
present quintessential evil queen erisa so that was a very
42:49
fine line to walk on but I kind of went on a whim in the
42:53
interview and I said you know I want to have her modern.
42:56
I want to have her like you know she's in a result deal of the
42:59
queen of the underworld. There is fresh.
43:02
And shows, right? And you know anywhere so why not
43:06
do something different. And it was so intriguing to the
43:09
director that I got the second meeting and I got the film,
43:13
because I went on a whim and I kind of wanted to make something
43:16
a little bit different. And I feel like I succeeded, you
43:19
know, I feel that I kind of kept her in the world of Disney but I
43:24
gave her a fresh spin, right? And I either on, I was able to
43:28
kind of create what we talked about as well.
43:30
The 2D animation. A live-action and CGI
43:35
cohesiveness. Yeah.
43:37
It's it's one of the most beautiful costumes ever.
43:39
I just I could look at it all day and actually I wanted to
43:43
promote a little bit. I have seen it in person.
43:45
It's beautiful. It's currently this costume as
43:48
well as one of giselle's wedding dresses can be seen at the
43:51
heroes and villains exhibit. The art of Disney costume at the
43:54
mo, pop in Seattle, at least tickets are available at least
43:58
through February. So if you're listening and you
44:01
might be in Seattle area or go Seattle, it gotta go see and
44:04
also there's pictures of all these of a few of these costumes
44:08
and not art of Disney costuming book, which is also available
44:11
right now. We'll put a link in our show
44:14
notes so you could all get it, guys should get the book is
44:17
incredible and chanted as in there.
44:19
And there was a question was in there Giselle wedding dresses in
44:22
there. There's some I have a second
44:24
movie in there as well, which I'm so proud of two movies in
44:27
the book. I have the Haunted Mansion
44:30
costumes in there, too. Which is The brilliant movie,
44:33
Elizabeth, we should probably do that episode 2.
44:35
Yeah, it'll be super fun but I'm just so happy about that.
44:40
You loved her costume. I'm so proud of this costume.
44:42
I just feel it's really, you know, it's a masterpiece.
44:45
It truly is, you know, all the metal work that was put on to
44:49
her, you know, a bodice and the crown.
44:52
And I think all the different textures, I mean, I really
44:55
didn't spare a detail. And, you know, it wasn't that
44:58
easy costume to walk into work in.
45:01
And, you know, she had to Walk in the shoes and she was like,
45:04
and we're on the 42nd Street in New York and working for the
45:07
crowds. You know, later on she's turning
45:11
into the dragon. And again, you know, I can't say
45:14
enough of these incredible actors to, you know, who are
45:18
like, you know, Susan would be in the fittings and like, you
45:21
know, we just making a Muslim of the dress and we have to send
45:25
pictures to the studio because it costs so much money.
45:28
They want to see every step of the way and you know, she's
45:30
pretending they're like the Queen, the risk.
45:32
AA already and that's amazing. You know, she's selling and she
45:37
knows she's such a pro and, you know, having great directors to.
45:40
And I think that we as costume designers, you know, sometimes
45:44
really we get lucky with like any heckling, you know, Kevin
45:47
Lima, who is was the director in this in an enchanted and they
45:53
kind of give us room to play, you know?
45:55
And that is really that they trust you enough that you can
45:58
come to them with different ideas that you can kind of try
46:01
different things out. Electron, Haunted Mansion, I was
46:04
able to do glow, costumes, you know, what the hell, some
46:06
director, li like, what I don't want to hear about, then you
46:10
have this. These directors are, you know,
46:12
part of your kind of open to the creative process.
46:15
And this was so cool in this film as well.
46:18
That I was lucky to have Kevin Lima as a director and actors
46:22
that we could develop these that we could kind of, you know, we
46:25
had the time and money to go deeper into it.
46:28
I think the problem nowadays too is there's just so many such a
46:32
current process of, you know, the streamers and faster and
46:36
quicker. And, you know, we don't have the
46:38
money, just do it. And, you know, you have two days
46:41
and it's hard to do these type of costumes anymore.
46:44
You know, you need the time to develop you need the time, I
46:47
mean to, you know, work with the Craftsman's and okay, try this.
46:51
Well, maybe this world work better, you know?
46:53
I mean, even costume, Edward costume, you know, we had to Die
46:57
the costume to have this exact purpose instead of burgundy.
47:01
Purple. It wasn't easy to, you know, we
47:03
have to find the silk type of material.
47:07
Do you know velvet that worked that we could work with?
47:10
It was strong enough that you know some of the silk wasn't
47:13
right was too shiny. Then we went into cotton but the
47:16
cotton was too heavy. You know, his costume was
47:18
starting to get too heavy. So you know, all of that kind of
47:21
stuff you need time to do to do a good job, to make it look good
47:25
on screen to make the actors feel comfortable, you know?
47:27
So it really it's, I love the process.
47:30
You know what I mean? It's really A to be a designer
47:36
and kind of have the luxuries incredible, you know, to really
47:39
be able to design it that way. Yeah, I mean that's why we do
47:43
this podcast. We, we love the process.
47:45
I love you know, just hearing about all the things you went
47:48
through in, your thoughts behind all these textiles, and it's
47:52
just such a beautiful film. I could talk about it forever.
47:56
Thank you, thank you. And, and if, you know, if we
47:58
really looking at this costume, you know, really when you think
48:01
of and I love You included the 2D animated picture and then the
48:06
dragon, right. You can see it's the same, you
48:09
know, it's the same character is the same costume as the same
48:12
texture. So the communication again with
48:14
that between the 2D animators, you know, me designing the
48:18
costumes, and the CGI artist was seamless, you know, and that's
48:21
all so beautiful. It's really, it's beautiful.
48:24
I think that's when, when when films are the best, you know,
48:28
when it all comes together that way, I need Susan Sarandon the
48:32
Wear this to the Met Gala this year.
48:34
I don't know how about these to happen, but that needs to
48:36
happen. Seriously enough of the horrible
48:40
things people where I'm so disappointed.
48:44
Seriously, I mean, it's funny, I mean session is going through
48:49
such different, you know, change.
48:52
I mean, it's like I think it's all over the place, you know.
48:54
Everybody's trying to kind of do something.
48:56
Maybe more outrageous, but it's not.
48:59
Right. So you know, Mona Elizabeth and
49:02
I were Talking about, you know, the costumes of this film.
49:05
They just they're so Timeless. They hold up so well and we were
49:08
talking about were like, you know, that's really how all of
49:11
your costumes are when we talk about clueless, Romy and Michele
49:13
and chanted. I mean the costumes.
49:16
They just hold up so well, they're still beautiful such
49:19
lasting looks. Why do you think that is?
49:21
Well I get asked this question a lot with clueless and I think
49:26
it's just the way I see see things, you know, I think that
49:30
it's my point of view that's maybe more Global.
49:33
I know I was born in India. I grew up in Poland and Germany,
49:36
I lived, you know, many different countries kind of like
49:39
an old soul. You know, I like things that are
49:42
kind of Timeless and I also think that when I design I
49:47
design really for not only the story and character, but I try
49:53
to make something that is beautiful.
49:57
You know, that is really the dust and test of time, you know,
50:01
I think my sense, Beauty my sense of kind of my aesthetic.
50:05
That's my aesthetic. You know it's really I think
50:08
it's hard to explain but he is just positive to it's like your
50:11
costumes have such joy to them. Yes I think that's a very good
50:15
thing and I also think there's a certain kind of restrained but
50:19
then I give it all you know so it's kind of like a like a
50:21
balance of the two I also think of the actor I think of the body
50:27
you know like I mean includes everything had to be altered and
50:30
fit perfectly and I mean that also So is important, you know,
50:33
I think that's something that sometimes we forget in our own
50:36
clothes or in, you know, movies that it's just in its overdone,
50:41
you know. And I think that I always to me
50:45
such a fine line. Comedy is, you know, like how do
50:47
you make something funny without the costume, whirring, an actor?
50:52
I mean it's such a balance. It's such an interesting thing
50:54
and I look at the lot of, you know, I mean there's so much
50:57
talent out there costume designer.
50:59
I mean you know the things are you know, came up this Year.
51:02
And last year, I mean, there's just so much beautiful stuff
51:06
too. But I am unique in that way, you
51:08
know, I think that and there's a thing like you said, through
51:12
line of my modem may look on, am a kind of feel, you know, the
51:17
wonderful world of Mon Ami. Maybe you just came up with the
51:22
title for my book. Yeah, I'm gonna write that down,
51:26
okay? This is good, right?
51:27
Write it down. Designs or something like that.
51:35
We want to mention somewhere in the book.
51:40
I don't know. Thank you guys and I just, I
51:42
love talking about my work. I'm so passionate about it too,
51:45
and I think that's part of it too.
51:46
I'm so passionate, I love it. I just I mean every detail is
51:50
important to me, you know, the communication is important to me
51:53
how I approached or you know, like I just fight for things
51:57
that I think are important, you know, the producers for the
52:00
money with the directors. Sometimes you Have to talk
52:03
actors into it, you know, I'm really championed for kind of
52:07
maybe that's that's too. Like for kind of disseminating,
52:10
you know, that I think is really important that it's gets
52:13
forgotten for beauty. And, you know, I sometimes have
52:18
sleepless nights when I think about it, it's like, okay, well
52:20
how do I solve this? You know, what do I do?
52:23
How do I make that work? And sometimes you don't have the
52:25
time, you know? And you have to really come up
52:26
with it with a very quick, easy solutions.
52:30
But I think if you for One going into this, you know, I think the
52:34
passion is this what's going to drive you you know that's going
52:37
to drive me to the end. You know it's going to make me
52:39
wake up at 5 a.m. and go to Berlin and go to Canada and
52:43
bring my dog and my back you know come home and have done tag
52:48
you know start my life again but doing it for the passion passion
52:53
you know what else is there? I mean really, it's like you can
52:57
look outside and kind of go. Oh shit.
52:59
What's happening out there? It's crazy because it is As you
53:02
know, but then you if you go into like your world of podcasts
53:05
or, you know, any kind of artistic world or I mean even
53:09
mathematics or anything, I think that made a really can get lost
53:12
in it and brings you Joy, you know?
53:15
I think that's what life is about.
53:16
I think in the end really taking taking the little little things,
53:22
you know. And I mean I get inspired by
53:24
flowers and I meditate I kind of stay close to myself to find
53:29
more of the answers in there, you know than from the outside
53:31
world. Old.
53:32
And, you know, that's what I wouldn't, leave your, maybe your
53:35
listeners with, you know, like just each one of us is so
53:39
unique, and I think that's what's the beauty.
53:42
You know, that really if we can kind of accept ourselves as who
53:45
we are, and believe that our point of view is so unique, that
53:49
maybe it is interesting to others, don't make me cry.
53:52
I'm gonna make me cry. Don't make me cry.
54:02
Ourselves, then we can kind of conquer the world in a way.
54:06
You know, that's what it's all about because we are all humans.
54:09
And I mean, it's what I think we started talking about this
54:12
movie, how humid it is, how kind of enchanting it is and sweet,
54:15
and that's what it's about in the end, you know, bringing that
54:18
to ourselves to feeling good, you know, what did you say?
54:21
Fairytale romance month. Yes yeah.
54:27
Appreciate you guys having me on and always, always lovely to
54:31
chat with. With you and I'm sure we'll do
54:34
it again soon. Yeah.
54:36
Really. Thank you so much.
54:38
We have a quick game to play with you.
54:41
Okay let's do it. The one costume to rule them
54:47
all. So we have the one costume to
54:54
rule them all, where each of us picks out our favorite costume
54:58
for the movie and we talked about why we think it is the one
55:02
costume in this film, that best represents.
55:05
It kind of rules the screen. Do you have an idea of what you
55:10
might think it that is for you? Yes, let's hear it evil.
55:15
Queen Larisa. Yeah, that's my choice to it.
55:18
I mean, erisa, there's no, I mean, the wedding dress is
55:22
incredible. I mean the curtain dress is
55:24
incredible, but the clean there is that it's a tour de force.
55:27
Its are pure art to me, you know, I mean, it really, it
55:31
doesn't get any better. It's just so unique I think and
55:35
different, right. I mean, when I think of like
55:38
costume design Staples, I think of like I go SEO cos Dracula, I
55:43
think of Clueless and I think of Queen Arisa like those.
55:47
It's like the Holy Trinity. Inna t, plus some others, but I
55:50
love you, but I don't have enough time.
55:59
I originally was going to go for her teal current dress, but I
56:02
think you've both changed my mind.
56:04
I think it's cleaner Issa. Thank you.
56:07
Oh man, she, we changed her mind.
56:09
Yes, I think rightfully. So I think it's really deserves
56:14
it. That again when you see
56:20
something that's different you know it's not easy to make
56:23
something different and I think that's what it's all about, you
56:26
know, to when you can come up. And I I love the opportunity to
56:30
kind of do these jobs where you have a little bit of card
56:33
Blanche, you know that you get to play.
56:36
So alright, we are did the Trinity?
56:39
Ha ha ha. Before we let you go Mona.
56:45
Are there any projects you might see your work on and a future
56:47
that you can maybe? BT's.
56:49
Well, definitely watch mixtape which is okay on Netflix.
56:55
I think it just came out a month ago and it's absolutely
56:59
adorable. Coming of Age.
57:00
Story of a 12 year old girl in the 90s 90 90 90 about am a
57:07
classic performance and punk rock band.
57:12
So it's a very very fun, a lot of fun, cooking music and stuff.
57:15
Super adorable. And Just finished working on
57:20
that movie with. It's like an action film at Liam
57:24
Neeson, filmed in Berlin. Amazing soup.
57:28
Okay, action film fans are super fun.
57:32
I mean because Jim's I have to say more normal you know many
57:35
Armani suits on him but no wedding dresses and manholes.
57:41
It was super fun to work with him.
57:44
He's incredible. And also finished another film
57:47
for the horror. Fans called baghead.
57:51
Okay. It's probably something later
57:53
this year or early next year. But very interesting movie and I
57:58
had super fun working on it and creating this very weird dark
58:02
scary character. Gosh opponent May horror film.
58:05
This is something I want to see and it's not Haunted Mansion
58:12
scary it's real scary. Yup.
58:19
And yeah, more to see more to come.
58:23
That's so exciting. Thank you so much for joining.
58:26
We're gonna have to have you on to talk about all these things.
58:28
Again. Maybe 100 Mansion episode one
58:30
day. That would be fun.
58:31
Absolutely. That's perfect.
58:33
I love it. I love it.
58:34
All right, you guys, we'll all the best.
58:35
Take care of, we love you. Thank you.
58:40
Enjoy the podcast till next time.
58:43
Ciao, Oh Elizabeth, what an amazing
59:11
interview. I'm like I still like almost
59:14
kind of StarStruck, honestly MonaVie is just brilliant.
59:17
Saying it was so good. I feel like any question I ever
59:21
had about the enchanted costumes, got answered right
59:24
there. Right.
59:26
It was just amazing. I'm just, I'm still kind of
59:29
shocked that we got all that great information like recorded.
59:33
I know it was incredible. And she, she loves it so much
59:36
and she's so passionate about it and it just, it makes me like,
59:40
enjoy the movie. So much more knowing like what
59:43
they went through to get to their bright.
59:46
Oh my gosh. Like the Central Park like heat
59:48
wave. I've been in Central Park during
59:50
a heat wave, and I had to change my shirt, like, four or five
59:53
times that they So I can't believe they did that seem like
59:58
that. I've just been there in like the
1:00:00
summer on like a regular hot day and it's, it's almost not
1:00:04
bearable. Like, I can't imagine doing a
1:00:08
choreographed dance sequence. Hell though.
1:00:11
Oh my gosh, I that blew me away. I it would but you would have no
1:00:14
idea watching the film. Like you know, I even looked up
1:00:18
if this was actually filmed in New York like just in case it
1:00:20
was just like some really elaborate Park set or something
1:00:23
but yeah, no. Oh it just looks like a fresh
1:00:27
spring afternoon. Yeah, so cheerful and she just
1:00:31
gives me like such Joy, you know, talking about costume
1:00:34
designing and why we do this. Like it just really puts on to
1:00:36
perspective like the beauty of costume designing and
1:00:39
storytelling through costume. It just put me in a really
1:00:42
cheery positive mood. Same, say I'm ready to go.
1:00:46
Watch it again honestly. Yeah, let's go like frolicking
1:00:50
through a park right now and talk to Chipmunks and
1:00:52
cockroaches and rats and stuff. You know, I'm there I'm there
1:00:59
are here we can go do this in Central Park.
1:01:02
Hmm, I thought you said you were snowed in.
1:01:05
Oh Come here in two months. Well, Elizabeth, I'm excited to
1:01:12
know what we're watching in our next edition of fairytale
1:01:15
romance month. Everybody, we are taking a
1:01:19
little bit of a time travel for our next fairytale Romance.
1:01:24
Since we are watching the classic ever After A Cinderella
1:01:30
Story with the incredible Drew Barrymore.
1:01:34
Our first Drew Barrymore film our first Drew Barrymore film,
1:01:38
beautiful classic. One of my favorites.
1:01:42
I've actually I've still never seen it.
1:01:44
So I'm really, really excited. I know it's crazy of my
1:01:48
childhood that's wild. Okay, I'm even more excited now.
1:01:54
Well, thank you. Also, it's for listening.
1:01:56
And like I said, you know, please support Mona may follow
1:01:59
her on Instagram. Pick up that book.
1:02:02
I'm we're going to put the link in the show notes.
1:02:04
You also had to that museum. The mo pop in Seattle.
1:02:07
You can see Queen, the wrist has costume giselle's wedding dress
1:02:11
and I believe the princes costume to.
1:02:15
It's it's worth the price of admission.
1:02:17
I mean, seeing those costumes and person like wolf I can only
1:02:22
imagine thank you all for listening.
1:02:25
If you could give us a little like and a follow, we would
1:02:28
really appreciate that. Also, if you really loved us a
1:02:31
five-star text review would be wonderful.
1:02:34
Thank you all so much. Have a great week.
1:02:39
You're in a costume, blogcast is hosted and produced by Elizabeth
1:02:43
Joy, glass, and Spencer Williams.
1:02:46
Our audio engineering and editing is done by Dan White.
1:02:50
Follow us on Instagram, at the art of costume pod or visit the
1:02:54
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1:03:10
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1:03:12
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1:03:17
of costume. Doc cam a Blog dedicated to
1:03:20
highlighting the best and costume design.
1:03:32
Okay, I'll bring a Cinemas with mine is like this.
1:03:37
What is this? This is all over.
1:03:39
We promised those sound good in the end.
1:03:41
I know it. I know it will.