Ane Crabtree

On her childhood in Kentucky; on her interests when she was growing up; on television shows she watched as a kid; on her early interest in fashion; on being a shy child; on the first clothing items she ever made -- clogs made out of milk cartons -- thanks to how-to instructions from Captain Kangaroo

On wanting to study fashion in college; on attending the University of Evansville and studying in England; on moving to New York, studying fashion design at FIT, and leaving school to work for designer Miriam Klein

On transitioning from fashion to costume design; on being a freelance stylist and working for Elle; on her start in television - working in music videos and for Japanese and Chinese television; on her first union job in U.S. television -- Swift Justice -- and Don Kurt hiring her for the job; on how the pace of working in fashion compared to working in television

On becoming the costume designer for the pilot of The Sopranos; on David Chase sending her to New Jersey to do research for the pilot of The Sopranos; on getting Yves Saint Laurent clothes for Lorraine Bracco's character, "Dr. Melfi" in The Sopranos pilot and how her outfits aligned with the color of her office; on collaborating with other departments to finalize costume designs for the pilot of The Sopranos; on her first meeting with James Gandolfini; on what happens during fittings with actors; on "Tony Soprano's" robe; on David Chase directing the pilot and what makes a good relationship between a costume designer and a director; on how working on The Sopranos pilot impacted her career

On her work as costume designer of season one of Justified; on the beginnings of her wall of research on Justified -- something that she's continued to do on subsequent projects

On her process when she first reads a script, on how she finds creative ideas and how listening to music helps her creatively

On her inspiration for the costumes on The Handmaid's Tale; on first meeting Elisabeth Moss for costume fittings for The Handmaid's Tale, on the music she played during the fitting, and her approach to costumes for the show; on how she first got involved with the show; on her research for the costumes of The Handmaid's Tale, how she was impacted by the subject matter of the show, and design ideas for the Handmaids, Econopeople, Guardians, Aunts, and Commanders; on some of the inspirations for the Aunts' costumes on The Handmaid's Tale

On additional secrets that she built into the costumes on The Handmaid's Tale -- wanting to give the Commanders' wives something special; on hiding actress Yvonne Strahovski's real-life pregnancy on The Handmaid's Tale; on choosing the teal and red colors for the costumes for the Commanders' Wives and the Handmaids, respectively; on the obi in the Handmaids' costumes

On additional elements of Handmaids' costumes for The Handmaid's Tale -- wings, cape, boots, and winter and summer versions of the costumes; on costume designs for season two of The Handmaid's Tale -- her inspiration for the Unwomen and the Econopeople

On how Gilead in The Handmaid's Tale is similar to present day, and how costumes similar to those she designed began to be worn at political protests; on speaking at the United Nations in relation to her work on The Handmaid's Tale and her own personal journey as a survivor; on Elisabeth Moss' costume from The Handmaid's Tale now being part of the permanent collection of the Smithsonian

On costume design for Pan Am, which was set in 1963 -- on her research for the costumes, making a lot of costumes herself, period-accurate undergarments, and how budgets impact her work; on assembling her team for a show and differences between New York and LA shows

On her work as costume designer on the first season of Rectify; on her parents visiting the set

On her work as costume designer on Masters of Sex; on research for the show; on meeting with showrunner Michelle Ashford; on designing for and working with Michael Sheen and Allison Janney; on often working on the first or first and second seasons of shows and why she left Masters of Sex

On how she became the costume designer for season one of Westworld; on transforming "William" into "The Man in Black" on Westworld and how far in advance she knew they were the same character; on "Dolores'" two main looks and a third that never saw the light of day; on Delos headquarters in Westworld and what it meant to her to design Samurai costumes

On the role of a costume designer; on the fight for pay equity for costume designers; on where she was when the COVID-19 pandemic occurred and how it impacted production

On her then-current project: designing for Darren Aronofsky's Postcard from Earth at the Sphere in Las Vegas

On working on dystopian and utopian projects; on how television has changed since she first started in the industry; on how opportunities have changed since she started in the industry and on the importance on having multi-racial crews

On advice to aspiring costume designers; on the value of oral histories; on where she sees herself in ten years