Kate is a London-based costume designer and stylist for film and television. With origins at a costume house, experience with some of the best in the business, and more than 30 years of experience, some of her recent narrative work includes Fair Play*, The Brutalist, Master of None, The Bird Game, and The Fall. Recent TV and commercial clients include Coca Cola, Playstation, Apple, Louis Vuitton, Samsung Galaxy, Google Pixel, Levi, Squarespace, Radiohead, and Skrillex.

*This interview is in partnership with Fair Play, a Netflix film released on October 6th, 2023, directed by Chloe Domont and starring Phoebe Dynevor and Alden Ehrenreich. Learn more here and watch it here!

EiE: Do you remember your earliest memories of being interested in fashion/costume design? Was there something in particular that inspired you to pursue the craft?

Kate: From a young age, I’ve had a fascination with fashion and film. I remember, at about 14, seeing a woman at a car boot sale, selling her entire 1980’s British vogue collection. I couldn’t resist it—all that fashion for a steal! Around the same time, I was devouring Hitchcock films and David Lynch’s Twin Peaks, both of which have remained an enduring love of mine. I guess seeing the musical My Fair Lady on stage with costumes designed by Jasper Conran was when I really began to understand that there is such a thing as costume design. What an exciting prospect that presented—fusing my love of both fashion and film!

Can you walk us through your typical day on the job?

It really varies day-to-day and honestly, I think that’s one of the reasons I love what I do so much. During prep, there’s a lot of initial research in order to really understand and deliver your vision to the people you’re collaborating with. There’s sourcing all the costumes—sketching designs, sourcing fabrics, working with makers, pulling at rental houses or shopping at markets, vintage stores, or on the high street—and then eventually fittings with the actors. When shooting begins, it’s a case of arriving on set to establish the looks of the principal cast, alongside overseeing the dressing of any background cast, and continuing to fit new cast members that are coming in. It’s full-on, and once the ball starts rolling, it doesn’t stop—but it’s so rewarding.

Having worked with a variety of clients and mediums, what are some gigs that stick out to you? What are some creations you’re most proud of?

I’m really excited about the film by Brady Corbet that I just completed, The Brutalist; I think it’s a refreshingly modern take on a period costume film. I also love the bastardized Disney costumes that I used on an art film called The Bird Game by Marianna Simnett. They were never scripted, but conceptually, they really brought another level to the film—and Marianna thankfully embraced the idea! Oh, and a recent PlayStation commercial that was very stylized. The costumes were fashioned mainly from existing garments and lots of upcycling to create a playful future fantasy world.

Is there an archetype or character you most gravitate toward creating for?

Every job brings a whole new set of characters, society, period, and geography for me to explore the psychology of in order to build the costume design that will bring them to life most effectively. Understanding the tonality of each script and honing down the conceptual and stylistic approach of the costume is probably the aspect that excites me most.

How does your personal self-expression differ from the artistry reflected in your work?

I’m not sure it does. It’s such a labor of love; my work really is an extension of my personal self-expression, I think that’s what makes each designer completely unique.

Can you tell us about your approach to costume design in FAIR PLAY? Are there any particular looks/scenes that you can share some BTS insight on?

The timeframe of the film is very short—like two weeks—so there was a logical limit to character development through the costume. However, we did introduce some louder accessories: belt buckles, earrings, and more statement blouses in shinier fabrics, with more directional tailoring on Emily as she ventured further into the upper echelons of the company. With Luke we did the opposite, using “less impressive” suits in softer fabrics to play on undermining his authority towards the end of the film.

One of the scenes that stood out to our team was when Emily was told she “dresses like a cupcake,” and her style abruptly shifts following that conversation. What’s your take on expressing ourselves through our personal style at work? How can we continue to break the workplace “dress code” that perpetuates stereotypes, particularly toward women?

The conventional dress codes afforded to women in these very cutthroat workplaces is something that was important to adhere to and heighten slightly for this script, to really showcase the male gaze that still perpetuates these work environments—and then to briefly witness the repercussions when it’s undone.

It was interesting to explore Emily’s fragility, and how easily her confidence was undermined in that moment. Her response to dress entirely in black was an attempt to become invisible and deny her femininity, which in turn, was undermined by her colleagues who were almost threatened by it. They were more comfortable seeing her dress in her softer, more conventionally feminine attire.

I like to imagine Emily in five- or ten-years time in an even more senior position, doing away with the crippling high heels and the low-buttoned, delicate, lingerie-colored blouses. I like to imagine her feeling comfortable and confident wearing flats, statement colors, and silhouettes that she chooses for herself—and that are no longer dictated by the archaic appeasement of men.

Individuality is a quality I truly respect—and whilst many people are more comfortable dressing within the confines of convention—the more we can accept and embrace our individuality through how we dress, the more it will be accepted and hopefully, ultimately, applauded.

What’s your advice to creatives struggling with the transition from passion to profession? What were some early steps you took to establish your career?

I began working at a costume house and then as an assistant designer to Roger K. Burton, a visionary and a very generous designer. I worked very hard and learned massive amounts. I don’t believe there are any shortcuts. You have to learn the ropes. You have to get on set, learn the process of working with actors and directors, and understand how the enormous collaboration of filmmaking works—in order to understand how your designs can best fit into that bigger picture. This can only come with practice, and I’m still (and forever) learning on every job I do. Seek out those opportunities, and the designers who you can work with and learn from, and view every opportunity as another step—and an experience that continuously feeds into a lifelong education. Don’t be shy. Contact people in the industry whose work you respect and that you want to learn from. If you’re passionate, committed, and willing to learn, it will take you far!

Describe your perfect day off-the-clock.

Honestly, I probably prefer to be working! But a great day off includes an exhibition, the cinema or the theatre, food and wine with friends—a day of inspiration and relaxation.

Learn more about Kate at kateforbes.com.