EP 16: From Script to Garment - My Creative Process as a Costume Designer (Originally a Patreon Exclusive)

Join Karis Reneé on Fashion Files With Karis Reneé as she gives an in-depth look into the world of costume design. Fresh off a film set, Karis shares the process of landing a costume design job, character development, creating mood boards, working closely with directors and makeup artists, and the complexities of on-set adjustments. 

Learn how costume designers bring characters to life through clothing and the challenges they face, including budget constraints and last-minute changes. Get valuable tips for aspiring costume designers and an inside scoop on the dedication required in this non-glamorous, yet rewarding profession.

00:00 Introduction to Today's Episode

01:11 The Interview Process for Costume Designers

02:51 Creating Mood Boards and Character Development

08:37 Sourcing and Pulling Costumes

12:29 On-Set Challenges and Flexibility

27:14 The Glamour and Reality of Costume Design

31:01 Style Spotlight and Final Thoughts

SOUL CHAI'S Link -  https://shareasale.com/r.cfm?b=2532979&u=4527946&m=153430&urllink=&afftrack=

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Creators and Guests

Host

Karis Reneé

Fashion Loves All Minds & Egos 💕 Fashion Files podcast

What is Fashion Files?

Fashion Files is a captivating podcast hosted by Karis Reneé that delves into the glamorous world of fashion. Explore styling secrets, costume design insights, and red-carpet chronicles featuring both solo episodes and interviews with fashion industry experts. Each episode will inspire, entertain, and educate fashion enthusiasts.

YT version - Patreon Exclusive Episode
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Karis: [00:00:00] Welcome back to Fashion Files With Cares, Renee, I'm your host Cares Renee, and I'm so happy to have y'all here with me. Today's episode is all about costume design.

We talked about it before and apparently y'all really liked that episode, so I decided to go even more in depth in giving you guys some behind the scenes look into costume design and kind of how that works because. I think y'all are interested in that a little bit. Okay. And I just literally came off of a film set, so it's like the perfect timing 'cause it's really fresh in my mind.

Now I can't get too much detail about the actual project 'cause you know, NDA, but I [00:01:00] can go over the process and things that you can know and learn about costume design and especially if you're interested in getting into it. Okay, so let's jump right in. Starting out when I get on a project for costume design, of course, as with anything else, you have an interview process.

And in that interview process, unless it's something that you are already familiar with, a lot of times we always say you're, we get booked off the call sheet because a lot of times you might be booked because you work with somebody before that is on this new project, and they went to the call sheet and was like, oh, who was the costume designer?

Okay. Yeah, let me see if she's available or whatnot. Or it may be something that you applied for, but initially, even if it's not like a formal interview, you're going to have of course, a conversation to see if it's a good fit for both of y'all, if you are even interested in the script or the project, and if they kind of vibe with you and your, um, your aesthetics and your portfolio.

Or your real, or things that [00:02:00] you've already worked on. So that's typical. Like with anything else, when you're trying to get a job or a gig, you're gonna have that process sometimes. Depending on the project and what it is, you will meet with normally one of the producers or sometimes even the director.

Initially, your first meeting is more than likely gonna be with one of the producers or even a casting agent, and so sometimes. They'll want you to just bring your previous work so they can see like kind of who you are and what you've done before. And then y'all just will talk about that. And then sometimes your next initial meeting, well not initial meeting, but your next, your second meeting may be with the director.

'cause a lot of times, especially in costume design, I work very closely with the director because it's all about bringing. Their vision to life. Right. So a lot of times they'll have me maybe put together, um a mood board, just an initial [00:03:00] mood board after they send me the script. I'll take the script, I'll read the script.

Um, it's so funny because one of the girls that I just worked on, tiana. Hey girl. Um, fellow makeup artist. She had a very good point and we do very similar things. So like she said that she reads the script just to get into the, to see what it's talking about, what the, the project is about. So she reads the script two times and the first time she's just reading it just to see what it's about.

And the second time she's reading it. To try to build that character development. And so, and that's what we call it, character development. So you'll read the script just to get an idea of what's actually the project is about, what the film is about, or whatever it is. If it's a film, a short film, a movie, what have you a feature film, um, all different types of things.

You wanna read the script to kind of get an idea, and then you're gonna read it for further. Um, understanding so that you can build out that character development. But before you even get to building out the [00:04:00] characters, a lot of times in that second that second call, they'll want you to build out some kind of mood board that kind of gives you a feel of like what you would do and what types of costumes you would build around, um, the script based off of what you just read.

Right? So you're kind of just given that initial glance over on, you know. How you would take, what your direction would be, um, as far as costume design in this film. So that's the first thing, and it's just kind of like really high level. It may include color schemes, it may include background information.

This is where you're researching. I love researching. It's like my favorite part. I love being able to pull something and being able to do the research to kind of figure out like, what's the story there? What's the history behind it? Because honestly, all of that plays a very important part when you are building out, um, what the looks are going to to be in the film [00:05:00] project.

Okay. So that's the first thing. And then, you know, they either say, yay. And I've, I've been very blessed that normally if I'm having that conversation, I'm already gonna be brought onto the project. And so, um. That's normally, you know, they're not normally gonna have you do all that work for nothing.

Sometimes, sometimes it is, and some people are like, no, I'm not doing anything until I sign my deal memo and I get it. Um, but y'all know, I'm still in the early, um, beginning, um. Stages of my costume design career. So I'm not, I'm not doing all that just yet. Maybe eventually I'm like, no worries. Show me where the money resides.

You know what I mean? But we're not there yet. So I'm like, okay, cool. I can do that. You know what I mean? And I'm a detailed person anyway, so it's probably something that I would, I would just automatically do no matter what. Right. Okay. So that's the first thing. Then after that. [00:06:00] Then you are gonna go into your character development.

So you're gonna pull out all of the characters that are in that specific film, right? And you're going to create a background, a backstory for them. And a lot of times the director of course, will already have like. What they have in mind, um, because of course, it's not necessarily about you. It's about you figuring out what that vision is or what the script writer or the director has in mind, and you're trying to tell that story through clothes, right?

So you'll take whatever they, a lot of times they'll have a, a. They'll already have their characters developed as well. But you have to do it on the costume side because they're doing it as a whole. And now you have to figure out, so what would this person look? So like for instance, if there was somebody that was dealing with grief or dealing with grieving, maybe you're going to be more tonal and dress in them and like.

Blacks and gray or heavier fabrics to kind of [00:07:00] represent that grief. Right? Or a lot of times, like if you have period pieces, then you have to go and dig deeper into that research. And so like the film that I just got on, I definitely had to do some historical research to be able to get more information on like, okay, what were.

They wearing, again, I can't go into too much detail, but what were they wearing? So I can kind of reference that and pull from that, but also making it my own. Right. Okay. So you're gonna develop those characters for each separate character. Right. And it's gonna be different for each character. And there may be some similarities, there may be some characters that you gonna work.

Together. So like they have to play off of each other. You have to figure out what that story is as well. Okay. It, I'm telling y'all it's not, it's a lot of work. It's very rewarding, but it is a lot of work. Okay. [00:08:00] Now, after we've developed the characters and we've gotten that approved and everybody is like, okay, it looks good. It's good to go. Then comes the fun part, and I say fun because it's a, it is fun, but it's also can be very challenging because y'all know when you're looking for something, you can't find it right.

Never. It is so hard. But if you wasn't looking for it, it would be right there. Okay? But next comes the pull, and you can pull from all diff. It depends on [00:09:00] what one, it depends on the budget, because I'm telling you, you're always going to be working with a restraint budget. I feel like sometimes I've said it before, but wardrobe get is on the bottom of the totem pole, no matter how important it is to tell the story.

We don't always get the money. Production design gets money, but we don't always get. The money and sometimes we definitely have to pull from it. And so you have to get really creative. And so you have all different types of sources depending on what the project is, whether it's you're using costume houses, whether you are shopping a thrift and vintage, um, maybe, like I said, if it's something from a specific era, you may have to go find these pieces in a thrift store a lot of times.

I shop at a thrift store first, like that is normally the first place I'm going. And then I'm going to try to see where I can fill in the details. [00:10:00] And then of course, the least favorite thing to do is buy and return. Buy and return. Yeah. People don't like it. It is unfortunately a part of our job, and a lot of times if you are not able to find what you're looking for, a lot of times you gotta buy it new.

And if you don't use it, it's going back. And even sometimes if you do use it. It's going back, which is the great thing when you get to have an assistant because they do their dirty work. But there are smaller projects where I don't get an assistant and I have to do it all, and it just, it comes with the territory.

So sometimes. Costume designers, even stylists. 'cause this, this goes for both. Um, people don't always love us so much because of the buy and return, but we do try to do that as minimal as possible. But unfortunately, sometimes it does come with the [00:11:00] territory. But so you're taking those looks and you are going to find them wherever you can.

Okay, sometimes, and as you get continue to do this, you will also build your own, um, costume design closet wardrobe. And so sometimes I can, I already have pieces that I know that I can pull from, depending on what it is in my own costume closet. Um, but also borrowing, again, costume houses, um, thrift stores designers, friends and family, literally, wherever you can find what you need.

That's where you gonna go. Okay. All right. And so a lot of times that can be the fun part because you are shopping. Um, but sometimes it can be very challenging if you cannot find that specific piece you are looking for, which is what I was dealing with on my last project. Like, oh my God, there were so many pieces that I was struggling to [00:12:00] find because it was just so very.

Specific on what was wanted. And yeah, it was a challenge. We figured it out, we rocked it out in the end. But it was definitely a challenge trying to find those pieces. And you're going to run across that and you sometimes you have to pivot, sometimes you have to find the next best thing, the closest thing.

So you have to stay flexible. And that was gonna be, actually the next thing that I even get into too, was once we get on set. Is knowing that even when you do find all of these pieces, you still have to be flexible because things change and things change in real time. Okay? So I'm gonna come back to that because I want to talk about something before I even get to that.

Okay? So once you get all of your pieces together, after you've done, you've built that, that cha those character development out, you built out the story and what they're gonna be wearing, and now you found some things. You got it. If you [00:13:00] are lucky or blessed, you may have a fitting with your cast. I love when I am able to get a fitting.

Sometimes there's no time, like my last project. Sometimes there's no time for a fitting, and that is when you really have to hone into your your skillset and your experience to be able to say, okay. I think 'cause sometimes especially you should have like of course all of your sizes, all of your measurements, right?

But there are times where you might not have all of that information or when you need it and you have to guesstimate, you have to use your best judgment or figure it out. So using your eyes, so, okay, I am looking at her. She looks like she's about an eight. I'm going to get an eight and a 10, right?

Because you wanna make sure that you have multiples just in case one of those don't fit, because I'm [00:14:00] promise you. It is not something, something is not gonna fit. Right. It's not gonna work out. Right. Okay. And also with pulling, sometimes you're working also with a tailor or a designer that is also, is going to actually make certain pieces.

Okay. I was literally just reading a book yesterday. We've talked a little bit before about Bridgeton. I was reading a book about Bridgeton and the costume and they literally, of course, because y'all know that costume is. So detailed, so luxurious. It's beautiful, and everything was made specifically for that set as it needed to be.

It's a period piece, so of course, but also especially because they were trying to tie it into it being a period piece and being able to reference that, but also making it modern. They built all of those looks out and when I tell you they had 7,500 pieces made and [00:15:00] that does not include jewelry issues. I could not imagine it. I was looking at it and I was like, oh baby, you are not there yet. We got a long time before we get there.

Let me say that because God. God real funny and he liked to, he liked to play. He liked to do stuff. He'd be like, bit, I like, no, I, that stressed me out reading that. It's, it's so inspiring and aspirational, but I can't imagine being over 7,500 pieces and having to. Design those pieces. Right. So yeah, so there are gonna be some projects where you actually work with a designer.

There are some costume designers that actually do design work. I am not one of those. Um, so Taylor and a designer is my best friend. You know what I mean? Taylor's set. Taylor's, um. That specifically work on film projects is, is gonna be your best friend as well. Because if you're able [00:16:00] to get something that is custom made or even if you're able to get something that is fitted, um, specifically for that character, that is beautiful.

So if you are able to have a fitting with the cast, that is great. It's not always available. But in those cases, you wanna make sure that you have multiple sizes so that you can use the size that work and. Get rid of the one that doesn't. Okay. That's that buy and return, like I said. Okay, [00:17:00] so now the real fun part is being on set. So now it's time for filming. You've got, and of course y'all, this is very high level. There are so many other details that we just can't touch. We'll have to, you know, dig deep, um, in other episodes. So. Remember that these are high level things because you're gonna have meetings with production, you're gonna have changes.

Like again, be very flexible, but you get to go on set and you bring all of these things. Organization is key. Normally, if I'm able to, depending on how quick the project is and how much time, how much prep time I have, I normally have every look. Print it out. Mm-hmm. And for each specific [00:18:00] character, so I have a visual of what they are wearing, I'll build the looks together, get them approved, and print out the actual look that they're gonna be wearing for each character and which scene, because you're going to do your own costume breakdown that is going to have.

What look each character is wearing in each scene, how it's gonna be repeated, because continuity is very important. You have to pay attention to. Okay, they wore this in scene two. They're wearing this again in scene eight, and it needs to look the exact same. So there are some times where you have to buy multiple because maybe something needs to change, maybe it gets dirty and you need to have a clean version and a dirty version.

Because sometimes being able to, wash the item is not is not the most efficient thing or, or you just won't have time, like film sets happen so quickly. I know y'all probably think that [00:19:00] like, literally the film set that I was just on was a three day shoot for a short film. Mm-hmm. My movie that came out that we talked about, young King that was shot in 30 days.

And I don't think, I think we had two weekend breaks within that 30 days. Okay. So the time, the shooting time is very, very short. And also you need to know that it's long days minimum, 12 hour days, okay? Minimum, you're gonna be on set for 12 hours. And you're gonna be working the whole time, so you have to prep for that.

But yeah, so make sure that you say super organized. You're gonna organize all of your looks, all of your scenes that each person is gonna be wearing, um, in these scenes. And then you will hopefully have some fittings, um, to finalize the looks. sometimes your director may want to go through [00:20:00] the looks.

Um, you're also gonna work very closely. With hair and makeup because a lot of times the costume designer is building out the full story and then the hair and makeup person is taking from what you're building out to be able to then build out their looks as well based off of what the person is gonna be wearing.

Right? So y'all are best friends. Y'all do everything together. Wherever your base camp is, normally costume design and hair and makeup is together. Because we, one, we spend so much time with the cast and our works play off of each other, so they may, you may be with two casts that are gonna be in this next coming scene, and one may be getting their hair and makeup done, and the other may be getting dressed, and then we flop.

Right. So yeah, so we spend a lot of time on set together and do a lot of work together. Um, so I always love my, my hair and makeup girls because they, those be my besties on set. Okay. And those are the people that get you [00:21:00] booked for the job too, because a lot of times if they hire one of us, they're like, do you know?

So if I get hired, they'll like, they're like, do you know a hair and makeup artist? And I'm like, yeah. Or vice versa. Like I, I've been brought on before because of the hair and makeup person again, off the call sheet. Or just because building those relationships. And then of course, like I said, you spend the most time with the actors.

And so I always say that like it's my job and it's not necessarily my job, but I take it on because. It's just who I am and my character. But because we spend so much time with the, the cast, like if they're in holding or if they're getting ready for a scene, like we are the ones that it has to keep them at peace, you know?

So like we're the ones like, mm-hmm you can't come in here right now, or they need a moment, or they're not ready yet. Right. And so we we're the gatekeepers. That's what I like to call it. [00:22:00] And I love it because I, I'm able to build such great relationships with the cast as well, and which helps tell the story because they also have a story to tell as to who they understand their character to be.

And so that helps. Also to be able to create those looks. So yeah, so we're on set. We're getting them dressed, and of course this is where your styling comes in because you have to not just put the clothes on, but you have to make them look like they are wearing the clothes, like wearable. It's not just like, you know, when we're getting dressed or whatever and you want everything to look pristine or whatnot.

A lot of times you're setting the scene, so maybe the arm needs to be scrunched up. Maybe it doesn't need to be as perfect, maybe it needs to be a little tucked over here. So you have to keep in in mind. That's kind of the difference between like styling versus costume design. It's like this is more lived in, this is more, you know, this is, like I said, telling that story.

[00:23:00] You're, you're creating that story. Right. Okay. So. I love being on set. It is a lot of work. It it, but it's so rewarding. And this last one was a very, very challenging because, um, let me see, what can I say?

It was so many moving parts, like I said, and where we were specifically didn't gimme a lot of options. And so I really had to be very, like, I, I couldn't leave anything behind. I had no option of making sure that I had everything that I needed because I.

If I didn't. I wasn't gonna be able to get it. There're gonna be things that come up, so you have to be flexible. Um, and, and there are gonna be things that are gonna change.

So like you also work. With the production designer because color theory plays a, a very important part. So [00:24:00] even with the cinematographer or the dp which is director of photography, um, sometimes that color story you need to based off of whatever the mood and the lighting they're trying to set. That might not work with that color.

So always have options. I always have multiple options, even if we've already decided to look because it can change just based off of, no, that doesn't look good on camera. Texture is always great because it adds some depth and a new element. So get things that have texture. Of course, colors are great, but there are some colors that just don't work well in certain lighting or certain film, and so you have to be able to pivot very quickly, very quickly.

another thing to make sure you do on set is take pictures of every look because continuity is one of the most important things on set. Your scripty should be your best friend, so that when you need to go see, [00:25:00] like, can I see that scene? Or whatever that they were just in so I can make sure that it looks the exact same when you're filming the next day.

And you gotta put that look back on. It needs to look just like it looked the last time they had it on, right? So the Scripty is gonna be your best friend as well. And, but I want you to make sure you have it yourself, because I take pictures of, as soon as I get undressed and it gets approved, I take a picture.

I need to see exactly how I put it on this time, what you were wearing, where was that hat sitting on your head? Was it to the right or to the left? You know, all of those things are very important. Okay? So make sure that you are taking photos and even on when they're on. Take photos because things shift and you're gonna do last looks normally before they say action.

So you can check to make sure you don't need to adjust anything or move anything, right. But make sure that you are paying attention because if you have the opportunity, sometimes things [00:26:00] are moving so quickly, so you may not be able to see the entire scene, but there are. Plenty of times where I'm like, I need to hop in because something moved and it looks crazy now, and so I need to adjust it, um, to go back to one.

Right. Make sure that you pay attention to all of those details because it's very important, but continuity is the most important. Think, and I'm telling you, it's a challenge. It is a challenge and it has kicked my butt sometimes. It really has. But I know y'all watched shows or TV shows before and you're like, wait, that wasn't sitting there last time.

And then all of a sudden it pops up in a new scene. You're like, wait, I don't remember it being that there. Or somebody had on a bracelet and then next thing you know, that bracelet isn't there.

It's not fun when that happens. It does happen. We're all human, so sometimes you have mistakes and that's why it takes a team effort to be [00:27:00] able to try to catch all of those things. But if you do your due diligence, you can try to avoid those mistakes from happening. Okay. All right. So now it's time to s sip some tea with soul chai and both literally and metaphorically. All right. So grab your cup of tea and join me.
[00:28:00]

Okay, so let's get into some teas. So one of the things that I want to highlight is that people always assume and think that everything in fashion is just so glamorous, right? Costume design. I think actually it's the least glamorous. It's, it's not glamorous at all. It's a lot of work. You really have to love your craft.

Um. To be a costume designer or to be in the industry doing costume design with film and tv because it is so much legwork and so much like, like you work so hard. Not to say you don't work hard in other areas, but people sometimes just, they see the final product and they don't [00:29:00] know what it takes to get to that point, and they just assume that it's so glamorous and it really isn't.

When I'm on fifth. Said, I look crazy. I feel crazy. I'm tired. I don't know. As I don't know what afterwards, like, and I'm, I'm a lugging wardrobe. I'm lugging a rack, I'm lugging all of my whole kit, everything. And that's another thing we didn't, it's so many things that we didn't get to. Get into, but like your costume design kit, we'll have to go through a episode where I just tell you everything that you should have in your kit.

Um, but yeah, you have to have all of these different things like whether you are making a clothes a new item look worn, you know what I mean? Like you have to be able to do all of those things. So like. It gets down and dirty, like it is not glamorous at all, but the end product then is always beautiful and you may not even be on a project that is glamorous, so like.

Like Young King for instance, that was not a fashion [00:30:00] project, that was a setting that was set in the early two thousands. So the looks had to look like that. It was nothing glamorous about 'em, you know what I mean? Like y'all know what we was wearing back then looking crazy. Okay, now I am. So I cannot await to have me a show where I'm actually able to be a little bit more creative.

Um, I, I, I'm hoping that a one day I'm able to do costume design for a, a. I would love to do a TV series, um, or a film where I'm able to do some fashionable looks and I'm like, yeah, I would love to be of y'all to talk about a look that I made iconic, and it's talked about for years to come. That's the goal.

Okay. But yeah, costume design is not all glam, all glitz and gl. It's a lot of work, but if you love it, it's so rewarding. It's so rewarding. [00:31:00] Okay y'all. So it is time for my favorite part of the episode, the style spotlight. And this one is actually gonna be a little different. I'm actually not highlighting a person today, but I'm actually, since we're talking about costume design, I want you guys to pay attention to

costume awards and follow them on Instagram. I know that we've talked about costume awards before, but the Costume Designer Guild Awards is something that is so dear to me and I hope one day I'm able to be, featured in it for something I don't know.

Um, that's. Far in my future. 'cause again, like I said, I'm still at the beginning of five years into costume designing. We didn't get to talk about like union versus non-union. Um, I am not currently unionized, um, but they feature costume designers that are doing amazing things on films and so we talk.

[00:32:00] Previously about wicked. Um, and Paul being honored. We also talked about Ruthie Carter being honored before for, um, black Panther. And so, yeah. So if you wanna see some great costume designers, , that you should follow, make sure you check them out. Okay? And if you. Do be sure to use the hashtag fashion files and let 'em know that we sent you.

And if you know a costume designer that you think that we would be inspired by, use the hashtag flame style spotlight, I would love to see, and maybe we can feature them. Upcoming episode, y'all. I hope this episode was so helpful. I feel like we were all over the place, but I wanted to give y'all some tips, especially if you are interested in costume design.

And it seemed to be that a lot of y'all are, so I wanted to give y'all some insider insight and some behind the. Scenes and kind of what building out a costume plot or building out a character development or what it looks like to be [00:33:00] a costume designer on a film project. So until next time, stay stylish and keep that flame burning bright.

Bye. [00:34:00]