Costume Designer

Ray Aghayan on his early costume design experiences for Matinee Theater

Ray Aghayan what makes great costume design and a great costume designer

Ray Aghayan on advice to aspiring costume designers

Robert Blackman on the fabrics they used for the costumes on Star Trek: The Next Generation

Robert Blackman on the budget constraints of costume designing for Star Trek: The Next Generation

Robert Blackman on the process of designing costumes for Star Trek: The Next Generation  and working with producer Rick Berman

Robert Blackman on where he gets the inspiration for his costumes

Robert Blackman on advice to an aspiring costume designer

Tom Broecker on the transition from being the assistant costume designer to costume designer at Saturday Night Live, and on the process of learning how to be a boss

Tom Broecker on the costume design team at Saturday Night Live

Tom Broecker on how technological advances have changed the costume design process on Saturday Night Live

Tom Broecker on advice to aspiring costume designers

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

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

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

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

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

Janie Bryant on her advice to aspiring costume designers

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

Ane Crabtree on what makes a good relationship between a costume designer and a director

Ane Crabtree on learning about color from director of photography Alik Sakharov for the pilot of The Sopranos

Ane Crabtree on her early interest in costume and fashion design

Ane Crabtree on the beginnings of her wall of research on Justified -- something that she's continued to do on subsequent projects

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

Ane Crabtree on assembling her team for a show and differences between New York and LA shows

Ane Crabtree on how budgets impact her work, particularly on Pan Am, and on shopping for vintage pieces

Ane Crabtree on the role of a costume designer

Ane Crabtree on the fight for pay equity for costume designers

Ane Crabtree on advice to aspiring costume designers -- which includes advice from Patti Smith, William S. Burroughs, and Rick Rubin

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"

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

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"

Patricia Field on her proudest achievement as costume designer on Sex and the City  and its impact on women "it broke down the uniform"

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"

Bob Mackie on wanting to be a costume designer

Bob Mackie on the craft of costume design for television

Bob Mackie on finding inspiration for costume designing on television

Bob Mackie on the famous curtain-rod dress he made for Carol Burnett in a spoof of "Gone With the Wind" on her show

Bob Mackie on his design style

Bob Mackie on advice to aspiring costume designers

Bob Mackie on costume design today

Nolan Miller on how fashions looked on the television screen

Nolan Miller on costuming Diahann Carroll as "Dominique Deveraux" on Dynasty and working with the budget of the show

Nolan Miller on the process of creating an outfit for Dynasty

Nolan Miller on the process of making outfits for Dynasty

Nolan Miller how Dynasty impacted his life and career

Nolan Miller on where his inspiration comes from when designing, and on the tools he uses to draw his designs

Nolan Miller on advice to an aspiring designer

Nolan Miller and Mark Zunino on the process of designing a dress for Sophia Loren or other clients

Nolan Miller on the process of designing a costume for a television show

Nolan Miller on the fabrics that are best suited for costumes for television

Nolan Miller on quick costume changes in the days of live television

Nolan Miller on being on-set during the filming of a show

Nolan Miller on his general philosophy for costuming actors

Nolan Miller on the designers who work under him in his shop

Lyn Paolo on her first job in television, as costume supervisor, on Dallas starting in its second season

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

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

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

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

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

Lyn Paolo on her role as costume designer on ER and the various challenges presented by the scope and style of the show

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

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

Lyn Paolo on the art of costume design and on working on Shameless

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"

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

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

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

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

Lyn Paolo on working as the costume designer on the Shonda Rhimes show How to Get Away with Murder

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

Lyn Paolo on the challenges of "crossboarding" on a show like Little Fires Everywhere, when two episodes of a show are shot simultaneously

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

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

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

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

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"

Lyn Paolo on her favorite part of being a costume designer: being in the fitting room with the actors

Lyn Paolo on the role of a costume designer: "we create the fabric of the world"

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

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

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

Rita Riggs on a typical workday at CBS Television City in the 1950s

Rita Riggs on adjustments that were made for costume designers when television switched to color

Rita Riggs on dealing with costuming guest-stars

Rita Riggs on a typical workweek as a costumer for several shows at once

Rita Riggs on the process of designing costumes for television

Rita Riggs on favorite fabrics and colors she uses when costuming, where she finds her inspiration, and her philosophy of costuming

Rita Riggs on the difference between being credited for costumes and wardrobe

Rita Riggs on advice to aspiring television costume designers

Noel Taylor on fabrics he liked to use for costume designs

Noel Taylor on the challenge of doing costume changes on live television

Noel Taylor on doing research for period costumes

Noel Taylor on his style

Ret Turner on doing wardrobe for live television

Ret Turner on the craft of costume design

Ret Turner on the craft of designing

Ret Turner on what makes him a good costume designer

Ret Turner on working with directors

Ret Turner on his personal design style

Ret Turner on advice to aspiring costume designers; on the role of television on fashion