Ane Crabtree has created a name for herself as one the most prolific costume designers in Hollywood.
She's behind the iconic styles in shows like The Handmaid's Tale, The Sopranos and Westworld, with numerous Emmy nominations under her belt.
But the first thing she'll tell you about is her chickens.
Ane's "three little girls" — affectionately named Odetta, Loretta and Lupita — are a new addition to her hobby farm, and she is "obsessed".
While the costume designer usually has a "no clothes policy for animals" — with hen hats off the cards — she did create "a little miniature Handmaid's Tale costume for Lizzie Moss's cat".
Ane is behind the looks for new series The Changeling — a "fairy tale for adults" taking place over multiple decades, with LaKeith Stanfield at the helm.
When she's not busy spoiling her chickens, she's buried deep under fabric, textures and sewing pins.
So what's it really like to create the costumes for some of the biggest shows in television?
Have you always been passionate about fashion?
I'm from Kentucky, and there wasn't a plethora of fashion inspiration there growing up.
Both of my parents were very strict. My mother is Okinawan, and a very typically strict Asian mother, and my father was in the military.
However, I was really lucky that the one area where they weren't strict was me putting up all of my work on the walls of my bedroom.
I would map it out, and it [looked] kind of bizarre, because the rest of the house was so neat and tight.
Some of [what I put up] were drawings, some of it was paintings, but a lot of it was tear sheets from fashion magazines that I would save up for.
I took over my brother's paper route expressly to buy Vogue magazine, which I had to order, because they didn't have a lot of Vogue magazines in my little town — they had Good Housekeeping, or Better Homes & Gardens.
Now I only work in that way, where all the work has to be surrounding me so that it's always in my vision. It's always right here to inspire me continuously through a project.
How did you get started in costume design?
I became a fashion stylist in the 90s in New York. I was that [small town] girl going to New York City.
My brain and my vision was absolutely focused on fashion in the street.
But there was this wonderful moment in time [where it was] the beginning of the new decade, and there was new music ideas, new film ideas. There was Tarantino, there was Spike Lee, and Tilda Swinton in Edward II was a huge source of inspiration.
It really opened my mind as a fashion person. Walking down the street, zeroing in on fashion, I started to have more peripheral vision in what I was looking for.
There was this one homeless woman on Seventh Avenue who would change her garbage bags every day — it was out of sheer necessity, but she knew people were looking.
That was so interesting to me, you know, [the emotion behind it], that kind of pride.
My blinders came off, and I went, 'Oh, my God, I'm missing half of New York'.
Then that transition [from fashion design to costume design] happened via music videos. And from there, I started working in film and TV.
How do you get started on new project?
I always have a hard time when a new project starts, and my way in is through music.
Usually… a song that I'm not even aware [of] becomes the genesis to trigger me into the visuals.
On The Changeling, it was Jaimeo Brown. He's from New York City and his music is a combination of old school jazz and very old African spirituals. And that was kind of perfect.
The Changeling is set over many time periods, and his song Power of God feels like a call to prayer, so that was the through line for me.
It felt like all of the ancestors, the ancient spirits, coming together to lead me into the visuals.
What's the significance of the checked and tweed patterns in The Changeling?
I wanted to have a kind of visual connector to bring the timelines [of The Changeling] together.
The history and visual memory of these fabrics can connect to any time or era: the plaids of Africa; the tweeds and textures of Europe; or the checks and plaids of the South, all woven together seamlessly to the present time in our story.
I wanted the viewer to see the connective cobweb between the past and present.
[The protagonist] Apollo is bookish, so his clothes of tweeds and glen plaids have a kind of classicism. He's a man who loves antiquities and yet wants to be the perfect modern father.
Emma [wears] ladylike, old-fashioned feminine [styles], mixed with eclectic finds from her travels; a head wrap, a vintage coat from a thrift store. She is secretary chic mixed with explosive colours of the global south, and never what you expect.
[I wanted to] show real working-class people, across many eras, and people of colour with a non-privileged relationship to New York.
What's it like in a TV costume department?
For the actors, when they come in, I want the world of the story to be around them already.
I always have music playing, and I have two backdrops. One is a forest, it's green and very lush. The other is a kind of sepia toned, absence of nature, black-and-white world. So, when I take photos in front of those, I can systematically see the costumes in front of [those scenes].
On The Changeling, I had all different boards around the room, with the worlds of each character.
It helps [actors playing characters] like Apollo, like Emma, to think about the whole. Even if their character's not in the 1800s, I think it's important.
It's important for me as a person with my heritage to see pictures of Samurai, that's my mom's [history].
So, if I have that in my eyeline, I'm going to take that, and hopefully infuse it in the character, and elevate the clothing and elevate the actor's performance. It's all working with that inspiration.
And I have great snacks.
Quotes have been edited slightly for clarity and brevity.
The Changeling is streaming now on Apple TV+.
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2023-09-14 05:20:57Z
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