Here, we’ve compiled a list of the best Costume Quotes from famous persons: Sophie McShera, Amanda Lepore, Edith Head, Katey Sagal, Dulquer Salmaan. The wide variety of quotes available makes it possible to find a quote to suit your needs. You’ve likely heard some of the Costume Quotes before, but that’s because they truly are great.
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I do tend to play characters that have a lot of costume and hair change. I sort of like the change of physicality thing.
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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.
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If you’re writing a screenplay for a feature, you don’t have any involvement with the casting process, the editing process, the set design, the costume design, or any of that stuff.
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Working on ‘Honeymoon,’ an independent movie, was almost like working on TV with the space, and everything was stripped down – costume and hair and makeup. There was very little to hide behind, and you absolutely had to create the character from within.
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I love Pinterest! Pinterest is absolutely phenomenal when you’re trying to come up with a costume design.
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With ‘Suffragette,’ I was emboldened that there were so many women around me. We had a female writer, producers, production and costume designers.
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I think I’m better at live shows than I used to be because I’m way more comfortable with the uncomfortable pauses between songs. Now, rather than trying to talk or do a costume change, I’ll use those moments for myself. I listen to what other people are playing, or just rest, or dance, even though I don’t know how to.
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Our modern understanding of cultural appropriation is highly individualised. It’s all about what Halloween costume you wear, or who‘s cooking biryani. But the way in which the idea was first used was to describe a relationship of dominance and exploitation between a global ruling class and a globally subjugated one.
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I had a lot of fun with my costume designer.
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What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen, he’s become a different person.
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I love costume jewelry, the stuff Givenchy/Riccardo Tisci do, and old school rock n’ roll jewelry, too.
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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.
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People are often a bit more adventurous with swimming costume prints; they like the idea of something a bit more jolly.
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I’m not going to become a costume version or caricature of myself; I like to morph.
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Let’s say there are things about ‘G.I. Joe‘ that you specifically expect and some things that need to be in the film at certain points, whether it be relationships or certain costume aspects.
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I have been interested in fashion since I was a kid. Then I lived in London, where it was more about costume and a personal statement of who you are than about fashion.
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And I guess I have a face and a look that sort of lends itself to period costume!
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My father managed shopping malls when I was a kid, and my high school job was to dress up in an elf costume and take photos of kids sitting on Santa Claus‘s lap.
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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.
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The costume designer Ellen Mirojnick is a genius.
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To me, the costume does half the job for you, or even more than half of the job.
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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.
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In the beginning, when you’re acting in amateur theater and off-Broadway, it was unheard of that anyone else would get your costume. And it was important to get a good costume. You put time into that.
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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.
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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.
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Suffice it to say, every actor works differently. Laurence Olivier would put on his costume and when the wardrobe was right, he was in character. That sounds superficial, but it’s true, and look at the results.
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The costume world – whether it be movies, television or drag – and the fashion world have this weird, ugly stepsister, love/hate relationship. I’m somewhere stuck in the middle of it, and it’s so much fun.
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When I jumped off a roof in Cannes in a bee costume, I looked ridiculous. But this is my business; I have to humiliate myself.
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I can create clothes for so many different time periods. I’ve always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.
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I love fashion as an art; I love fashion as costume, as a character. I don’t like dictates and the phoniness of appearance.
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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.
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I love period drama as much as the next person, but there’s a tendency to let all of the costume get in the way of the people.
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I’m a costume designer. My career is not in fashion, a field I’m basically unfamiliar with.
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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.
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It’s a really exciting thing to collaborate with production designers, cinematographers and gaffers and costume designers and editors and composers.
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I think people see me as someone who wears a lot of big jewelry, so it would be fun to do a costume jewelry type line.
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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.
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When I go out and I’m presenting the best side of myself, I want to look different from everyone, but I don’t want it to look like I’m wearing a costume.
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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.
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I see my face in the mirror and go, ‘I’m a Halloween costume? That’s what they think of me?’
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My girlfriend‘s a costume designer in the theater.
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In Brazil, you buy tickets to go to the stadium to watch the carnival, but in Trinidad, you buy a costume and take part. There are very few things that can rival that experience.
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You get to say, ‘Here’s my philosophical idea about what the costume should like,’ and the costume designer comes and gives you choices and sometimes they’re all good, and I say, ‘What do you think?’ and they pick the right thing.
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If I want to make people moved or cry in a film, I figure out what the room looks like, what the people are wearing, what time of day it is, what the light is, how to photograph it, where to put the camera. It involves optics and costume design and set design and architecture.
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I think that a costume can really help in embodying a character. So dressing up in something completely different to what you would usually wear is so new and refreshing.
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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.
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It is a process of finding the right music then planning a costume to fit that style of music.
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Ngila Dixon is such an incredible costume designer. She’s such a cool, stylish woman. She has such an understanding of character.
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Costume design is so important and really helpful, and I really love that aspect of character development, just figuring it out.
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‘Fan’ is an understatement. I had the Spider-Man costume, I had bed sheets, toys, you name it. I’ve always had an argument with my best friend that Spider-Man was way better than Batman. I was a massive fan growing up.
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The first time I ever dressed in drag was at a costume party during my childhood. I went as Wonder Woman and my mom even took me to get the costume.
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The right costume determines the character, helps the actor feel who he is, and serves the story.
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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.
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It’s just really so important for an actor to be in the right costume for their character.
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Costume is a massive thing. I think costume makes you stand differently.
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The modern designers are quite showy, and a lot of the young people really like it. Costume jewelry has always been about being noticed and not discreet.
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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.
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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.
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For me, the costume is 50% of everything. It informs posture, it informs flexibility, it informs the way you walk, it informs what the character is capable of doing, at any time.
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There is a lot of propaganda about opera singers not being able to act. That’s not necessarily true and hasn’t been true for a very long time. And certainly there were those instances when singers were told they need to fit into a certain size dress. Of course, women. Men? They just make the costume bigger.
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I’ve always liked the simplicity of the Black Panther costume. I’ve never liked when people give him flashy capes and other adornments.
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The worst costume is when you don’t have a costume.
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I was in fittings for the first costume even before I knew I was even going to be ‘Deathlok.’
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It makes a huge difference in how you feel, the way your costume holds you. When you look at yourself in the mirror, it makes you feel a certain way. Actors like to talk a lot about working from the inside out, but there’s a lot to be said also about working from the outside in. It can be extremely helpful.
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The great thing about costume jewelry is that there’s something for everyone – there are very humorous pieces and very extravagant and outrageous pieces.
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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.
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If I’m going to rehearse, I don’t necessarily rehearse in costume.
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I have the whole costume from Playboy’s sixtieth-anniversary cover shoot.
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If there’s room for 30 reality shows, surely there’s room for two amazing costume dramas.
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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.
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Costume really helps you feel in character.
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This is my costume. I’m a homicidal maniac. They look just like everyone else.
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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.
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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.
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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.
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The costume that I wear on the show is a little snug and doesn’t leave a whole lot to the imagination. I don’t have a problem with it because of the way this character’s been written.
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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.
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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.
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I love having a costume for The Vixen as getting into the look allows me to be a bit more snarky and snippy.
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I love doing costumes. The costume is an actor’s first line, so it’s gotta be right!
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I’d love to do a costume drama movie. For no other reason, except that it sounds fun to me.
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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.
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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.
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I put the costume on and said ‘It’s not very comfortable, but it looks amazing,’ so it’s all good.
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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.
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I thank you for your kind invitation to introduce me to the president of the Republic. Since I have not been out of my atelier for two months, I have no appropriate costume for this circumstance. Please excuse me.
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Clothes are interesting and they’re there to be played with. I like the idea of costume rather than fashion.
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‘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.’
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You have to let the costume inform you.
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Costume people are always saying they don’t have clothes big enough for me.
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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.
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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.
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I don’t remember that I ever really went all out to come up with a costume or a persona that could compete with everyone around me. I didn’t know what to do. I found Halloween scary for just that fact – it meant that I had pressure to get up and be scary, makeup and all that. That was pretty horrifying for me.
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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.
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I have a tradition that I always steal my last costume on the last day of filming.
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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.
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