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" Sleepy Hollow had a lot of action in it, even though it was a fairy-tale movie. "
Colleen Atwood
Lot
Hollow
Even
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" Each simian had a much different body suit, so besides trying to define class across species, there was a definite attempt to dress each group in different styles. "
Colleen Atwood
Trying
Suit
Class
" I like the architecture of lingerie. "
Colleen Atwood
Lingerie
Like
Architecture
" I always have a moment when I know I'm designing the last costume that gets made for a movie, and it's always been floating up there, but it's kind of the last one. That's always probably the hardest one for me. "
Colleen Atwood
Moment
Know
Kind
" In Chicago, I walked in knowing what the dancers were going to need. "
Colleen Atwood
Need
Dancers
Chicago
" It's true that I'm not cozy. I'm more reserved. "
Colleen Atwood
Cozy
True
Reserved
" I think that sometimes people don't understand that a costume that has to be worn every day and doesn't change the whole movie becomes iconic. It's very important because it requires a different design process, since you have to make something that people aren't going to get tired of looking at. "
Colleen Atwood
People
Change
Day
" It actually is as fun to make men's costumes, especially if they are as good-looking as Chris Hemsworth. "
Colleen Atwood
Men
Costumes
Good-Looking
" I don't design my own clothes. It's so not what I think about. "
Colleen Atwood
My Own
Think
Own
" On Planet of the Apes, I had a very knowledgeable team who knew good materials, but I had one main source person who worked online and on the street continually looking for the proper materials. "
Colleen Atwood
Good
Looking
Street
" As for futuristic costumes, I loved doing 'Gattaca' because I'm a minimalist at heart, and it's a very minimal film. Plus, with Uma Thurman, Ethan Hawke and Jude Law, how could you go wrong? "
Colleen Atwood
You
Doing
Law
" Costume design allows you to do a different type of research and create characters, whereas in fashion, you create an image and clothing for the masses. "
Colleen Atwood
Fashion
Research
Design
" My work space is so visually crammed. It's like an insane candy store. The number of textiles I'm surrounded with is mind boggling. It's a treat to come home to a nice negative space. "
Colleen Atwood
Treat
Work
Negative
" My own style is pretty classic; I much prefer to design for others. "
Colleen Atwood
My Own
Much
Design
" Costume, hair and makeup can tell you instantly, or at least give you a larger perception of who a character is. It's the first impression that you have of the character before they open their mouth, so it really does establish who they are. "
Colleen Atwood
Makeup
You
Perception
" The exposure I have had to beautiful materials across the world, from Japan to Italy, enables me to pull design ideas together. This, combined with years of historical research, has created a great fountain of ideas for me. "
Colleen Atwood
Beautiful
Ideas
Great
" In real life, a lot of people at that level will have their kimonos made especially for them. "
Colleen Atwood
Will
Real
Lot
" I am always looking for ideas, whether it is in art on the street or in my world travels. It comes to me randomly and unexpectedly. "
Colleen Atwood
World
Looking
Me
" I'd say probably the most expensive costumes I've ever made were the costumes in 'The Planet of the Apes,' because of the research and development that went into them and the amount of layers. "
Colleen Atwood
Layers
Say
Research
" For contemporary fashion, I'm a huge fan of so many of the people out there. I think Azzedine Alaia holds up through three generations of very specific, beautiful design. I think Jean Paul Gaultier also is very interesting with a long span. "
Colleen Atwood
Think
Beautiful
Fashion
" Planet of the Apes was a gigantic challenge, making the clothes work so people could do stunts and action in the clothes. I really learned a lot about that in that movie. "
Colleen Atwood
Work
Challenge
Action
" The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we'd gone strictly with the '20s, the movement would have been impaired. "
Colleen Atwood
Today
Eyes
Gone
" The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all. "
Colleen Atwood
Reality
People
World
" I really don't over-theorize about design. I'd rather feel it than talk it to death. A lot happens as you unroll the design. "
Colleen Atwood
Death
Happens
Talk
" I had to work out that it was something that could move, without having everybody in spray painted leotards. "
Colleen Atwood
Work
Without
Something
" I get more distracted by hair or a really bad wig than I do costumes any day of the week. "
Colleen Atwood
Bad
Hair
More
" I grew up in a small town in Washington State, so I wasn't really aware of costume design as a career growing up, but I loved clothes. I remember I saved all my money, and the first thing that I bought was a white blazer, which was to the horror to my parents. But I have always had a strange connection with clothing. "
Colleen Atwood
Loved
Small
Parents
" One of the challenges with period costumes is, on a technical level, making the scale of different periods work on contemporary bodies. We're much bigger than what people were in older times. "
Colleen Atwood
Challenges
Different
People
" Some of the kimonos took as long as four to five months to make, with all the layers that go into it. "
Colleen Atwood
Five
Long
Some
" It's often said that costume designers are a faceless group of people. But we can contribute to fashion in a way that might be new and different. "
Colleen Atwood
Group
New
People
" Inspiration comes from everywhere: books, art, people on the street. It is an interior process for me. "
Colleen Atwood
Art
Street
Process