Janie Bryant on first discovering the costume design profession and her early interest and introduction to the job - "fashion design is not always about fashion, it's about creating character"
Janie Bryant on the responsibilities of a costume designer and the differences for that profession in film and television
01:37
Janie Bryant on why she was interested in designing for a period piece, and how she came to become the costume designer on Deadwood which was a Western TV series based in the 1890s
01:54
Janie Bryant on achieving the "dirty" look for the costumes on Deadwood; on the inspiration for the costumes and direction from the director David Milch
07:55
Janie Bryant on how she researched and designed the costumes on Mad Men and on the attention to detail for the 1960s period series
Janie Bryant on her collaborative work with Mad Men series creator Matthew Weiner and their philosophy about the design for the costumes on the show
01:54
Janie Bryant on how much she knows in advance about Mad Men and how much she has to keep secret about her costumes
Janie Bryant on fabrics that are ill-suited for television and how she works with whites and dyes on Mad Men
Janie Bryant on her role as the costume designer for Mad Men and the attention to detail on the show
03:22
Janie Bryant on her advice to aspiring costume designers
00:36
Janie Bryant on her own fashion style and brand
Janie Bryant takes us on a tour of the Mad Men costume shop; she shows us each character's "closet" and specific costumes from episodes of the show, how the closets are organized and her process for selecting or designing costumes
Ane Crabtree on what happens during costume fittings with actors
05:09
Ane Crabtree on what makes a good relationship between a costume designer and a director
04:02
Ane Crabtree on learning about color from director of photography Alik Sakharov for the pilot of The Sopranos
01:39
Ane Crabtree on her early interest in costume and fashion design
04:06
Ane Crabtree on the beginnings of her wall of research on Justified -- something that she's continued to do on subsequent projects
06:03
Ane Crabtree on her process when she first reads a script, on how she finds creative ideas and how listening to music helps her creatively
09:58
Ane Crabtree on assembling her team for a show and differences between New York and LA shows
03:03
Ane Crabtree on how budgets impact her work, particularly on Pan Am, and on shopping for vintage pieces
03:10
Ane Crabtree on the role of a costume designer
06:09
Ane Crabtree on the fight for pay equity for costume designers
09:26
Ane Crabtree on advice to aspiring costume designers -- which includes advice from Patti Smith, William S. Burroughs, and Rick Rubin
15:50
Patricia Field on her inspiration for the Sex and the City costume design, her color palette choices, and the budget for the show
Patricia Field on Sex and the City "that show brought the fashion industry alive"
00:22
Patricia Field on her process of costume designing for Sex and the City "it begins with the script"
Patricia Field on how the writers on Sex and the City began writing to the fashion, such as an episode where "Carrie" says "I lost my Choos" (referring to Jimmy Choo shoes); on how the clothes became famous themselves
02:18
Patricia Field on dressing the men on Sex and the City; on dressing extras
Patricia Field on the role of fashion on Sex and the City "you're not selling clothes, you're telling a story WITH clothes"
00:30
Patricia Field on her proudest achievement as costume designer on Sex and the City and its impact on women "it broke down the uniform"
02:24
Patricia Field on working on Spin City as a costume designer; on working on a sitcom
Patricia Field on the decision to give Meryl Streep white hair in "The Devil Wears Prada"
Patricia Field on her style and her approach to fashion as timeless
Patricia Field on her advice to aspiring television costume designers: "identify your assets"
Nolan Miller on how fashions looked on the television screen
03:29
Nolan Miller on costuming Diahann Carroll as "Dominique Deveraux" on Dynasty and working with the budget of the show
04:04
Nolan Miller on the process of creating an outfit for Dynasty
02:56
Nolan Miller on the process of making outfits for Dynasty
05:23
Nolan Miller on where his inspiration comes from when designing, and on the tools he uses to draw his designs
02:38
Nolan Miller on advice to an aspiring designer
01:32
Nolan Miller on the process of designing a costume for a television show
01:56
Nolan Miller on the fabrics that are best suited for costumes for television
01:04
Nolan Miller on quick costume changes in the days of live television
00:33
Nolan Miller on being on-set during the filming of a show
00:26
Nolan Miller on his general philosophy for costuming actors
00:37
Nolan Miller on the designers who work under him in his shop
01:18
Nolan Miller and Mark Zunino on the process of designing a dress for Sophia Loren or other clients
02:00
Lyn Paolo on her first job in television, as costume supervisor, on Dallas starting in its second season
02:54
Lyn Paolo on the difference between the role of a costume supervisor and a costume designer, and on how this distinction played out during her time on the show Homefront
04:29
Lyn Paolo on where she sourced the vintage material for the costumes on Homefront, which was a period show, and on what she bought versus what she designed and created for the show
02:32
Lyn Paolo on the challenges of working with vintage material and period costumes, as she experienced working on Homefront, which was set during World War II
01:04
Lyn Paolo on her process as a costume designer on a period show such as Homefront or Queen Charlotte, and on her process working with actors
07:41
Lyn Paolo on not being able to find any work despite winning two back-to-back Emmys for her work on Homefront because she was typecast as a "period" costume designer
01:39
Lyn Paolo on her role as costume designer on ER and the various challenges presented by the scope and style of the show
23:08
Lyn Paolo on her process of consciously reusing clothing as hand-me-downs on Shameless as those characters would necessarily do in real life, and on age-dyers and distressing clothing
02:12
Lyn Paolo on her work as the costume designer on Scandal with creator Shonda Rhimes, and on how the show was very different from her work designing on The West Wing
08:20
Lyn Paolo on designing costumes for Emmy Rossum's character "Fiona" on Shameless, and on the writing on the show and the joys and challenges it presented
01:41
Lyn Paolo on what she loves about costume design: "We get to go places and see things that no one else does. We get to create worlds. Every job we do is different. So, there's just no way to be bored in our industry. Every new project brings all these glorious gifts"
00:24
Lyn Paolo on the art of costume design and on working on Shameless
06:14
Lyn Paolo on her working relationship as a costume designer with producers like John Wells and Shonda Rhimes, and on how a good producer can "protect the integrity" of the writers' words, including how they handle network notes
02:54
Lyn Paolo on her process for designing costumes for The West Wing, her research and methodology, on visiting the White House during President Bill Clinton's administration, and on Aaron Sorkin and Thomas Schlamme's input on the show's costumes
02:44
Lyn Paolo on dressing the character "Vivien Kent," played by Anna Chlumsky on Inventing Anna, in stark contrast to the wardrobe of the main character, "Anna Delvey"
01:15
Lyn Paolo on her fellow costume designer Laura Frecon with whom she worked on How to Get Away with Murder and Inventing Anna, and on the importance of bringing up younger talent and advocating for them to move up in the business
02:58
Lyn Paolo on how the Sunset Boulevard character "Norma Desmond" was the inspiration for the costume worn by Julia Garner as "Anna Delvey" in the a pivotal scene in Inventing Anna
03:14
Lyn Paolo on the costumes for Little Fires Everywhere, which was set in the 1990s, and on how actor Joshua Jackson wore one of Bradley Whitford's overcoats from The West Wing, which she had also designed costumes for and was shot in the '90s
00:59
Lyn Paolo on re-using a character's costume from The West Wing on the show Little Fires Everywhere since both were set during the 1990s; on the clothing from that period being oversize; on dressing stars Reese Witherspoon and Kerry Washington for the show and some of the staple designers from the era like Dooney & Burke, Forever 21; on the challenge designing for the massive volume of clothing required for the show; on "crossboarding" which meant that two episodes of the show would be shot simultaneously; on the value of having as much information about the shooting schedule and script as possible, on working with producer Merri D. Howard on the show; on how costume design is really about sticking to a schedule which can be the most complicated part of the job
12:14
Lyn Paolo on costume designing for Inventing Anna, which was based on the life of a real person, and on the challenges of designing a show which had real people with real clothing that had been well-documented on social media
08:04
Lyn Paolo on the challenges of "crossboarding" on a show like Little Fires Everywhere, when two episodes of a show are shot simultaneously
03:29
Lyn Paolo on working as the costume designer on the Shonda Rhimes show How to Get Away with Murder
04:04
Lyn Paolo on how she became the costume designer on the Shonda Rhimes show How to Get Away with Murder in Season 3 of the show
08:30
Lyn Paolo on her favorite part of being a costume designer: being in the fitting room with the actors
01:01
Lyn Paolo on the role of a costume designer: "we create the fabric of the world"
03:06
Lyn Paolo on her design process once she receives a script, on decorating her workspace with pieces of fabric when she's working on costume designs, and on using pencil and paper over computers in her process
03:59
Lyn Paolo on the commercialization of the industry, and on the questions and uncertainty involving intellectual property and ownership over the costume designs involving AI
03:49
Lyn Paolo on how the business of television is changing and the struggle to make a living since the runs are much shorter (6-8 episodes) than when she started on series television, on the business being mostly comprised of male designers when she was starting her career, and on her role models in fashion outside of the film/television industry, like Vivienne Westwood
03:13
Rita Riggs on a typical workday at CBS Television City in the 1950s
03:13
Rita Riggs on adjustments that were made for costume designers when television switched to color
01:44
Rita Riggs on dealing with costuming guest-stars
00:55
Rita Riggs on a typical workweek as a costumer for several shows at once
04:32
Rita Riggs on the process of designing costumes for television
03:04
Rita Riggs on favorite fabrics and colors she uses when costuming, where she finds her inspiration, and her philosophy of costuming
04:01
Rita Riggs on the difference between being credited for costumes and wardrobe
01:03
Rita Riggs on advice to aspiring television costume designers
00:39
