How does one come up with such amazing frocks? It boggles my mind that someone can be that creative. I will admit I am a little envious of all that talent. What an awesome way to spend the day, creating costumes for some of the most iconic characters in fairytale history.
A group of bloggers and I sat down to chat with Sandy and it was all about the costumes. She was a wealth of information and if I posted the whole interview you would be here an hour reading. So I listed the most interesting facts below.[/vc_column_text][vc_single_image image=”15417″ alignment=”center” border_color=”grey” img_link_large=”” img_link_target=”_self” img_size=”full”][/vc_column][/vc_row][vc_row][vc_column width=”1/1″][vc_column_text]About the colors she chose for the film.
I kind of chose all the color palettes for each of the characters. And I work closely with the people who design the sets. And the set dressing, so that we make sure that nothing clashes with the curtains and all the furnishings. I don’t intellectualize it that much. I pick colors because they feel right.
Her favorite costume in the film.
The ball gown took the longest. I spent the longest developing it. It might not have worked but it came out exactly how I hoped. I’m proud of that one but there are other that I love also. It’s like they’re my children, you don’t have a favorite. I like the men’s costumes as well as the women’s. I like them all.
How long they took to create.
I was actually working on this for over a year, from start to finish. Till the very last day of the shoot. Actually one of the last things we shot was the wedding scene, and the wedding dress was actually the last thing I designed. And that was really right towards the end of filming. So at least a year from start to finish.
Creating the costume that turned a lizard into a man.
It was an interesting process. It actually started with the costume. I had to do a costume that looked like a man and then make that lizard-like. I used the texture of the fabric and it was a fabric we dyed by hand. It was dyed first of all like the greens and the yellows. Over top of that was a lace, like a silver lace that gave it a scaly effect. It was like a tail coat but where the tail’s a little bit more exaggerated. And then the gloves were green and they were dyed with the yellow too. So it was actually all clothes. And then that gave the visual effects department something to build on. Then they designed their lizard, but based on my costume in a way. It was interesting and the first time I got to do something like that.
About the Fairy Godmother’s Costume.
It was an idea I had that was rather ambitious and to be honest, we didn’t have enough time to, to really develop it. It could have gone a lot further, and been a lot more success—not to say it wasn’t successful. I think the costume as a whole works in the film. But I had this mad idea that she actually literally twinkled, and all over. But the lights took longer than we thought they would. We couldn’t really construct the costume till we had the lights done. So we were waiting and waiting, waiting for the lights to be finished. We knew the shape of the costume. So that costume actually ended up being really rather thrown together at the last minute. In a way, I think it’s quite funny that it looks like it’s been thrown together. It looks like she’s made it, you know, [LAUGHS] thrown it together.
Making the costumes camera-ready.
Sometimes you choose a color that looks great to the eye. And then when it gets on, on screen, on camera, depending on how they fit it or how they treat the film after, it completely changes. And then that’s really annoying. ‘Cause you think, that’s not what I intended it to be. So quite often if you’re lucky at the beginning of them, you do camera tests. You actually test different things and different textures. So that you can see how it’s going to work with a kind of lighting that they’re doing. It doesn’t always follow through that you get it right. sometimes things look worse than you’d hoped. And sometimes things look better. But the end product is what you see on the screen.
Advice for young designers.
I’d advise anybody who wants to do costumes, to learn how to sew. And learn how to make them. ‘Cause you’d be surprised, there’s an awful lot of costume designers who don’t know how to do it. And I really don’t know how you can design and how you can talk to somebody else who’s making something, unless you know how to do it yourself. You have to start at the bottom, and be a maker. bottom, you have to start at the bottom and be a maker. And actually learn how to construct and sew. So you understand the construction and the engineering, which is what it is.
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