The UK is hosting the annual Academy of Film and Television Arts (BAFTA) Awards. Like the Oscar treatment, "Where is the Magical Animal" won the "Best Costume Design" nomination.

The film's costume was designed by Colleen Atwood, who has won many Oscar and BAFTA favors. In the 1970s, she worked as a fashion consultant in Washington. After moving to New York, she entered the film industry. After she met director Tim Burton, she was responsible for designing costumes for the films "Big Fish", "Decapitated Valley", "Decisive Battle of the Orbs" and so on.

Her most famous works are "Chicago", "Memoirs of Geisha" and "Alice in Wonderland". The latter two films won her the "Best Costume Design Award" for Oscar and BAFTA respectively.

We combined CollenAtwood's "Master of Costume Design" class at Swarovski and an interview with JKRowling in November 2016 and published an interview on her website Pottermore. Some interesting highlights are as follows.

ColleenAtwood himself

1. tend to minimalist design

“I prefer a minimalist design, so the original sense of New York in the 1920s was the inspiration for the design of the movie “Where is the Magical Animal?”

2. She understood that the 1920s in New York were like this

“For New York in the 1920s, 'modernity' is becoming possible. The city is gradually expanding, such as the addition of the Lower East Side, Harlem and the Bronx, and immigrants flock to New York. This is also the background of the story of "Where is the magical animal?"

"I read the script. As the story unfolds, the world I see is gradually becoming lifelike. I also re-examined this history of New York, including (I said) urban expansion, immigration, New York nobility and many more."

“I was very familiar with the 1920s. When I designed clothing for Chicago, I did research. Where is the magical animal? It’s almost the same time as Chicago. I read a lot of Fitzgerald’s books. The process is very enjoyable because the author is good at describing the crazy and romantic era."

3. "From a fashion point of view, the United States embraced the 1920s better than Europe."

“Designing clothing for “Where is the Magical Animal” is a huge project, I was a little crazy at first, because the real 'retro inventory' left from the 1920s is rare. So, the first thing I did at the time. I contacted the global costume company and found out the inventory with the help of some assistants. I started this search from Los Angeles, on the one hand because Los Angeles has more resources in this area, on the other hand, I think from From a fashion point of view, the United States has embraced the 1920s better than Europe. I also want these clothes to have a taste of the United States."

4. "You have to be a bit out of the way and then borrow that era."

“I really like the theme of surreal and magical themes, which is why I chose to work with “Where is the Magical Animal?” I like this kind of challenge, such as adding the imagination that magicalism needs to the real world. When designing clothes for such movies, you have to be a bit out of the way and then borrow that era. In fact, this is one of the social functions of the film: they let time pass forever."

5. Only design a costume for the starring. How to make the audience stare at it for an hour and a half?

However, when designing costumes for the starring, ColleenAtwood had to deal with another question: "Where is the magical animal?" starred in only one outfit. (If you recall carefully, the actor and the heroine did not change their clothes. At most, they took off their coats and took off their jackets. Only the "female leader" of the Magic Association changed their style.)

"In the movie, the starring people basically don't change clothes, so I have to do a set of clothes that the audience keeps staring at watching for an hour and a half. It must be fun, but it can't be done too much, my The materials are only different fabrics and colors," Colleen Atwood said.

In order to allow the stars to blend in with the actors, but it seems a bit different, ColleenAtwood only worked hard on the details of the costumes, such as exaggerating the pleats of the jacket.

6. Why do small freckles look "a little short and a little tight"?

ColleenAtwood recalls that when designing costumes for the magician NewtScamander played by Redmayne, he made countless fittings in order to make sure his jacket looks "a bit short and a little tight" so that he can express this character a bit. Bizarre and somewhat weird features.

7. For this movie, ColleenAtwood saw a trial of 3,500 costumes.

"I always have to take care of everything. I will check every dress, no matter who's clothing, I have to pass my consent. If I want everything to look like I want, I will Do everything. This is important because a lot of things will eventually go beyond your control. I learned this very early on – that is, you need something to do with what you care about.”

8. “I work on the conceptual and creative parts, give advice, and then sketch artists to paint”

"Of course, someone specializes in making these clothes. My job is just design. I work with sketch artists. I work on the conceptual and creative parts, give advice, and then sketch artists to paint. I have tailors and other staff to complete the leftovers. The next thing, if I sketched each sketch myself, I couldn’t finish my work."

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