The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we'd gone strictly with the '20s, the movement would have been impaired.
I grew up in a small town in Washington State, so I wasn't really aware of costume design as a career growing up, but I loved clothes. I remember I saved all my money, and the first thing that I bought was a white blazer, which was to the horror to my parents. But I have always had a strange connection with clothing.
I am always looking for ideas, whether it is in art on the street or in my world travels. It comes to me randomly and unexpectedly.
I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.
Sleepy Hollow had a lot of action in it, even though it was a fairy-tale movie.
I grew up in the age of polyester. When I got to touch real silk, cotton and velvet, the feel of nonsynthetic fabrics blew me away. I know it's important how clothing looks, but it's equally important how it feels on your skin.
