Top 185 Costume Quotes

I love costume jewelry, the stuff Givenchy/Riccardo Tisci do, and old school rock n’ roll jewelry, too.

I see my face in the mirror and go, ‘I’m a Halloween costume? That’s what they think of me?’

A film is a great deal about what you see, and the silhouette of a character tells you a lot. I’d love to go into film costume.

I once did a role which I couldn’t rehearse in my street clothes, I had to have the character’s costume on before I could rehearse it. I just couldn’t think as the character unless I looked like him, or I knew that I looked like him.

I love fashion as an art; I love fashion as costume, as a character. I don’t like dictates and the phoniness of appearance.

I was obsessed with being popular in high school and never achieved it. There’s photos from our high school musicals, and I’m comically in the deep background, wearing a beggar‘s costume.

I’m not going to become a costume version or caricature of myself; I like to morph.

The reason I put make-up on or wear the costume is to try and find my own style. It’s like my guitar style – I’m just trying to be an original artist.

Someone asked me about how it feels to wear the same costume every day and whether it gets tired or boring, but the good thing about it is that you know what to expect, every day.

I like a character, not a costume – the idea of putting on clothes and you become someone else.

I discovered cosplay because I was going to an anime convention and did some research, and found out people dressed up as characters. I made a very badly put-together costume because I felt this desire to dress up.

For millennia, human beings have been finding new ways to look at the world through each others‘ eyes: from projecting ourselves onto the characters in novels or movies to dressing up in costume to devouring the details of some celebrity‘s life in ‘Hello‘ or ‘OK.’

I love dressing up for events; to me it’s almost like wearing a costume for the evening.

Nothing will turn you into more of a ‘Star Wars‘ fan than being on a ‘Star Wars’ set. When you see how lovingly that world is rendered by the set designers, costume designers, props department, art department, they genuinely build an actual world. That is not an exaggeration. They build a world.

You’ve only got to look at a film to see that it has to be collaborative – the images, the performances and all the art direction and the costume, everything shrieks collaboration.

Clothes are interesting and they’re there to be played with. I like the idea of costume rather than fashion.

Usually the science-fiction fan has some indication they’re a sci-fi fan and, therefore, a ‘Stargate‘ fan. In other words, they could be wearing a rubber head or some kind of costume or just a T-shirt that gives them away.

Now that I’m on Broadway, it’s like NASA engineering with the costumes. I was very grateful for the slightly more high-tech ones in my show, ‘Venus in Fur‘; our costume designer Anita Yavich is kind of a genius.

It is only in the case of the Priestly Code that opinions differ widely; for it tries hard to imitate the costume of the Mosaic period, and, with whatever success, to disguise its own.

Black Lives Matter organizers hold the same values of America’s age-old enemies, who have always fought the ideals of our Constitution and our nation. That they have now taken on as their costume a false concern for Black America only adds to their depravity.

You look at Cheney, Rumsfeld, Karl Rove, and Bush – if you saw them on Halloween, they wouldn’t need a costume. You’d give them a treat and compliment them on what great-looking demons they were. They are demons. There’s no doubt about it.

I used the same designer and costume designer on ‘The Eagle‘ and ‘The Last King of Scotland.’

Couture has copied my things for years, in addition to countless other costume designers, claiming theirs were the original ideas. It’s all part of the business, unfortunately.

If you stood me in a costume next to a computer graphic of the same-looking character, I think there would be a difference. And many movie fans I’ve spoken to would rather see an actor in a costume than CG.

Dancing With the Stars‘ fans may not know this, but we only get to fully rehearse in full costume, including hair and makeup, once before the show.

I love Pinterest! Pinterest is absolutely phenomenal when you’re trying to come up with a costume design.

I’ve done a lot of costume dramas and things that are set in the past, and it’s great to be able to have things that you can research and material that you can look at.

I didn’t want to do Chekhov or Shakespeare. So I switched my major from acting to costume design. Eventually, I got a job working as a wardrobe assistant for a theater company. I would dress the actors, fix their costumes, do the quick changes for them and all that stuff.

Filmmaking is so heavy: there are so many people and trucks and teamsters and costume people and hair people and makeup people. I try to make it light and as simple as possible. It’s great for actors. It puts the story up front. It’s not about shots and dollies and lighting and sets.

I’ve lost 12 inches in three weeks. Every time I go for the costume fitting each week, it’s smaller and smaller. I’m feeling great. I’m putting in the work. I’m getting a lot of sleep. Everything is on the backburner right now. ‘Dancing’ is my priority.

I’m able to hang up the character with the costume at the end of the movie.

I graduated from Academy of Fashion and Costume Design in Rome. At first, I thought I was going to be a costume designer for films, and then I ended up working in fashion – not as a designer, but mostly as a model.

When I was young, watching historical movies made me feel absolutely sublime. But the first few times I visited costume museums, I was really disappointed because it was not at the level I saw in movies. It was not the level of the image I’d imagined.

If James Franco’s wearing a costume, and I’m wearing a motion capture suit, we don’t act any differently with each other because of what we’re wearing. We’re embodying our roles.

When you’re even on a regular movie set, you still have to suspend your disbelief. You’re working there with only 3 walls of a room, and you’re in costume, and you have a camera 6 inches from you and have a crew of 75 watching you. So even there, you have to crank up your imagination.

Singing is the rawest thing. Having been naked in films or naked in photo shoots, it’s nothing compared to singing. It’s absolute nakedness. You are stripped bare! It’s very strange. Acting seems much easier, in fact, because you are putting on a costume – whereas here, you are taking everything off.

Costume design is so important and really helpful, and I really love that aspect of character development, just figuring it out.

Ever since I was younger I wanted to be on stage, singing my songs in a glittering costume. And that happened and is still happening. I have to remember that this is what I wished for and be grateful because there are 500 other girls right behind me that are ready to snatch it up.

I love fashion, and I’ve always wanted to do costume design, but I’m in jeans and T-shirts most of the time.

Every day each of us wakes up, reaches into drawers and closets, pulls out a costume for the day and proceeds to dress in a style that can only be called preposterous.

I loved doing all those costume dramas. I didn’t think, ‘Ooh I’ve got to avoid being typecast‘ – you can’t ever be dictated to by what other people think. I just do things because I fancy the parts and the directors.

I used to have this fantasy when I was growing up where Princess Leia would be in the slave Leia costume and she would be in a vat of Breyer’s ice cream. A recurring dream where I would eat my way to her.

Because of the way I’m built, I constantly have to strengthen. This is sort of a ritual: I put on my tights first, and right when I’m about to put on my costume, I get down on the floor, and I plank.

My first role was an angel in the nursery nativity. I spotted my mum halfway through and shouted over someone else’s lines to ask if she liked my costume. I’ve learnt not to do that now.

I’d always wanted to do costume drama, but period dramas often become very wooden. Just because they’re born in the 1400s, all of a sudden people start losing their sense of humour or their personalities.

I enjoy clothes. My mother tells me how, even as a kid, I used to choose my own clothes. I have a feel for it, and I do the costume coordination for my photo shoots as well. Many a time, even my characters wear the clothes I choose.

I’d love to go to fashion week! I’m learning more about designers, thanks to ‘Pretty Little Liars‘ costume designer, Mandi Line.

I like a bit quirky, a bit strange, but then at the same time, I love putting a dress on… and a pair of high heels. It’s like a costume.

I think I’d make a great superhero. I’m serious. I want to play a superhero, and I’ve already got one in mind. I think I’ve still got the body for the costume, and it’s something I really want to do.

I can still fit into my Battlestar Galactica costume!

During my school days, I was doing a play, and my costume fell on the stage. I really wish it didn’t happen.

If there’s room for 30 reality shows, surely there’s room for two amazing costume dramas.

I put the costume on and said ‘It’s not very comfortable, but it looks amazing,’ so it’s all good.

Actually I saw Manichitrathazhu’ in Malayalam and I wanted to try the costume Shobana wore, to sit like her and carry that attitude, to feel like a queen.

You know, when I got started on television in the ’80s, you would go to the costume department, and if you were a female they put you into a skirt. And you had a pocketbook, usually a shoulder bag.

My folks met at the University of Oklahoma, in the theater department in the 1940s. They were married touring the country in ‘Cinderella‘ and ‘Snow White.’ My mother was married in Cinderella’s costume; the dwarves were the best men.

I first thought about doing a project about Anna Wintour and ‘Vogue‘ when I read an article in ‘New York Magazine‘ about the Metropolitan Museum Costume Institute Ball, the annual fundraising gala that Anna oversees. It created such a fascinating portrait that I couldn’t help but be compelled.

All my siblings became artists. One’s a novelist, my brother is a painter, my sister was a costume designer.

I realized that I wanted to play characters and do traditional theatre. I wanted to make believe again. I like putting on a costume and pretending to be someone else for a few hours, and I have a great respect for playwrights.

People want to see something that isn’t necessarily somebody walking around in a superhero costume.

When you are the kid of an actor, it’s always a very inviting world. Everyone is nice to you, the hair and make-up people braid your hair and play with you, and the costume department makes outfits for your teddy bears.

As much as I can act, I don’t have anything in me that yearns to be an actor – that sense of needing to be onstage, in costume, in character; that is utterly not interesting to me.

And costume is so important for an actor. It absolutely helps to get into character; it’s the closest thing to you, it touches you. Some actors like to go into make-up and then put their clothes on, but I like to dress first; that’s my routine.

Burlesque girls were alchemists. They were steel-tough performers who were willing to use kitchens as dressing rooms, haul their costume bags through the snow, and go into debt over fake diamonds, all for the five minutes onstage when they were goddesses.

Superman is the hardest character to draw. There are a couple of things that make him difficult. He’s got a very simple costume and doesn’t have the long cape like Batman. He’s not a character that is necessarily always in shadow, and he doesn’t have a mask.

The presidency is, in many ways, America’s comment on itself; our collective national costume. In the occupant of our sole nationwide elected office, we see who we think we are, or who we want to be.

When I create a sports costume, I remember that it must not look – how do you say? – ‘bedraggled.’

I definitely feel, when I’m wearing the costume, that I could scare people and hurt them.

For me, I tend to enjoy wearing any period costume. I love how fashion and clothing has changed and evolved through time.

I love De la Renta. I love CoSTUME National; I think they’re just incredible. And I love Marc Jacobs, too – they’re also great, just a great brand.

I was in my first play when I was 6. My older sister was in a high-school production of ‘The King and I.’ They needed children for a scene, so she brought me in. I had a costume and a couple of serious lines that got a laugh. I loved the feeling.

I would say probably my least favorite costume ever was in ‘Van Helsing.’ That was a huge pain because it had thigh-high boots with 30 buckles on them that had to be done up individually.

In the ’80s, there was a fixed costume of a heroine, and not the physical costume, but this is what a heroine is, she is an art prop. She will look beautiful, support the hero, dance, get saved by hero. I didn’t ever aim to go there.

I love the levels, the depth, that the character has. He is the only member of the Justice League who cannot take off his costume. He is Cyborg 24/7.

It’s been hard to gain acceptance in England without the clown makeup because I wore the costume as part of my act for so long.

With ‘Suffragette,’ I was emboldened that there were so many women around me. We had a female writer, producers, production and costume designers.

In comics, we’re all weird together. I can go to a comics convention and not stand out, even though I’m the only woman in a headscarf there, because the guy next to me has a beard and a Sailor Moon costume.

For me, the audition is always the hardest part of the whole process. Once you get on set, once you’re in costume, you’re with the director, it’s so much easier to get in the headspace.

I recently did a play, Athol Fugard’s ‘Coming Home‘ at Long Wharf Theatre, where I played one character throughout – I sat at a table and didn’t have any costume changes. Following one character’s arc from beginning to end is a whole different mindset.

Yes, I love going to fittings and talking about the history of a costume. For ‘Versailles,’ a play set in 1919, the costume designer told me that pocket squares had just been introduced. The tango was becoming fashionable in London, and dancers used them to mop their brows. I love to learn fascinating stuff like that.

I would’ve been a really good costume designer because, basically, my clothes were like costumes, and I wanted to be a dancer, so there’s all of that tulle and color.

Once you embody the language, the character comes really naturally, especially when you put the costume on.

I think of clothes a lot like costumes. I think of what I wear in real life as being my real life character’s costume.

I like that totally mixed up kind of eclectic group of personal props and bits of costume and I think the fun of doing that is where I was very lucky with Doctor Who.

I’ve done a lot of costume drama and theatre – the National Theatre and In fact, most of my work at the theatre, at the National Theatre anyway, was period.

Drag is a chicken suit, and you’re very emboldened. Whatever you do or say or fail at or succeed at is attributed to your costume and not you as a person. So there’s a lot of freedom.

I think a lot of superheroes seem to have the same value system; they just have a different costume. They’re all doing exactly the same thing.

Timberlake was once a boy-band idol with mismatched baggy attire and the curly, frosted locks of a Cabbage Patch Kid doll. His early fashion missteps included a full denim costume complete with rhinestones and a cowboy hat, and for a time, his hair was twisted in cornrows.

I like to think that at the end of a show, you can just take your costume off and go to the pub.

For this game, we shot it just like it as if it was a film so there wasn’t that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.

Every year, I have to spend another hour working out. Pretty soon I’ll be spending eight hours working out just to fit in the costume. I have the feeling that the minute I stop doing the character, boom, Roseanne Barr.

When my kids were in the school play for the first time, I decided I had to make the costumes from scratch and bought material, wadding, dyed T-shirts, and purple tights so I could say I made the octopus costume myself.

I knew I would grow up and wear a costume one day, and that’s exactly what happened.

Maggie Gyllenhaal, Chelsea Handler, Tilda Swinton, and Sofia Coppola are other clients. They’re all risk takers but never look like they’re in costume.

I always felt like a girl. My parents in New Jersey weren’t exactly encouraging, but my grandmother was very open-minded. She had lots of costume jewelry and a big chest of purses and things, and she would let me play with all of it – even her makeup and perfume. She just didn’t care.

Costume design allows you to do a different type of research and create characters, whereas in fashion, you create an image and clothing for the masses.

I hate the terminology of ‘costume’ because my clothes are not costumes at all. I think they’re high fashion, avant-garde, and more couture, definitely, and yes, some of my pieces are not particularly wearable, but I wouldn’t say they’re costumes, I’d say they’re more couture.

Every movie that I’m in is very different in terms of aesthetic and costume. I mean, from ‘Mirror, Mirror’ to ‘Mortal Instruments,’ I went from dressy dresses to leather and heels and tight, sexy, chic outfits.

This is my costume. I’m a homicidal maniac. They look just like everyone else.

It was amazing that during rehearsals, without any of the costume on, the character was there complete. It just happened. Half the time, I didn’t know I was doing it.

My eyes opened, and the first thing I thought of when I could put thoughts together was I want to be in show business. Never wanted anything else. I used to sneak in the costume room at my nursery school and smell the costumes.

I firmly believe lyrics have to breathe and give the audience‘s ear a chance to understand what’s going on. Particularly in the theater, where you have costume, story, acting, orchestra.

Most drag queens, they put on music like it’s a costume. It’s not in their bones. It’s not in their background.

I enjoyed studying costume, learning about the corsetry and the historical context of fashion. I never had any real intention of being a costume designer.

It’s a really exciting thing to collaborate with production designers, cinematographers and gaffers and costume designers and editors and composers.

It even sounds stupid to hear myself say the first costume designer I worked with was Catherine Martin, and she won an Oscar for it, but that was just my very lucky draw of roll of the dice.

When I dress up in costume, it always starts with the wig for me. Big wigs and big headpieces are so fun, and they give you confidence and make you feel powerful.

I read and watch movies. I can’t go to the movie theater much anymore, though, because I get recognized. It’s worse sometimes if I wear a costume and try not to get recognized. I watch most of my films on airplanes.

I’ve never worn costume jewelry in my life. It’s really very self-defeating. Why should a man buy a woman real jewelry when she wears false pieces?

I work for ABC. If the thing that ABC is paying me for is storytelling – not to make sure that a costume is exactly right or all those other things – then it is up to me to find the most creative space possible so that that function of my job can happen.

All through my life what I’ve loved doing is watching movies. I love the escapism of film, I love stories. So it is incredible to be able to be in them as much as I am, to see them from the first stitch in a costume to the end product.

I turned my hand to costume design a few years ago when I created the outfits for ‘This Is the Sea,’ with Richard Harris and Samantha Morton. It’s a very different discipline to being a fashion designer, though – you have to rein in your own vision and work to a tight brief.

Normally, you have to wait for the costume department to help you out of costume.

‘Agnivarsha’ is not a costume drama like Shashi Kapoor’s ‘Utsav’ or Sanjay Leela Bhansali’s ‘Devdas.’ This one has no elaborate jewellery and clothes. It is sparse and stark.

Australia has produced amazing costume designers that are unheralded.

I have the whole costume from Playboy’s sixtieth-anniversary cover shoot.

I was very interested in theatre, so my first love of fashion comes from costume, and I think that’s pretty clear within my work and the level of theatricality.

Period costume films are fun to discover, but they’re not relatable. It’s more, ‘Wow, that’s cool – did it really look like that back then?’ Whereas with a comedy, you’re like, ‘Yeah, that’s me, that’s my friends.’ No matter what, I want people to relate.

I am not indulgent. I think constructing a scene elaborately – with art, costume, and visual drama – is not indulgence. Other people should do it, too.

When you’re young, the blue blazer feels like a grown-up costume.

I had a Spider-man costume when I was about three, and I lost the mask. So I went to the underwear drawer and put a pair of red pants on my head. My dad came home and just laughed, and I ran into my room and burst into tears.

I always loved Michelle Kwan’s outfits. Most of them were designed by Vera Wang, and they’re just so simple, but the fabric that they used and the way that it was sewn together look so elegant and rich. You could tell that time had been put into it. It wasn’t just another spandex, stucco-covered costume.

I’ve always liked the simplicity of the Black Panther costume. I’ve never liked when people give him flashy capes and other adornments.

We would change out of costume, then we would read the next days script.

The great thing about costume jewelry is that there’s something for everyone – there are very humorous pieces and very extravagant and outrageous pieces.

I love getting back to Wivenhoe. I get out of my wig, bustle and costume in three minutes flat at the end of the play before jumping into a taxi outside the theater and catching the train home.

It is a special, weird thing being a cheerleader. You need to want to yell and perform, dance, and wear a cute little costume. It’s a thing you’re kind of born with or without.

Doing those costume pictures was wonderful.

Costume really helps you feel in character.

I had such a nice time making it, and I can’t wait to make the fifth one. The whole crew were just really, really lovely. All the costume people, the make-up girls, the kids – even my driver.

The costume affects your posture, affects your walk, how you hold yourself, and how you breathe. The costumes make you deliver.

The great thing about performance capture is you can go off, and then, without changing costume, you can become another character.

Unapologetically, absent me, there is no Deadpool. Period. I am the name, the costume, the look, the origin, and the attitude. Great one-liners are the result of other writers. But there’s no Deadpool at all in existence without me.

I’m a costume designer. My career is not in fashion, a field I’m basically unfamiliar with.

I do tend to play characters that have a lot of costume and hair change. I sort of like the change of physicality thing.

It’s often said that costume designers are a faceless group of people. But we can contribute to fashion in a way that might be new and different.

I hope people will never stop dressing up as Harry Potter. It feels less to me like something you wear because you think it’s a great costume idea and more like something you wear because you really like wearing your Hogwarts robe, and you really only get the one chance per year.

Since childhood, I have been a fan of Spider Man because, according to me, he has the maximum humanity; he is very human, very mortal. So he even gets hurt. He has a poor background, but when he wears the costume, he forgets all of that, all the pressures of the society on him.

‘The Great Fire‘ is more what I’m used to – being in costume and make-up for a long time, trying to be ‘period appropriate.’

I have never been in, nor have I had any strong particular desire to be in, what is termed a costume drama, but I keep forgetting to think of ‘Charles II’ as a costume drama.

I played Simone, the French tutor for the daughter of a rich Manhattan couple, who goes to a costume ball as Marie Antoinette. While everyone else in ‘CSI’ races around in police gear, I had to wear a ballgown and bustle and two wigs. It was very heavy on the make-up side.

I do love the clothes on ‘Mad Men‘ because my character has been so elegant and I would never have had access to these clothes. I think Janie Bryant is a costume designing genius. They’ll call and tell me, ‘It will only take an hour,’ and I’m like, ‘I will try on the whole truck!’

Whenever there was a show like ‘Calamity Jane,’ me and my siblings would be plonked on stage in a costume because it was easier to have us in it rather than sort out babysitters.

There was a kind of madness in the country. Eamon De Valera, the prime minister, had this vision of an Ireland where we’d all be in some kind of native costume – which doesn’t exist – and we’d be dancing at the crossroads, babbling away in Gaelic, going to Mass, everyone virginal and pure.

We have a costume closet at home. My family will put on a costume for any excuse.

Probably the only type of cosmetic surgery I’d consider is having my bust reduced. It’s alright for my current role in ‘The Marquise’ because it’s a costume drama, which means boned corsets and a bit of cleavage, but it’s a drag otherwise.

I feel like my art is very eclectic. I have taken my favorite things – be that costume designing, fashion sense, music and video editing – and I threw them all into one big clump. And that’s what I do.

I’ve always wanted to be Wonder Woman, of course. She had the greatest costume.

I was already in the industry as a costume designer and opportunities to act in films came naturally. I must have designed costumes for over 100 films.

Doctors, dressed up in one professional costume or another, have been in busy practice since the earliest records of every culture on earth. It is hard to think of a more dependable or enduring occupation, harder still to imagine any future events leading to its extinction.

I think that people are looking beyond the wig. I think they are saying, This isn’t just a costume; there’s a person behind this. If this costume, this character, this person has this kind courage? Why don’t we share that?

You cannot climb the ladder of success dressed in the costume of failure.

My fancy dress costume of choice is… something 1920s or 30s, when there was still so much elegance and attention to detail. An excuse for ultimate dressing-up indulgence.

People are often a bit more adventurous with swimming costume prints; they like the idea of something a bit more jolly.

I will confess I did none of my own singing. I did all my own costume and makeup, though.

As a child, I was always drawn to heroic characters. I decided I wanted to act when I realised that Superman and all those gangsters and Indians were just real people in costume.

I am, in fact, Superman. Every morning I wake up and go into a telephone booth and change my costume, and then go to work.

The buffoon is a product of the woolly jumpers in the 1980s on ‘TV:am.’ It was a costume and I loved earning money before breakfast, but 9 A. M. came and I then took off the woolly jumpers.

I have little routines in the theater. Once I’ve established something, like the order of putting on makeup and a costume, I have to invariably do it in the same order every time, even if I only did it by chance the first time round.

I dressed up as a veterinarian for a Halloween costume party. I had the lab coat. I got a couple of stuffed animals for patients and put bandages on them.

Courtney isn’t just a costume, it’s a way I express my femininity.

The Costume Institute Benefit became my baby. It was something that I lived, breathed, day and night.

As a rule, I try to avoid the French Quarter because of the crowds, especially Bourbon Street. But hey, some people love it. A great, wild, adult thing to see is the costume competition in front of the bar Oz on Bourbon early morning on Fat Tuesday.

They said they wanted a lot of feathers, glitter, colourful colours. A costume. So I had a lady here in Calgary make it. She just kind of put together what I had in mind.

It’s interesting the whole Kardashian thing with ‘Offspring‘ because really my choices – with my costume designer – for every single episode are based on the emotional journey of that episode for the character.

My stormtrooper suit would chip underneath the armpits and in between the thighs. So they had to do a lot of editing for my costume and shave some areas down.

As soon as I see period costume, I turn off. It’s like hearing drama on Radio 4.

‘Turtles’ was by far my favourite TV show when I was growing up. It would be the show that I would wanna watch more than anything. We’d record it on the big VHS tapes, and I’d watch it before school, after school, on the weekend, wear the costume, have all the weapons.

Fashion designing involves a lot of work, and, as opposed to the general perception, it is different from costume designing for films. While a fashion designer can take up a costume designer’s role, it is not possible vice versa.

The thing that’s great about being a costume designer is you never know what’s going to be next; you never what world you are going to enter.

I loved every minute of working in wardrobe. But I love being an actress so much more. I don’t think I was very good in costume, so it’s better that I prefer being an actress.

Everything is for sale in Hollywood; the fairy tale, the costume, the pumpkin, the footman and the mice.

Putting a wig on and a costume and doing a wacky character is always fun.

We have to do a film parody for Comic Relief. We can’t decide which film to parody at the moment. Any ideas welcome, but not Spiderman owing to costume being too tight.

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.

Whenever I put on a colored thing, I feel like I’m in a costume. Like when I put on a gray shirt.

I had a lot of fun with my costume designer.

Any time you talk about the look of the film, it’s not just the director and the director of photography. You have to include the costume designer and the production designer.

I love drawing Ryan Reynolds in his Deadpool costume. He looks amazing and is the true embodiment of the Merc with a Mouth!

I design a lot of things that I wear onstage, but I’m always looking for unique stuff. I like creative things, so anything I can find at a secondhand costume shop to a Helmut Lang store, it doesn’t matter – just unique stuff.

I think of the spam folder not as Pandora‘s box but as a costume shop in which you can play and play at being whoever and whatever you wish. If only for a time.

The difficulty with poetry is that it doesn’t have the life that Shakespeare or Jane Austen have beyond the page. You can’t make a costume drama out of it. There’s no place for it to go except trapped inside its little book.

I’m a pain in the ass to all of the costume designers with whom I work because I have very strong feelings about the subject.

I have a message for any young woman who is thinking about running for office and has ever attended a costume party… or done anything stupid on camera. Run for office. Fight for this country.

My favorite event of the season is the Costume Institute Gala at the Met in May. To that I’ll wear custom Vera Wang.