“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.”

“Inspiration comes from everywhere: books, art, people on the street. It is an interior process for me.”

“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.”

“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.”

“My own style is pretty classic I much prefer to design for others. ”

“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.”

“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.”

“One thing about costume design - and I think design in general - but especially costume design, is people have a misconception that it's very glamorous work.”

“I worked in fashion, but I worked more in the sales side of fashion than in design. I was an assistant buyer for a department store back in the '70s and the early years of Saint Laurent. And I used to have a lot of private clients that I bought for.”

“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.”

“I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.”