Rappler talks to the British costumer designer who's set to receive the Career Achievement Award at the 2025 Costume Designers Guild Awards in February
This is AI generated summarization, which may have errors. For context, always refer to the full article.Rappler talks to the British costumer designer who's set to receive the Career Achievement Award at the 2025 Costume Designers Guild Awards in February
We are sharing a lovely conversation over Zoom. Her gray curls accentuate her presence, especially against the neat array of books, alongside a few awards, occupying her part of the screen. She’s in her office in her London residence, a sanctuary to her for more than 30 years now. Though it’s still a bit too early for her, she’s more than willing to entertain questions or, at times, recount some wonderful encounters.
Beavan continues, “I suppose the fun of costume is that you work with actors, with real people and the fun of sets is a chest of drawers and a piece of furniture can’t answer back or give opinions so you know it’s almost easier in one way. But I actually love the interaction with actors and finding the characters so I suppose it’s the same difference.”Mad Max: Fury Road
The design process began in Prague in 2021, while a workshop set up in Sydney by costume supervisor Mel Dykes was ongoing. Later, Beavan and associate costume designer Lauren Reyhani would go back to England, where they put up a tiny workroom, alongside three costume makers and an artist. Working in Australia, where the film was shot, happened much later due to pandemic lockdowns.
The other is Italian artist Elena Pavinato, whom she had never met in person. “Her style is in the very old fashioned, fabulous drawings — Piero Tosi, Anna Anni, those wonderful Italian costume designers.” Beavan continues, “Elena did more once we’d put the costume on the stand and we’d given her a lot of reference. She would then make it into a drawing, which was beautiful and good to show George.
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