‘Alice in Wonderland’ costume designer Colleen Atwood talks style, success and side-stepping creative block
Colleen Atwood is one of Hollywood’s most esteemed costume designers [Photo: Getty]
You might not know her name, but you’ll definitely know her work. If you’ve ever lusted over an amazingly intricate costume in a Hollywood movie, chances are it was the work of esteemed costume maker Colleen Atwood. The Award winning designer has already collected three Oscars for her work on the films ‘Chicago’, ‘Memoirs of a Geisha’ and ‘Alice in Wonderland’ and that’s just the tip of the cinematic iceberg. She’s also turned her exquisitely detailed hand to creating the elaborate looks in visual extravaganzas ‘The Huntsman’, ‘Edward Scissorhands’ and the soon to be released ‘Fantastic Beasts and Where to Find Them’.
But it’s possibly Colleen’s work on the ‘Alice in Wonderland’ sequel ‘Alice Through The Looking Glass’ (out now on DVD), that’s given us the biggest dose of fantastical wardrobe envy. From the colourful Chinese-inspired embroidered gown Alice wears, to the delicately detailed tulle dress donned by The White Queen, costume buffs prepare to be wowed.
When I was younger costume design wasn’t really on my radar. I grew up in a farm community in Washington State and I was interested in art. I wanted to be a painter. I studied painting and art and started working in fashion to make a living. I had a child when I was in High School so once she was through her high school years I really wanted to change my life. So I moved to New York and I started working as a PA in an art department on a film and then ended up transitioning into costume.
You’re not just making a costume, but creating a character. You’re not just making a dress, you have to make a dress that works for the person that’s wearing it in the film and for who they are in the story. So the first step is figuring out who they are, which you do with the director and with the actor together. You talk about it, you show images, then you start sketching and at the same time researching and making the costume with a draper. I start the process with the fabric and the draper very early because to me the costume really comes to life on the dress form rather than on the drawing. Once I get it up to a certain point I try it on the actor and make sure that works for them and whether they can do their movements in it. Then I show it to the director to make sure they’re happy with it. Then I finish the costume and sometimes afterwards you age it and break it down, depending on the job and what it’s for.
Inspiration is everywhere. From paintings to books, the Internet, the street, everything mashes together in my head. If I see some fabric I’ll get a swatch of it so I have the actual tactile fabric in my hand. If I’m somewhere and I see something on the street that inspires me I might try to snap a picture on my phone. But I’m so fumbly, I never get it fast enough so its not my best tool even though it is useful.
It’s impossible to pick one favourite costume. There’s so many that come to mind and so many I’ve forgotten. I saw a picture the other day of a striped dress I made that I’d kind of forgotten about and I went ‘oh I like that dress, that turned out well.’ I have a new favourite every week.
Every costume presents a different kind of challenge. Fantastic Beasts was a huge challenge because it meant creating a whole new world. The Mad Hatter’s Costume in Alice in Wonderland that Johnny Depp wears was challenging because you knew he had to have the hat and the things that people are going to expect. You really want to give a nod to what’s gone before, but at the same time you want to freshen it up. And therein lies the challenge.
Some costumes are very time consuming. A couple of Charlize Theron’s costumes on Huntsman were really time consuming, particularly the gold one she came out of the mirror in. Mia Wasikowska’s Chinese inspired costume in Alice was really time consuming because it was embroidered in three layers and then the skirt had hand-screened ribbon sewn onto it. It had lots of detail.
Separation helps with creative block. When I’m on the last costume for a story or movie, I often get a sort of vapour lock. But I find if I go off and do other things and circle back to it that helps. You’re able to look at it with fresh eyes and perspective.
My life motto is keep moving forward in time. If things don’t go well, don’t let it defeat you just keep going. You need to be prepared for the unexpected things that come at you, take a deep breath and move forward. Oh and if you’re going to disagree, make sure you’re right!
Being talented isn’t the only key to success. Talent is great, but without flexibility and hard work, it could get lost.
Be prepared for unexpected challenges. The biggest career hurdle I’ve faced is having to find a new team when my main people can’t come with me on a job. I’ve learned how to be a fairly good judge of character and work hard myself as an example.
My own style is nothing like the flamboyant costumes I design. It’s the style of someone who works very long days – practical comfortable and with an effort to be stylish.
Alice Through The Looking Glass is out now on 3D Blu-Ray ™, Blu-Ray™ and DVD Digital Download (©2016 Disney)
What do you think of Colleen’s costumes? Let us know @YahooStyleUK
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