Citas de Ruth E. Carter

• My favorite part about costume designing is the artistry of the job. You meet with a director and a visionary to discuss ideas. You research the characters and figure out the components of their look through your own vision. You create a color palette for a film, television or stage medium and discuss it with the director of photography who then lights your colored subjects.

  Ruth E. Carter

  Photography, Jobs, Character

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• Soy una esclava de la moda. Me encanta ir a la última cuando me visto o visto a otra persona. Suelo vestir a otra persona, porque siempre estoy buscando los mejores looks para los actores.

  Ruth E. Carter

  Fashion, Dresses, Hot

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• I begin with understanding the intentions of the story. That helps me to zero in. Then I gather research for each individual character and analyze the time period with comparisons to the figure and the facial structure. It helps to be comfortable with computers because the massive amount of research is kept electronically and shared with my staff this way. Very little is printed out. I work with an illustrator to come up with the proper silhouettes and details of the clothing from the time period to time period. And on and on.

  Ruth E. Carter

  Zero, Character, Understanding

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• You collaborate with actors who are also talented and visionary and come together on a artistic direction within the confines of humanity and realism. The collaboration that you have had with all of these people plays an integral role in its final stage where editing and music are combine to enhance your work. This whole process is very rewarding and I wouldn't trade it for anything.

  Ruth E. Carter

  Editing, Play, People

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• I think that The Great Gatsby has had some influence on contemporary dressing. I'm seeing more boyish haircuts and drop-waist sheath dresses.

  Ruth E. Carter

  Thinking, Dresses, Influence

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• The color palette grew as the story progressed. The 1920's sharecroppers were muted and neutrals, the 30's and 40's introduced burgundy to the neutral palette. The 1950's introduced green, black and denim blue, the 1960's introduced orange and heavier more saturated color, the 1970's introduced more primaries, and the fashion palette became more recognizable as a contemporary one from there.

  Ruth E. Carter

  Fashion, Blue, Color

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• Los sombreros de todas las épocas me emocionan. La gente ya no los lleva. Así que cuando ves un conjunto completado con un sombrero (eso también vale para los hombres) es emocionante. Sobre todo si se trata de un Cloche de los años 20 o un "Peter Pan" de los años 30, un Homburg de los años 50 o un Stingy Brim de los años 60. Es una marca del tiempo. Es la marca del tiempo. Hoy todo el mundo quiere llevar una gorra de béisbol.

  Ruth E. Carter

  Baseball, Men, People

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