- 2 days ago
An in-depth conversation on the power of costume design in shaping Black storytelling. Explore how fashion, history, and culture influence character development and world-building in film and television. Hear from top stylists and costume designers about their creative process, the importance of authenticity, and how wardrobe choices bring Black stories to life on screen.
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LifestyleTranscript
00:00All right, good afternoon, everybody.
00:05Okay, I'm going to make my way right to this staircase.
00:08We're going to try it one more time.
00:10Good afternoon, everybody.
00:12There we go, there we go.
00:14Okay, it's day three.
00:15Is everybody all right?
00:18Who has slept more than 20 hours this weekend total?
00:22More than 20 hours.
00:24Have you slept more than 15 hours total?
00:27Shout out to you.
00:28How many of you are 10 hours and below?
00:33Okay.
00:33How many of you are five hours and below?
00:36Oh, my goodness.
00:37God bless you, sister.
00:39I'm going to gelato on me when this is over with.
00:42Well, with that said, thank you guys for being here.
00:44I know it's been a long, but I hope fun weekend.
00:47And I always love doing these types of talkbacks because the people in this room are here because they want to be here.
00:51So thank you for being here.
00:52My biggest housekeeping notes, please bring your energy.
00:55These ladies are here.
00:56They're here to be able to impart their wisdom.
00:58They're here to be able to impart their wisdom into all of your lives, mine included.
01:01And so we want to make sure we give them the best round of applause we can when they come out.
01:04Also, this is a talk back, not a talk to.
01:07So if you have questions, we're going to be doing that intermittently.
01:10I'll probably pose a couple questions to our panelists, and then I'll pose some questions.
01:14If you guys have them, raise your hand.
01:16I'll pick you.
01:16You'll come up to the mic.
01:18You will not give your testimony.
01:20Okay?
01:20You will not push your new business.
01:23You will not pitch for a new stylist.
01:26You will simply ask your question, and they will answer them to the best of their abilities.
01:29Okay?
01:30So we're talking all things costume design.
01:32Anybody who wants to be a costume designer, aspiring costume designers, or fashionistas in the house, raise your hand.
01:37I see you look like you ready.
01:39You look like you ready, sis.
01:41I love the scarf.
01:42All right.
01:42Here we go.
01:43We'll start with our introductions, guys.
01:44And has anybody ever seen Survival of the Thickest?
01:46It's one of my favorite shows.
01:48How about Forever on Netflix?
01:50The Color Purple, the movie.
01:52The Shy.
01:53So these ladies in their own right, respectively, have all worked on some of these projects.
01:59Okay?
01:59So they know what they're talking about.
02:02Copy that?
02:03Let's get to it.
02:03Okay.
02:04So first up is Mercedes Cook.
02:05The biggest round of applause you can give her.
02:09Come on in, Mercedes.
02:10I love the walk-in.
02:12It's so long.
02:12It's like a runway.
02:14Why do you all have them stand outside the door?
02:17It's so like Wizard of Oz, don't you think?
02:20Next up is Kia Bounds.
02:22Come on in, Kia.
02:24I love that energy, you guys.
02:27Icy White, where are you, sis?
02:28Come on down.
02:29Come on down.
02:31And Tanja Caldwell.
02:33Join us if you would.
02:35One more round of applause for all these lovely ladies as they make it to the stage.
02:41Okay, so who's going to give me fashion advice when this is over with?
02:44Who can I DM and you will respond?
02:47I got you.
02:48You got me?
02:48Okay.
02:49We got you.
02:50All righty, all righty.
02:51Get comfy, get comfy, get comfy.
02:52Thank you, ladies, for being here.
02:56I was asking the audience before we started, who got more than 20 hours of sleep this weekend?
03:01More than 20?
03:03More than 15?
03:05Ten or less?
03:07Ten or less.
03:08Okay.
03:08Ten or less.
03:09That sounds about right.
03:10Okay.
03:10Well, thank you for your dedication and being here.
03:13I want to start things off pretty simple for those who may not necessarily understand you all's journeys.
03:17I'm going to kind of go, we'll go one at a time.
03:19We were talking in the back a little bit about just sometimes not understanding that the journey requires us to sometimes sew in areas that we may even think that we're above or beyond.
03:29And so just kind of going down the line for you all, was there a moment in your career where you realized, hey, I have to sew here to get here?
03:38And what was that moment like for you?
03:40I love that.
03:41I love that you tied and sewed, you know, because that's exactly what it was.
03:44I mean, I think for me, it's been multiple moments when I started as a PA, you know, and I wanted to kind of start from the ground up and really work my way up and understand all the different aspects within the costume design itself.
04:00And even before that, when I was a fashion stylist, it was my experience there that led me to costume design.
04:06But I think, you know, every job has its challenges and opportunities.
04:11And so all those are growing moments, you know.
04:13But, yeah, just tons of them.
04:17I hope I answered it.
04:18No, you did.
04:18You did.
04:19How about you, Isi?
04:23One more time, just want to make sure I understood the question of basically the journey of how we got here.
04:28Yeah, so I think sometimes we think what we want to do is going to allow us an opportunity to do it quickly, and sometimes there's a journey involved.
04:35And so my question really is, was there a time in your career starting out where you realized, I have to sew over here to get up here?
04:43And what was that?
04:43Yes.
04:44So, hi, my name is Isi White.
04:46I'm on year 13 of in the industry.
04:50So I definitely have moved up over the years, and I have held several titles in the costume department, starting off from a PA.
05:01And I also started in this industry from a non, no educational background.
05:08My degree is in something totally different.
05:10What is it in?
05:10I'm curious.
05:11It is in mass communications.
05:13Wow.
05:13With the emphasis in broadcasting, which I kind of dabbled in.
05:16But nothing related to design, nothing related to film, and I think a lot of people aren't aware that there's multiple journeys to lead you into this industry.
05:29Yeah.
05:29So I came in just because I hated my government job at the time, and Atlanta started booming as a hub for film.
05:38So coming in without that design background, film background, I started from the ground up of just a PA, and then moved up to a buyer.
05:50And I was primarily a buyer for about seven or eight years, and more recently have started moving up to assistant costume designer.
05:58And in 2022, I designed my first project.
06:01So I think all of those positions were essential to being where I am today, and to know that there's lessons and value in each of those positions,
06:17which is why I love to treat my team equally from the top to the bottom, because I've served in so many positions in that department, and I know that it's a team effort.
06:28Yeah, for sure.
06:29Kia, what about you?
06:30So as we talk about journeys, and Icy, you know, jumping off of what Icy was saying, my journey was completely different as well.
06:42I started off as a fashion designer, and then when I got into the world of costumes and wardrobe, I did set first, which is like managing what the costume designer wants on set.
06:55And while doing that, there were costume designers that saw me, like whether I was dressing background or, you know, jumped in and dressed a day player, and wanted me to transition into costume design, but I wasn't ready.
07:08So it was important for me to understand all of the departments before I moved in as a costume designer.
07:18I needed to know how to tell someone else what to do in their position.
07:22And so once I completed that part of the journey, I was ready to transition.
07:27So that was my journey.
07:30Hi.
07:31Hey, girl, hey.
07:32Little voice here.
07:33I think that for me, I also started out in fashion design.
07:40I had no, no, no aspirations to be a costume designer at all.
07:45I wanted to live in New York, have a cute place in Chelsea, and like, you know, run around in the city and be cute.
07:52And I met a costume designer because a friend of mine who was a waitress asked me to dress her.
07:58She's like, oh, you dress so cute all the time.
08:00Can you dress me?
08:01And so when I met, his name is Ernesto Martinez, I was literally kind of awestruck, like, wait, this is great.
08:08Do you know Ernesto?
08:10Yes.
08:14That's what the kids do.
08:16I just started doing that this week.
08:18I'm really enjoying it.
08:19It's amazing.
08:20Is it this finger?
08:22I think it's these.
08:23We can go either way.
08:24Yeah.
08:24How many of you guys, I do it this week, I've been turning up, just doing this all the time.
08:29It's almost like I'm speaking sign language.
08:30I'm doing it wrong.
08:31For real.
08:32Right?
08:33Is this right?
08:36There's a whole thing to it.
08:38Oh.
08:43Okay.
08:44I learned something new.
08:45I don't know.
08:47Trying to be down.
08:49I'm going to stay on TikTok.
08:50Broadway clap.
08:52But, yeah, so completely awestruck.
08:55Ernesto Martinez and, like, seeing his determination and drive, I think it was in that moment I realized, well, dang, you have to sew here.
09:03Because I didn't know anything about it.
09:05I wanted to come from an authentic place.
09:07I wanted to be studied and tenured in this experience.
09:10So, I literally just followed him around the country.
09:14Wow.
09:14Anywhere I could go.
09:17Living in the craziest places.
09:20My mom was scared.
09:21But I did it.
09:22So, I did a lot of sewing.
09:24I mean, there's days when I was, like, pouring out my piggy bank.
09:27Like, can I make it?
09:28Can I get enough gas here?
09:29I have a rental car to pay for my PA position, right?
09:34But I'm not making any money.
09:35But I'm still here.
09:36And I'm happy.
09:37And I'm, you know, so thankful to be here.
09:40Because I knew that eventually if I kept working hard, like everybody, right, just keep working at it, then it would lead to somewhere.
09:47So, I've done a lot of sewing.
09:49So, I'm behind the scenes and in front.
09:51But it's so important.
09:53So important.
09:53What also is important is just the intention when you guys kind of go into the work that you do and you all are designing for characters that are very deeply rooted in specific areas and eras and worlds.
10:04And so, when it comes to the intention for you, what's the first thing you do?
10:07Because this is very immersive.
10:09What is your first step?
10:10And, again, we'll go right down the line.
10:11And after they answer this question, if you all have a question, please raise your hand.
10:14I'd love to go to you guys as well.
10:16Well, usually the first step, I think, is really understanding your script.
10:20You know, studying that, understanding the characters, and really creating your own relationship with each one of them and visualizing what they look like and what are they wearing and where are they going and where are they coming from?
10:35What's their objective?
10:37What's their social and economic status?
10:41Are they an artist?
10:42Are they a banker?
10:43Are they, like, these are all the things that we think about initially as we read a script and then we go back and read it again and again and then we break it down and see where specific looks are or where there is a place where a look is scripted, right?
10:57So we want to make sure that we make sure that we, you know, put a look together that's based on that.
11:02But for me, it's really about the research, you know, always starts with that and just, like, collecting as many images and references that I can, you know, put on paper that are out of my head, you know.
11:14And I think visually that's a good way to communicate, you know, what your ideas are for each of the characters.
11:20So that's mainly where it starts for me.
11:23How about you, Arcee?
11:26I'll take both of them.
11:27I have to agree.
11:31It starts with reading the script.
11:33You know, that's one of the most basic, most first things that comes your way is this is the script.
11:40Reading that and every time you read it, you find something else that jumps out at you.
11:46Everything is digital now.
11:47A lot of things are digital, but I still love to print a script and to, like, highlight it and write little notes on the side, circle things.
11:55Because after you've read the script and as you're doing your research and as you're having multiple meetings, because it's an interdepartmental process, you're talking to the writers, you're talking to producers, you're talking to directors, you're getting everyone's feedback.
12:11Sometimes what's written in a script will change through a conversation had in these rooms.
12:16So I like to just, you know, old school, bring my script in, have these meetings.
12:24I love the collaboration because a lot of times they'll listen to us as costume designers and say, you know what, that doesn't make sense that she'd be wearing that, right?
12:34And, you know, so now there's a change in the script based off of the costumes conversation.
12:40So, yeah, it starts there and then it goes into research once everyone's on the same page of what design-wise, aesthetically, this, we have all those creative notes.
12:53Now it's time to do the research and to take into consideration all the points, like, Tanya just made of who are these people, visualizing them in your head, also understanding, like, the socioeconomic factor of it.
13:09But do they live near a place that they can have access to Gucci, you know, or is that, this not that show, you know, save that for something else.
13:18So, yeah, kind of starts there and, again, it just evolves because you're constantly having these conversations, sometimes up to the day of, where they're like, you know what, let's put her in that instead.
13:30So, yeah.
13:31Wow, wow.
13:32What about you?
13:33I think we're all going to have similar answers.
13:36I'm going to ask you this then, if I could turn a corner.
13:39You guys all mentioned so far about how often you have to go through a script.
13:44What is, customarily, how often do you go through scripts?
13:47How many times?
13:48I read my scripts at least three or four times.
13:51And I use, I print them out as well as I use scriptation.
13:56So, because I need to, like, go back and forth and double check myself.
14:01And the only thing I want to add to what the two of them said is, because I play my writers and showrunners so closely, because I'm Michelle Buteau's stylist, so I'm with her all the time.
14:12So, I get to pick her brain, like, all the time about her characters.
14:15And then, you know, on BMF, I'm, like, you know, really close with the whole team.
14:21So, you know, I am very, you know, instrumental in helping to drive some of the scripts, as well as Icy said.
14:29So, yeah.
14:31Love that.
14:31Anything you want to add, Mercedes, before we go to the audience?
14:34No pressure, of course.
14:35I want to add, I want to say definitely the script, like all these ladies said, but for me, I think the next step is for authenticity, because I'm always chasing truth in the story, to talk to my actors about it.
14:48And I always say to them in the fitting room, do you love this, or do you hate this?
14:53Like, I want there to be no in-between, right?
14:55Because they have to love it and feel alive in it to be able to convey it so that you then connect with that feeling, right?
15:02I was watching forever.
15:03I love the show so much.
15:05I love Grace.
15:07Amazing, amazing work.
15:09And it felt so authentic and real and just, like, tangible, right?
15:13Because, again, I'm sure she had such a good connection.
15:17Tangible.
15:17Tangible.
15:18Which one is it?
15:19Pun intended.
15:21Okay.
15:21Oh, okay.
15:23That's a hashtag.
15:24That's a hashtag.
15:25I love this section.
15:28But I'm sure because, you know, she wasn't just throwing clothes on people, you know, and that's just the biggest thing.
15:35Between the script and just making sure, you know, you have authenticity with your actors.
15:40Absolutely.
15:41And then reading.
15:42Do you want me to answer that, too?
15:43You can if you'd like.
15:44I listen to my script.
15:46Tierra knows.
15:48Yeah, I have, too.
15:49I'm going to try that.
15:49Wow.
15:50There's an app.
15:51It's called, sorry, it's called Voice Dream.
15:54And I'm literally going to the mall and I'm listening to it.
15:56I'm in the shower and I'm listening to it because, like everyone said, the revisions come out so quickly that I'm like, okay.
16:03My ADHD, I cannot.
16:05So, I just listen to it and listen to it as much as I can.
16:07Wow.
16:08I love that.
16:08Any questions so far?
16:10If not, I have plenty.
16:12Right over here.
16:13Could you come up to the mic so we can all hear you and let us know your name and where you're from?
16:17I told you all, there's something about, there's something on this section, some oil on this section.
16:21You all are so participatory today.
16:23I love it.
16:25Hey, y'all.
16:25I got, I'm coming your way.
16:26Get that hand up.
16:27I'm coming.
16:29Hey, I'm Tierra.
16:31I'm from D.C.
16:33I'm also a costume designer, assistant costume designer.
16:38And I admire all of you guys' work.
16:43It's so inspiring to see young, black, thriving women in a space where it's heavily male-dominated or the doors weren't always open.
16:55Um, in those spaces for us.
16:57And so to see so many of us shine this way is very inspiring to me.
17:01So.
17:04It's to the girls.
17:04Okay, got it, got it.
17:05Um, but also, um, Mercedes and Tanya, um, are both good friends of mine.
17:13Um, also my mentors and have helped me grow from, I've worked with them in different, the same capacities as a costumer, as an ACD, shopper,
17:24white-haired man, even if I'm not on this show.
17:26So, um, it's very inspiring to see that.
17:29And so for all of you, one of the things that I admire about the two of them is their way that they control their composure in a boardroom.
17:37And so when there's these production meetings and, you know, you're, you're facing maybe eight to ten white men or women or other people who don't look like you.
17:49And you sit here as a, a young, black, beautiful, talented, you know, thriving, uh, designer.
17:56You know, sometimes it's intimidating.
17:58Mm-hmm.
17:58So, my question for all of you guys is how do you face your creative, like, what are your creative challenges when you're sitting in these rooms and you're, this is a collaborative effort to design a show.
18:11And so many people have opinions, whether it's the showrunner, it's the studio, you have to go through all these different approvals and you're so in-depth with, you know, how you want to, this character to live on screen and be and what their personality is.
18:26And so, everybody else has all these other opinions.
18:29So, what is your process like or your thought process in real time of how to convey your point of view as a costume designer and make it more collaborative opposed to just feeding into what the director wants, what the writer wants or whatever and just standing your ground and you, especially this one.
18:49This one, the GOAT.
18:51She gonna, she gonna sit in that room and she gonna stand firm.
18:53Since you turning up, like.
18:54I'm like, we need to ask your director to share for you.
18:59She gonna, she gonna, I've witnessed both of them in real time and I've, it's really inspiring because I swear when you got that script in front of you and you're going through all the breakdowns and the changes and the, you know, all the different things that happens in that room, you really have to stand ten toes down on what you've been a little bit but not break.
19:17So, how do you face those creative challenges when you're in those rooms with other people that you got to collaborate with?
19:26Um, I will say, for me, um, I definitely, definitely try to remember because, I mean, we're human, right?
19:35And you kind of take something from your spirit, from your mind, it's like your baby and then someone's like, that's stupid or whatever, not even that they're so aggressive but they don't understand or feel it.
19:46So, it can be kind of crushing.
19:47I think as a young costume designer, not that I'm so, you know, experienced but when I'm, so I've been designing the Shies since season three.
19:56That was my first, um, costume designer series in whatever year but we're on season eight.
20:04We're going at eight.
20:05So, it's been a while.
20:06Yeah.
20:07Um, thank you.
20:08Um, I had to learn to understand that in the collaboration process, I'm not losing because someone else is giving me something else.
20:16I had to change, shift my perspective, right?
20:19So, I stopped thinking like, oh, well, you just don't like, no, no, no, you're adding.
20:24We're collaborating now.
20:25I think if you continue to always remember that, that you're in a room full of artists who just want to have their voice just as much as you want to have your voice.
20:33So, what I tend to do is go, you know, I think that's a great idea.
20:37How can we add in what I think as well?
20:40I love what you said but could we try a little bit of this instead?
20:44Or, I'm going to be honest, I was on a show and there was someone higher up and they're like, you know, I really don't like this.
20:51I really just don't want to see it like that.
20:53And I took the picture anyway as I wanted to show it and I showed her.
20:58And she was like, you know, I told you I didn't like it.
21:00I said, I understand.
21:01But for me, it's just important to show you.
21:04That's important.
21:05That makes me feel like I have a voice in this situation.
21:08So, I think just one, always looking at it from a non-aggressive way and remembering that you're collaborating and everybody's trying to put their voice into it works for me.
21:17Yeah, absolutely.
21:18I can't agree with you more.
21:20I think too, you're in the room, right?
21:23You're supposed to be in a room.
21:25So, I think go into it confidently.
21:28You didn't get there by accident.
21:29You got there by the hard work that you've already put in and are about to put in.
21:33So, you know, always remember to lead with your artistry and it is collaborative, you know, every single step of the way.
21:40I mean, from the boards to the different directors to the actors to et cetera, et cetera, et cetera.
21:47So, I think you still, you know, you're there for a reason.
21:50You're unique, you know, you're self-unique.
21:53And so, what you bring to the table is uniquely yours.
21:56So, you have to fight for that.
21:58And you do it in a way that is not aggressive or like, you know, it has to be my way.
22:06I think suggestions from actors, producers, writers is a way to grow and stretch yourself, right?
22:12You may be not seeing something that they're seeing about the character.
22:16And I too, in a fitting, you know, I want the actors or the actress's opinion.
22:22I want them to feel great in what they're wearing.
22:25And when we're doing a fitting and he or she says, you know, this is exactly what this character will wear.
22:31You know, this is exactly what, this is what this scene feels like to me.
22:35This really makes me feel good in this moment.
22:38I think that's most important.
22:39And so, if you do come across some adversity, at least you can lean on that.
22:44You know, this is my perspective.
22:46You may have to bring in some other people in other departments like the actor.
22:51Well, the actor loves it.
22:52You know what I'm saying?
22:54And she really wants to wear it.
22:56Flex, flex.
22:57You know?
22:58So, usually that helps, you know, in some cases.
23:00And then it's just compromising.
23:01You know, I'll give you this if you give me that.
23:03You know?
23:04So, yeah.
23:05Yeah.
23:08I would say similar, echo similar sentiments that have already been said.
23:14My biggest thing before Tan just said it was, God placed me in this room for a reason.
23:20So, I had to, especially as someone who has served as an assistant costume designer on a lot of big projects.
23:30And I've had the access, I've had designers who have allowed me access to be the representative in some of these conversations that I would shy away from because I spent so many years lower down the totem pole in the department that being on a Zoom call with Oprah Winfrey.
23:57And I'm the representative for costumes.
24:00I'm like, I don't think I'm supposed to be here by myself.
24:04Like, somebody, you know?
24:06And I'm just like, but most importantly, God put you in this room.
24:12And secondly, your superior had enough faith for you to be in this room as a representative.
24:19So, do what you know that you can do and what God has placed you there to do.
24:25So, but in terms of standing ten toes down, sometimes you do with all of the different people.
24:33And because filmmaking is so collaborative, like, we've talked about the directors, we've talked about the actors, but even hair, makeup.
24:41Hey, this is what I'm putting this person in.
24:43Does this step on your toes of what you're doing for their makeup or their hair?
24:48You know, trying to make sure that everyone has enough of a head start to know what the overall look and outcome is.
24:56And I've had shows where there's been great collaboration with hair and makeup.
25:02And it just, the result is chef's kiss.
25:06And then I've had other projects where you're disjointed and it's like, ooh, she look good, but why they do that to her hair?
25:14Or, like, now it's messing up my whole vibe.
25:17Like, you know what I'm saying?
25:18So, I think that that's the only thing I'd add to that is just that the collaboration across the board from all the departments, even the DP, the lighting.
25:28How are you lighting this shot?
25:30Set design.
25:31What color is the chair that she's sitting in?
25:34Oh, she's sitting in a black chair?
25:35Well, let me not put her in this black dress.
25:37Right.
25:38Because we gonna lose her.
25:40So, I just think that there are certain things that we don't always know the many, many steps before you get to the end result of what's seen on camera.
25:53Anything you want to ask you?
25:54Sure.
25:55So, I work really closely with my production designers.
26:00And so, at the beginning, like we talked about with research, preparing the script, when I'm doing my fittings, a lot of times I make sure that I have my production design print out whatever pictures they have, the sets, whatever they're thinking, color palette, we collaborate there first.
26:19And then I'm able to, like, kind of sell what I want a little bit better through that.
26:25That's the only thing I would add.
26:27So, I'm gonna try to get to one more audience question, but I do want to ask this beforehand because this is important.
26:32I mentioned this a little bit earlier about just the culture.
26:36The word authenticity has come across on this stage as well.
26:39Collaboration and considering the fact that there are still a lot of our stories that aren't being told in Hollywood.
26:44When it comes to authentically representing the culture and integrating that into you all's work, what has that process looked like for each one of you?
26:52And then I'll take an audience question to close.
26:55I'll start and then I'll pass the mic.
26:57So, one of my most recent projects that I'm really excited for because it was so different than anything else that I've done was the upcoming season of Pea Valley.
27:08Yeah, it's been like four years.
27:10We've been waiting.
27:11What in the world?
27:12That's above my pay grade.
27:13I can't even do this because I'm like this.
27:16Hurry up.
27:17Hurry up.
27:18Yeah.
27:19But that project was so different from I've done a lot of period pieces and things like that.
27:25And this one is like the dirty south.
27:29It's like strippers.
27:31It's like LGBTQIA.
27:35It's like everybody butt naked every single day.
27:40I've seen so many things.
27:42But when it comes to the authenticity, one of the things, a prayer that I said was, God, I want to work with people telling our stories and I want to work with emerging and established writers, directors who are telling our stories.
28:02And I'd have to say that Pea Valley is so authentically black, so authentically southern, is really telling the story of those people in that way that no one but Katori Hall could come up with.
28:17So it's just really important.
28:22Again, it goes back to the collaboration of like the sensitivity of a lot of these projects and to know that when it goes out into the world, you want viewers to be like, that is how we are in Mississippi.
28:36That is how we dress in Atlanta.
28:39That is how we talk in New York.
28:41And I think it's just so important because people will drag you on the comments that they're like, girl, now why they put her?
28:47They know we don't even do that in Jersey, you know?
28:50So like my prayer was put me in a room with writers, directors, producers, artists that are being authentic to our stories and telling that in an authentic way.
29:03Sure.
29:04And, you know, I think too, being authentic to, you know, the writing, you know, and authentic to the place and the people, person, things, the when, what and why and all of that.
29:17But I think for me, you know, it like always starts with research, you know, making sure that we are showing these characters where they're from, who they are in a way that really represents who they are.
29:31And it's hard to do that because, you know, sometimes we are forced sometimes to or some of us are forced to create these kind of like tropes of who we are or what we look like.
29:42And so, you know, as a viewer myself, it's really important when I watch something that I relate to it, you know, that I could see myself where I see a friend or a family member that may wear that or look like that or is that, you know?
29:55And for me and forever, it was really important to keep it and to Regina King and tomorrow, Brock Akil, you know, to really bring the essence of Los Angeles.
30:04Yeah.
30:05What do these young people look like?
30:06And you did an incredible job.
30:08An incredible job.
30:09Thank you so much.
30:10I'm still, I'm obsessed with all you all shows, but this one has got a hold on choke hold on me right now.
30:14Thank you so much.
30:15So yeah, great work.
30:16I can't take too much credit.
30:17I mean, the writing is amazing.
30:19I know when I first read the script, I literally was moved to tears.
30:22So I knew it was going to be something special.
30:24Yeah.
30:25And so I knew I had to really bring it, you know, and really, you know, deep dive into these characters.
30:30And, you know, a lot of it, you know, with Keisha, you know, we're not the same person.
30:35I wasn't the same person as when I was her age, but there are so many similarities.
30:39And a lot of what she wore are things that I wore when I was that age.
30:43And so I was able to, like, bring in my own, you know, frame of reference, my own experience, my own memories.
30:49And so I think that helps to create work that is relatable to everybody.
30:55Pull from your perspective.
30:57Pull from others you know's perspective.
30:59And not a stereotype or idea of who we are, but who we really, really are.
31:05And that's important because we don't see that enough.
31:08And so we really fought for that in forever.
31:10And Mara backed that.
31:12Regina backed that.
31:13And the actress did too.
31:14So it made it a wonderful experience.
31:15I'm glad I was a part of it.
31:16I love it.
31:17We'll anchor here on the outside.
31:19Both of you guys close us on out here.
31:21Okay.
31:22So we're still talking about authenticity, right?
31:24Absolutely.
31:25So I will speak on Survival of the Thickest and how, you know, everyone, all shapes and sizes, backgrounds, were able to see themselves in that space and collaborate with me in terms of, you know, what they want to look like, what they want the world to see them looking like.
31:46So I would say, like, in that space, I was able to really, like, hone in on what spoke to everybody else and tell everybody's story.
31:57So.
31:58What about you, Mercedes?
32:00So I think I have a dual perspective.
32:04When we're talking about period, in particular, like so many of us said the research.
32:11I worked on Malcolm X, Martin Luther King, Genius, Season 4.
32:15Incredible.
32:16Incredible work.
32:19And I loved everybody.
32:24No, I really did.
32:25But just when you're designing something that goes from 1930 to 1970, there's a massive amount of research.
32:34And I think I often say people get dressed and because everyone gets dressed, they think that they know how to dress other people, which is, that's great.
32:44But I'm here to help guide, you know, and do the research and make it great.
32:49So from that perspective, you can spend or I spent hours, days reading Malcolm X's autobiography, reading about the things about Martin Luther King that people didn't necessarily find, you know, through just like a quick Google search, like really, really, really digging.
33:07So I think when you're telling something that's period, you definitely do the research and you find the little nuances and the personality that will keep an audience captivated.
33:16Because it's like, honestly, when I read the script, I was like, another one.
33:20Like, but they told their stories from a perspective that I hadn't seen before.
33:25So definitely just connecting through their realness and their, you know, experiences living and then also in research.
33:32And then I think on a contemporary side, like these ladies just said, looking around, like sometimes I'm from Philly and like, I'll be like, oh, I'm going to dress this person kind of like my auntie, but different because of where I am in the story.
33:47Right. Or this person feels like an uncle, like on the side, Darnell with the earpiece, he's always everyone's uncle.
33:53So I think, and I assign stores to my characters too, to give them a signature.
33:59Like if my uncle really was here, where did the stores that he would shop?
34:02Okay. Darnell is at Express and DXL, I mean, not DXL, K and G, the K and the G.
34:12You know, just the places that they really shop at gives them another piece of authenticity that I think connects to the audience and is real.
34:20I love that. Speaking of connects to audience, I know I'm over.
34:22So can somebody, if you have a question, ask your question in 15 seconds or less.
34:27We'll have one of the ladies answer your question. Can you do that?
34:30Come on, sir. It's your world.
34:33My name is Willie. Hi, Willie.
34:35Nice to meet you all.
34:36I'm at a quick question in terms of breaking into scripted.
34:40How did you start?
34:43And what advice would you give in terms of looking to finding those opportunities?
34:48I love, that's a good close.
34:49Anytime you can give advice, that's a good close.
34:51We will start here and we'll end it.
34:53Well, everybody will get a chance to answer and we'll close it on out.
34:55Well, I think with scripted, it's for me the same.
35:00You know, I've worked on feature films, scripted live performances.
35:03And I think if you're trying to break into this industry doing it, I don't know if you already do it, but want to do scripted specifically.
35:10But I think it's, I found the designers I really wanted to work with and the designers I really wanted to be like.
35:18The type of work I wanted to put out there.
35:21And I've been really fortunate and blessed to work on some really amazing black led projects, both directorially and in the cast.
35:31So I think it's, you know, reaching out to them directly.
35:34Don't be afraid to, you know, my mama used to say, you know, a closed mouth don't get fed.
35:38You know, when you see, you know, this opportunity now to speak to someone and tell them, you know, I work in the industry.
35:44I haven't worked in scripted yet.
35:46I really want to work in script.
35:48Where do I start?
35:49Do you have any openings?
35:51Do you have any availabilities?
35:53You know, what projects are you working on in the future?
35:57Here's my information.
35:59You know, just putting yourself out there as much as you can, because I know when I got started, I was a little intimidated to tell people what I wanted to do,
36:06especially if I was in a specific place in the department.
36:09You don't want to overstep.
36:10You don't want to be too, you know, earnest, but you have to say what you want and show the work.
36:17No matter what place you are in this career, I think the work ethic has to be there.
36:26You know, the creativity, you know, step in and help, you know, dress the background so that you can show people, not just tell them that you're worthy.
36:35I want to do this.
36:36Here it is.
36:37You know, so that would be my piece of advice.
36:40Love that.
36:41I see you can go ahead.
36:42We'll go straight down the line here.
36:43Okay.
36:44I would say network, network, network.
36:47We still have to network for jobs as people.
36:51Everyone up here has over a decade in the industry, and it really is a relationship-based industry.
36:58All of my opportunities of late have been because someone put my name in a room that I wasn't in.
37:09So your character, your integrity, your reputation speaks volumes, and just lead with that in every room that you go into, every person that you encounter, every project that you're on, to be kind and to be memorable because that's how we get our next job.
37:34And what Tanya just said, like, seize every opportunity in every room that you're in to go up, introduce yourselves.
37:43I've actually have brought people into the industry just because they introduce themselves, they show that they were hungry, they were ready, and that they were humble to start wherever and to do whatever.
37:58So, yeah, best of luck to you.
38:02I absolutely agree with that.
38:04Your reputation is everything, so definitely make sure you keep yourself good with that.
38:11I have been blessed with, like, going from one job to the next because somebody else told somebody else to hire me.
38:24I'm a little on the shyer side sometimes, so, like, you know, I might not go out and network with everybody, and I'm not going to go up and introduce myself to everybody.
38:33But you should.
38:39If you can, you should.
38:41Right?
38:42I love how you kept that real, though.
38:43Yeah, I know.
38:44I appreciate that.
38:45A hundred percent.
38:46Like, but thank God that I have survived and moved through with my creativity and my talent and all the things.
38:53So, just keep your reputation good.
38:58Close us on out, Mercedes.
38:59The pressure is on you.
39:01I agree.
39:02I agree.
39:03I agree.
39:04I agree.
39:05We're done.
39:06No, all of these ladies are amazing.
39:09I've been inspired, you know, just being here among my peers who are so cool and talented.
39:16So, thank you guys for one.
39:17But I would say definitely everything that they said and reputation for sure, hard work, keeping a good attitude.
39:26Similarly, I got my first TV series from a recommendation.
39:31I was on a show as an assistant costume designer.
39:34The director recommended me to Lena, right?
39:38I'm on the shy.
39:40Even now, I'm doing Reasonable Doubt season three because Lena Waithe is friends with Ramla Muhammad.
39:46So, the references keep carrying you.
39:49And there's so much power in a good morning.
39:52You know, some people are walking around set and they're like, whatever.
39:55Good morning.
39:56Give them a smile.
39:57Good morning.
39:58And people that I don't even know, like maybe like a week or two ago, somebody on set was like, I remember you.
40:03You were so nice.
40:04And I'm like, okay.
40:06Nice to see you.
40:07I don't even remember who that was.
40:09So, it goes a long way just to be kind, just from a genuine place, you know, greet people and give goodness.
40:15People want to be around that.
40:16We work really long hours, like forever, forever.
40:20And you don't want to be around somebody who's like, you know, you want to be around good energy.
40:24So, keep that good energy.
40:25Work hard and say good morning.
40:27Smile.
40:28Be happy.
40:29We're blessed to be alive, you know.
40:30So, that's all I can say.
40:32Trust the process.
40:35Trust the process.
40:37You know, we all started in different places and some of us started in some other places.
40:41And our paths, our journeys have gone in different directions.
40:44And I think that's what's so unique about the art that we put out, right?
40:49Nobody's story is going to be the same.
40:50And here we are telling all these stories through costumes, right?
40:53So, don't be afraid of whatever your process is.
40:56It's not going to look like anybody else's because it's going to be unique to yours.
41:01But trust it.
41:02You know, have faith in yourself.
41:04Always put forth your best work, you know.
41:07No matter how small you think it is, if you lead with that, people will see it.
41:13We'll see it.
41:14Our colleagues will see it, et cetera, et cetera.
41:16Because like a lot of the women on this panel, a lot of what I have done and the great work I've been able to do
41:22and blessed to be on is because someone recommended me, right?
41:25They saw something in me.
41:27She got it.
41:28She'll be perfect for this.
41:29You know, and I wasn't running or chasing after it.
41:32Because I, too, am not the most social in that way.
41:36I've always been about if you do the work, if you put your head down and do the work and do great work,
41:43it'll come to you.
41:44You know, that likeness attracts each other.
41:47So, I would just say that.
41:49And I would just say a round of applause, please, for these four incredible women.
41:55You all hold yourselves to such a high esteem but a beautiful humility.
42:00The projects you are doing and have done are no slouch.
42:04And thank you so much for investing in these stories and in the culture.
42:07We have enjoyed your work.
42:08And I certainly look forward to it, and I'm sure they echo the same,
42:11seeing much more of all of you in the future.
42:13One more time.
42:14Thank you, ladies, so much.
42:15A round of applause.
42:16Thank you guys so much for being here.
42:17Thank you for your questions.
42:18Enjoy the rest of the festival.
42:19Get some sleep tonight if you can.
42:30Bye.
42:31Bye.
42:32Bye.
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