Like almost all the international big names that visit the pages of Yo Dona, Sandy Powell (London, 1960) studied at the prestigious Saint Martin's School of Art in the British capital. Only she didn't finish her studies. The fault lay with the work. It was Caravaggio, by Derek Jarman (1986) above all. Since then, she has dressed 24 films, 14 of which have earned her a nomination for the Oscar for Best Costume Design, and three -Shakespeare in Love (1999), The Aviator (2005), and The Young Victoria (2010) - the actual statuette.
But her work, which is crucial in effectively transporting the viewer back in time (among other things), is as appreciated as it is ephemeral. When a film ends, the costumes can end up in a warehouse, in a costume shop, in a private collection, or, to a very small extent, in some corner of the designer's own home. That is why the value of the exhibition Sandy Powell. Dressing the Part. Costume Design for Film, from October 11 and for five months at the Museum of Fashion and Film at the Savannah College of Art and Design (better known by its acronym, SCAD FASH), in Atlanta (USA), is extraordinary. About 115 costume pieces that have already made history, together in a single exhibition. We spoke with its creator - whom designer Lorenzo Caprile defined as "the best-dressed woman in the world" - about the difficulties she has had in recovering the garments, but also about her fascinating profession, her relationship with actors, and her own connection with the clothes she wears.
Since receiving the Oscar for Shakespeare in Love in 1999, Sandy Powell's presence on red carpets has always been among the most talked about. In 2020, she walked many with a white suit that managed to gather signatures from cinema greats to auction it and save, in a project with Tilda Swinton,Prospect Cottage, the legendary home and garden of filmmaker Derek Jarman.
'Dressing The Part' is your first exhibition, it was about time. How did the idea come about and how complicated has it been to make it a reality?
Several years ago, Rafael Gómez, curator of SCAD FASH, contacted me and asked if I would be interested in participating in an exhibition about my work. I had always dreamed of doing one someday, but for that, you need someone to give you a space and provide funding. So I said yes, of course, I was interested. For the collection, I started with my own collection. At the end of each production, I would take one or two things, always asking for permission, of course, because technically I don't own any of the designs or those costumes. For 20 years I have been collecting these pieces without really knowing what I was going to do with them. Maybe secretly hoping that one day an exhibition would appear to showcase them... I had them in my attic, in boxes, or on racks. But they were not enough for the exhibition, so we had to keep looking. The costume rental company Angels of London, which is like your Cornejo in Madrid, had quite a few. Because costume rental companies usually buy used ones from movies. And then the pieces are used over and over again. At Angels, we found many quite worn out (but they would be repaired later, bringing them back to life). I also turned to a collector in Los Angeles, Larry McQueen, who has a large number of garments, from the silent film era to today. Every time he acquires one of my pieces, he informs me, so I knew that some important and significant ones were in his possession. After collecting the garments, everything went smoothly. A year ago, I went to Atlanta to see the space. And I was impressed. There was an exhibition about Madame Grès, very well set up, and I thought, "These people know what they're doing."
Was there any outfit that resisted appearing?
One in particular. A dress worn by Tilda Swinton in my first film, Caravaggio. I had it in my collection for years and suddenly it disappeared. I have no idea where it went. In the old days, we used to use those garments for parties, so there is a good chance that its loss is related to that.
How much reflection and how much emotion was involved in the selection of the pieces?
The truth is, I didn't get emotional until I saw the exhibition. Then it was like seeing your whole life. Almost 40 years. All those garments tell not only the story of the movies, their characters, but they remind me of what was happening in my life when I was creating them. It was a very unique feeling.
In fact, we read on your Instagram: "39 years of costumes under one roof is like watching my life pass before me. Remembering every story, adventure, and relationship along the way...". Among all those stories, which ones mark a before and after in your life?
Oh my. Well, Derek Jarman was the first director I worked with. So Caravaggio is important, a milestone. About seven years later came Orlando, my first film that the outside world paid attention to. It received an Oscar nomination and a BAFTA nomination, and it remains one of the films that people consider my best work. Which is great, but also somewhat depressing because it was in '92. The next important work for me was Velvet Goldmine, my first with Todd Haynes. It dealt with something that touched me closely, my teenage years in London. I had a great time and made great friends. The next milestone was Gangs of New York, with Martin Scorsese. We shot in Rome for a whole year, so that also changed my life.
Does the exhibition start and end in Atlanta, or is there an idea to tour it afterwards?
That is the big question. Unfortunately, SCAD FASH only has resources for it to be in Atlanta for the duration of the exhibition, so it's up to me to try to find a place to move it to. Of course, I would love for it to come to Europe, to London, Paris, Madrid. But there are drawbacks. On the one hand, I don't want to separate the costumes from the mannequins. I would need a place to put them. But I know that many exhibition spaces work years in advance. So I have to find the place and then see how we can afford it. That is the big challenge.
How much of the actors who wore these garments are in them?
I don't like those who don't contribute anything regarding the clothes. I prefer those who have an opinion. Obviously, it's better if it coincides with mine! Actors have to be comfortable with what they wear and feel that the garments are suitable for the character. So the relationship and communication with them are important. Of course, there are actors who say, "I don't care, do whatever you want," but it's always better to receive feedback.
In all these years, have you ever considered dedicating yourself to fashion design?
No. And I love fashion. When I was a child and a teenager, I used to sketch, make scrapbooks... But for some reason, maybe because I became more interested in the world of acting, theater, cinema..., costume design seemed more interesting to me. I prefer to work with a group of people to tell a story rather than making clothes for faceless people I don't know. Also, I have many friends in the fashion world, and I know how difficult it is.
Your own way of dressing has become a source of admiration... What drives you when you dress?
I don't know. I just wear what is comfortable and what I like. I don't plan anything. It also happens when I create. People ask me why I design certain things, why a costume is designed a certain way, or why I chose a specific color or fabric. And the truth is, most of the time I don't know. I dress instinctively. If I put on a garment and it fits perfectly, I think, "Oh, how nice." It's a sign.
From your privileged historical view of fashion, which era do you prefer?
I love the 1930s. Every time you work with it, you discover something different.
A very committed winner
Since winning the Oscar for Shakespeare in Love in 1999, Sandy Powell's presence on red carpets has always been one of the most talked about. In 2020, she walked through many with a white suit that managed to gather signatures from cinema greats to auction it and save, in a project with Tilda Swinton,Prospect Cottage, the legendary home and garden of filmmaker Derek Jarman.