www.ft.com: The leafy Berlin suburb of Wilmersdorf is an unlikely place to imagine the Hollywood elite. And yet, for more than half a century, Germany’s leading costume house, Theaterkunst, has been drawing stars to this distinctly unflashy corner of the city. With a collection of about 10 million pieces, it’s one of the oldest and largest of its kind.
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Malgorzata Karpiuk has a great quote in the article that I really related to: “I use Theaterkunst a bit like a library. When I was designing the custom Lederhosen that the children wear in The Zone of Interest, I took inspiration from everything I had seen in their archive”. My high school had an amazing costume closet, and I liked to spend my lunches and free periods trying to memorize as many costumes as I could. Whenever I start a design process, one of the very first steps is closing my eyes, picturing myself rifling through pieces in the closet, and seeing if any of them might work with the current project. I’m not sure about lighting or scenic, but costume design can be a lot more tactile and sensory than people might think. Having places as well-stocked as Theaterkunst is an amazing resource because, even if you don’t find the perfect dress for the show you’re working on, seeing (sometimes even touching or smelling) 50 close matches might give you a lot more clarity into what you ARE looking for. You don’t have to reinvent the wheel—sometimes you just need to find the right inspiration and modify it.
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