How many specific looks are there for each Mrs. character?
They have almost like five looks each I think. The thing is, because I did the movie last year I’m always like a little bit [forgetful]. Yeah, five looks each or four looks each. Every planet they have to have a different look.
Did any of the actresses have any suggestions or things that they wanted for any of the looks? Were there conversations at all with them?
Well, I mean, not really. I mean, the thing is I think [that’s] because this work was so little based on reality and those are fantastic shapes and different shapes and everything. From the very beginning they were very taken by the design and they really love the ideas and they love the way they look. I didn’t find, well, I mean, we’re talking about things like, “Can you walk with these type of shoes?” or “Do you think you prefer to be on flats?” Those sort of things. You have conversations with the actors saying, “Well, I think you should be wearing a skirt”or “She should be wearing pants,” but in this case it was so fantastical, it wasn’t like that. They were very, very, very praising my designs I think.
Each of the Mrs. have such intricate top to bottom looks. Some of them are wearing wigs, and the makeup is very detailed. How did you work with the makeup and hair department, in terms of coming up with the looks? Would you come up with the dresses first and then they would sort of chime in?
It was a very collaborative process. Sometimes I came with a dress, and then I discussed it with them. And then they said, “Oh, maybe we should create this hairstyle and this makeup.” And then when they created it, they thought, “Well, maybe I should change this other thing.” For example, the fact that Reese was wearing an orange hair color means that costumes are now the opposite. I mean, they decided that Reese would be better in that color hair. Then that made me to design from that point of view. It was like coming backwards and forwards. People operated very, very closely because you can imagine these looks wouldn’t come together if we didn’t work together.
Is there one particular look, or any looks for the Mrs. that you are particularly fond of or maybe most proud of?
I mean, the thing is it’s a very difficult thing to say because every look for me was challenging in the sense that we were working with materials that were not normal materials and they were like things coming from another planet. And sometimes it wasn’t just fabrics. It was things like fiber optics and plastics. I mean, that was so challenging in a way that even you loved some of them just for the challenge they represent and some of them for the look. But for me, I always thought the costumes that they wore on Uriel, that is a planet that [Ava] had look more like an ecological paradise. I really loved that particularly because they were full of color and I really love color.
This might be a silly question to you, but was it intimidating working with Oprah, knowing that you had to make sure she looked regal for her character?
Well, I think Oprah looks regal by herself. That wasn’t the most difficult part. Yeah, I mean, obviously, when you think you’re gonna work with Oprah Winfrey…I don’t know, it was destiny in a way. But Oprah and any actress or actor you have to come with ideas that at the end of the day [will work for] your colleague. And you have to work with your colleague and you have to interact with your colleague in a normal way because if you get paralyzed by the fact that she’s Oprah than it’s very difficult to carry on. She was very [amenable] and really, really nice. And she was really gracious wearing all these costumes because some of them were very heavy, very difficult to walk with. Some of them were even difficult to fit. She was very open to everything and very, yeah, very, very embracing.
The other costume I really love is the Man with the Red Eyes look. Were there any specific inspirations for that?
Well, the thing is, about Red I was thinking about those days you come by on a beach like Hawaiian ships, or the south sea with really big color that you find in a seaside resort. And then also the fact in reality he was a puppet. And I was thinking how to make him pretty, but to look [a little] seaside Like happy, almost like a pop idea with really, really bright colors. And then how do you break up all this costume in the section that it would happen like if you were a puppet? And that came from that.
That look has sort of a retro ’30s or 1920s flair about it, especially with the mustache works works so well with the glasses and with the rest of the costume.
Well, I mean, the thing is, yes, we have conversations with a makeup artist and with a hair artist, but I think the mustache came basically … I think it came from Ava. Ava wanted to have him with a mustache. And then in the fitting we tried different things, but that came up as the best look.
“A Wrinkle In Time” opens nationwide on Friday.
