Storytelling is a group sport. This holds specifically on the planets of television and movie, where everyone from the lead actor to the music editor has a role in constructing various pieces of the narrative that work together to form one completely understood story. Outfit designers are a big part of that puzzle.

From developing looks that reflect the subtleties of a character to subtly presenting viewers to brand-new individuals and places through their character’& rsquo; s garments choices, outfit designers are the visual storytellers who ride alongside the vision of the authors and directors to assist craft the ideal show. We talked to 3 of television’& rsquo; s most popular designers– Ayanna James from Insecure, Audrey Fisher from Girlboss, and Alix Friedberg from Big Little Lies—— about their imaginative motivations, the art of storytelling through outfits, and their specific career paths.

How did you get your start in outfit design?
Ayanna James: I was a fifth-year chemistry significant at Florida A&M and didn’& rsquo; t truly know what I wished to do. I wound up starting a blog site that actually removed. From there, I transferred to Los Angeles, began working as an assistant, then began dealing with a couple of web series where I fulfilled Issa [Rae], prior to getting the job on Insecure.
Alix Friedberg: As long as I can remember, I loved clothing, I went to the Fashion Institute Downtown L.A. and Otis Parsons for art. Shortly after school, I started as an assistant in the costume department and satisfied some truly terrific designers that taught me a lot.Audrey Fisher: My careerbegan in literature and theater , and I became consumed with telling stories through outfits within big stories arcs. In college in Los Angeles, I studied English literature and German, and interned at numerous DTLA theaters in the literary department, writing summaries of stacks and stacks of plays. I required to get to the heart of American theater at that time, so I moved to New York City, worked at the Wooster Group and the Women & rsquo; s Task, then dove into MA coursework in Efficiency’Research Studies at NYU & rsquo; s Tisch School of the Arts. It existed I began developing costumes for avant-garde trainee shows. It was synchronicity: I was making crazy hats in an elective art class, and my German buddy Ulla asked me to create the costumes for her production of Medea in an abandoned public school in the East Town. Creating a second skin for those actors becausestory was exhilarating. That was my first show, and costume style became my passion since then. Picture by Anne Marie Fox/ HBO This job needs a lot of creative energy. Exactly what are a few of your innovative inspirations? Ayanna: Taking a trip is certainly a big inspiration for me. I

& rsquo; m Jamaican and have actually hung out in Toronto, NYC, L.A., Miami, and London, so I have all of those different influences. In regards to music, I like old-school reggae when I need to enter into the zone. Right now, I’truly really enjoy Virgil & rsquo; s Off-White, I like a lot of Nigerian designers. I love Liza Folawiyo and Andrea Iyamah. I & rsquo; m influenced by a lot of the indie brand names, and I & rsquo; m really thinking about the next generation of designers. I admire’anyone who & rsquo; s going for it. Rejection is difficult, and it & rsquo; s a very saturated market. It & rsquo; s extremely difficult to get your voice out, so I’respect anyone who & rsquo; s making a wave.Audrey: Motivation is all around: the street, the galleries, my library of art, photography, and outfit books, music, TELEVISION, films’. My difficulty is finding the important time throughout my work schedule to recharge and invigorate my imaginative brain. Driving around L.A., shopping and shooting, I often stop to snap photos of real characters walking the streets. That growing album of & ldquo; street looks & rdquo; constantly delights. Artist Cindy Sherman & rsquo; s work is a deep well because finding her in grad school. Her photos manufacture what I strive to produce: unforgettable, haunting characters, spun from identifiable stuff that & rsquo; s made magical in her mix. Anne Litt, Liza Richardson, and Garth Trinidad” of KCRW keep me in my music; I need a soundtrack. When I require a quick shock of surreal luster to fire my innovative juices, I browse Alexander McQueen: Savage Charm. Alix: I find unlimited inspiration from photography and art books. For Huge Little Lies particularly, I utilized a great deal of reference from the Sartorialist series, Richard Avedon, and Peter Lindbergh. Big Little Lies was also motivated a great deal by music. Jean-Marc Vallee made each character their own playlists, which was so helpful with notifying whothe characters were and what they gravitate to visually. Take us through your process of costume design? Do you shop with the characters in mind when you & rsquo; re not shooting? Ayanna: I put on & rsquo; t shop. I get the script. It & rsquo; s all about the script. Audrey: The script is constantly my roadmap and provides me the instructions I need, however I typically require more backstory and detail to really get to what the writer visualized, which & rsquo

; s my task, to discover that vision and present it. Through research, inspiration boards, and sketches’, then conversations with
writers , directors, and actors, I gradually discover the secret style of each character.
It & rsquo; s a treasure hunt. Alix: I constantly start with a breakdown of the script, a map of where the character is heading emotionally then comes the research. What & rsquo; s your method on the program? Do you have any preferred characters to outfit? Audrey: Sophia [Amoruso] & rsquo; s honest snapshots from the mid-2000s genuinely formed the bedrock of my outfit style for her fictionalized character
in theshow; her vocabulary of design is so clear, cool, and strong. Inspired by that extremely individual research study, I was then able to create costumes for Britt Robertson,who represented Sophia.Ayanna: I love working with Molly and Issa, of course. I like developing for Y & rsquo
; lan [Noel] because he & rsquo; s a manufacturer, but ’he doesn & rsquo; t dress the way you would always believe a typical producer in the music industry would dress. I likewise like dressing Frieda and Joanne and getting to add all the little different subtleties to their characters. As far as Issa & rsquo; s character, she works in Leimert Park in the Crenshaw district [in Los Angeles], and I live not too far from there, so I understand the area. I imagine that her character stores at a few of the stores in the neighborhood. There & rsquo; s fashion jewelry that she wears on the program that I in fact obtained from Kenya, but it appears like the jewelry they sell because area. The other thing we want to do is put Issa in a great deal of classic Tee shirts that highlight a part of the culture. For instance, we began shooting a week after Prince passed away and Issa uses a Prince t-shirt in the very first episode, and in the episode that Debbie Allen directed she wore a T-shirt with an A Various World painting on the front. Photo by Anne Marie Fox/ HBO Are there any customers or directors you want to work with in the future, or any movies/films that you appreciate for the outfit style? Audrey: I & rsquo; m a fan of both Andersons: Paul Thomas and Wes. Greatly various styles, love both.Alix: Anything that Sandy Powell or Milena Canonero has actually ever done. Orlando made me wish to be a costume designer.Ayanna: I would enjoy to deal with Chris Nolan, Martin Scorsese, Barry Jenkins, and Ava DuVernay. I truly want someone to compose a story about Jamaica in the ’70s ; there & rsquo; s so

much I could do with that. I & rsquo; m also

a stylist when we & rsquo; re not shooting, and as far as styling customers, I would like to work with Usain Bolt. He & rsquo; s high, slim, and looks great in a suit. When it comes to female clients, I’currently have my dream client: Issa.Do you have any suggestions for somebody aiming to burglarize the market as
an outfit designer? Alix: Start as an assistant, work your way up. I found out so much from working under really skilled designers.Audrey: My suggestions is simple:
Say yes to interesting opportunities, particularly when it feels like a big leap or obstacle. As well as recognize the imaginative groups you admire, and attempt to work with them. Put yourself out there’. Bring your best game, constantly’. Be flawless with your word. Trust and support the gifted costume department that assists you understand your styles. Have a good time, and remember on the toughest of longest days that you get to design costumes for a living.

Picture by Hilary Bronwyn Gayle/ HBO