The glitz and glamour of leisure is nothing with out the individuals who costume as we speak’s largest stars. For “Who’s Behind the Garments,” HuffPost spotlights stylists and costume designers who’ve delivered a few of our favourite celebrities’ or characters’ most memorable seems to be. Learn my interview with “Industry” costume designer Colleen Morris-Glennon.
Tiffany Hasbourne has taken her trend skills world, from her Caribbean family within the LeFrak Metropolis neighborhood in Queens, New York, to Colombia, Germany and past. However earlier than she turned the costume designer on Donald Glover’s FX sequence “Atlanta,” she attended school in Georgia.
The stylist and costume designer graduated from the Artwork Institute of Atlanta with a level in laptop animation. Nonetheless, self-expression by clothes had been a typical thread by her life, relationship way back to her non-public college days. When Hasbourne advised her father she deliberate to modify lanes to trend, he struggled to understand the idea.
“And oddly, he didn’t actually perceive what I did till I did the TV present ‘Shooter,’” mentioned Hasbourne, recalling the primary sequence she designed on her personal. “Due to him being within the navy, he was really fairly impressed that I understood navy uniforms. He was like, ‘So who do you costume on the present?’ I laughed like, ‘Everyone, Dad!’”
From costume designing on “P-Valley” to the pilot for “All American: Homecoming” to “Ballers” and different reveals, Hasbourne has made a reputation for herself in tv and movie. She obtained her begin working with shoppers equivalent to radio persona Angie Martinez, rapper Busta Rhymes and musical icon Missy Elliott; lately, she’s added actor Brian Tyree Henry to her roster.
“What I’ve realized working with Busta and Missy has made me a {custom} queen,” she mentioned. “As a result of I really feel like I get to supply somebody no matter they need with out limitation.”
Hasbourne believes that neither her shoppers nor her profession ought to have limitations, refusing to be confined to a stylist-vs.-costume-designer binary. Somewhat, she believes within the energy of “each, and.” Hasbourne talked to HuffPost about designing the ultimate season of “Atlanta,” bridging European model with Southern flare, and what’s subsequent in her trend profession.
What’s your artistic course of for learning a personality and envisioning their model? From Uncle Clifford in “P-Valley” to Paper Boi and Earn in “Atlanta,” they’re every very totally different in how they current and within the messaging they’re attempting to ship as nicely.
One of many issues I actually had to consider when it comes to doing Season 2 of “Atlanta,” I bear in mind my present [that I was working on] had simply shut down as a result of an actor obtained damage. I went on trip, and I watched all of “Atlanta” Season 1. I used to be like, “OK, how do you make this totally different?” At the moment, the present didn’t have some huge cash for wardrobe but, which was nice, as a result of that’s after I use my assets as a stylist. I used to be ready to usher in my relationship with Adidas, which then in flip, Donald [Glover] ended up getting an Adidas deal. One of many issues that I pitched to him was what folks don’t notice is that though artists could appear to be they’ve cash, lots of people are giving them issues. We are able to make it the place he’s utilizing promo. I really used promo to start out influencing the characters round Paper Boi and Paper Boi himself — as a result of once you’re an artist and other people provide you with free stuff, you share. Donald really associated to that as an artist, as a result of he was like, “That’s tremendous correct. As a result of I do this with [my brother] Stephen.”
I feel that was one of many issues that we had been in a position to do in Season 2 when it comes to seeing the Prps [jeans], the Adidas, AKOO, which was an Atlanta-based model, and doing what would make sense in the actual world. After I consulted for Season 3, with the European designer, I simply gave her some manufacturers that I assumed the actors would put on. After all, she did her personal factor with that. The stand-alone episodes for Season 3 that I did, they had been particular person tales, so I simply tailor-made these to what the story was. The imaginative and prescient for Season 4 was each time I’ve ever performed a job out of the country, how did that affect my explicit private model? What I made certain I did with Season 4 was be sure they’re a bit of bit extra elevated.
We went from watching Earn, who dropped out of Princeton, battle endlessly to seeing him fitted in designer.
Proper. It’s a kind of issues the place it’s robust with “Atlanta” as a result of the garments are by no means Hiro [Murai]’s and Donald’s precedence. It’s in regards to the story. It’s in regards to the visuals when it comes to the way it seems to be and what the storyline is. It must be subtly performed the place it’s not of their face as a result of if it’s too contrived, they’re like, “No, no, we don’t prefer it.” As somebody who went to highschool in Atlanta, I must actually ship Hiro an image like, “Bro, have a look at this dude within the mall. They do probably the most!” It’s that world the place, creatively, you’re attempting to push the envelope. You’re like, “I do know you don’t need it to be this, however that is Atlanta. They’ll go broke attempting to maintain up!”
I feel it was about elevating it. After I went to shoot in Europe, watching European trend helped elevate me. I used that when it comes to the way it influenced Van, and the lesson of how what Paper Boi went by made Earn wish to elevate as a supervisor and be taken critically. One of many enjoyable characters to at all times put wild stuff on, which is definitely fairly straightforward as a result of they really push you to go left, is LaKeith [Stanfield]’s character. As a result of Darius has at all times form of gone left. I really feel like, as odd as it’s, there’s plenty of stress in making his character stand out, but additionally making it the place it’s cool sufficient that individuals can also relate to it.
Inform me about the way you handled that transition, from emulating European model to conveying the place they’re now geographically and professionally. What can we anticipate from the remainder of Season 4, and the way would you describe the characters’ model evolutions this season?
The attractive factor about “Atlanta” is that every season has nothing to do with the opposite. There was one thing fascinating about it, as a result of I had a dialog with the costume designer that was going to do the European portion of it. They went to Europe, they shot it, and I had no clue what they landed on or what they ended up doing. They got here again, we did all of Season 4, then we shot all the stand-alone episodes for Season 3. I used to be in a position to ask, “Can I see a couple of footage of what you probably did in Europe?” However to me, it didn’t matter as a result of I feel every episode is so totally different. So long as I had the query in my head: How had been you influenced once you lived overseas, and the way can we use that to play into these characters? That was at all times the inspiration for me when it comes to the place I went with the characters.
I had waited for years for the present to come back again. It was such a tough dynamic for me, as a result of I had shot half of the film “Hustle” with Adam Sandler. I used to be supposed to return and end the second half, nevertheless it was clashing with the timing of Season 4. I used to be like, “I gotta return and end what I began with ‘Atlanta.’” I’ve a storyboard that I just about offered to Hiro and Donald for each episode earlier than we did it and shopped it. I knew precisely what I wished for every episode. As soon as I learn it, I knew precisely what I wished these characters to appear to be. I may inform my consumers verbatim, “I’m on the lookout for this. That is what I would like. I would like this. Right here’s a visible of it,” even all the way down to what I wished the looters to appear to be.
You got here from a background the place you styled athletes. How have these expertise carried over into your work in costume design on tv?
One of many causes I feel Lev [Stephen Levinson] employed me for “Ballers” is as a result of he didn’t even notice dressing athletes’ our bodies can be a problem. After I was dressing LeSean “Shady” McCoy, though “Shady” wasn’t the largest, he had huge thighs as a result of he was a operating again. It was like what denims are good for a operating again? Ones which have stretch, that give within the thighs, so AG denims. With every mission, I’ve realized to do what’s finest for the actor. Engaged on “Atlanta,” I now have develop into Brian Tyree Henry’s stylist. One of many issues that I like about him is on his press tour for “Bullet Practice,” GQ named him among the finest dressed on the press tour. One of many challenges for him is that he isn’t essentially pattern dimension. You should buy him off the rack, however he isn’t pattern dimension. Then on high of that, he’s actually busy. He doesn’t have time, on a regular basis to do fittings, pull a bunch of stuff, for us to have an hour becoming, then let a tailor have two hours to do alterations. One of many issues that I like is we do plenty of {custom} items for him. The factor that I like about that’s I nonetheless get to make him really feel good in his physique.
Certainly one of issues I beloved about “In Therapy” with Uzo [Aduba] — as a result of Uzo’s not plus dimension, she’s curvy — we had been in a position to do monochromatic sizzling pink. I’m certain you perceive being tall, you typically have to purchase an even bigger dimension simply to get the size of one thing appropriately, then it’s important to take the pants in or do one thing else. Then, they wish to supply it in black or grey or blue, however what if you would like yellow?
What I’ve realized working with Busta [Rhymes] and Missy [Elliott] has made me a {custom} queen. As a result of I really feel like I get to supply somebody no matter they need with out limitation. If [“P-Valley” creator] Katori [Hall] says, “I would like one thing inexperienced,” I don’t simply return to her and say, “They don’t have any inexperienced fits within the retailer.” No, I’m going make it. It opens your palette when it comes to what you are able to do for those who’re prepared to go {custom}. From athletes to curvy girls to males which might be taller and/or broader, it’s all about tailoring one thing to an individual. With Uncle Clifford, have you learnt how laborious it’s to search out girls’s clothes for a person that’s over 6 toes tall? After I got here in [on “P-Valley”] all of the tailors there have been careworn, and what I used to be in a position to do was take my styling assets and go to 5001 in New York and have them make Lil’ Murda’s fur cape, go to Alba designs in LA and order Uncle Clifford’s swimsuit for the grand reopening of the Pynk. You’re in a position to go to those totally different assets and convey all of them collectively.
What was it like costume designing on “P-Valley”?
While you are available in midseason on a present like “P-Valley,” as a designer, I attempt to be very respectful of what the designer earlier than me began when it comes to what their imaginative and prescient is. One of many issues that I beloved about Katori in our dialog was she was open to what my model of these characters had been. For me, leaping in, it was like, “OK, nicely, what did I miss? The place’s Lil’ Murda now? Had he been on tour? He has been on tour. So he’s made a bit of cash — and what does that appear to be? If he’s standing subsequent to Tina Snow and he’s performing, what does that appear to be?” One of many stunning issues about Uncle Clifford is Nicco [Annan] is so hands-on; he already has a imaginative and prescient. With him, creating Uncle Clifford seems to be are like taking part in tennis. He’ll be like, “I like this,” after which it’s my job to take no matter that model is and elevate it or carry it to life. I bear in mind in Season 2, once they’re standing within the poppy fields, and he’s holding the umbrella. There’s a scene the place he’s in these fields, once more, speaking to Corbin, and we performed off the affect of “The Shade Purple,” when Celie’s sister and her children got here and there was that flowing cloth. We had been impressed by a designer who had all these totally different materials and obtained a custom-made outfit, the place he’s standing close to his Cadillac and there are the blowing items within the wind.
Inform me about your journey into styling and costume design. Who ignited the spark for you?
My mom. I went to non-public college till I obtained to highschool, and I needed to beg to go to public highschool. To ensure that my father to permit me to go, I needed to get accepted to a specialised highschool, which was then the Excessive College of Style Industries. Going to a non-public college, though you put on a uniform, what most individuals didn’t notice was you’re attempting to separate your individuality from all people else who wears the identical factor as you. One of many issues that I used to take pleasure in was purchasing with my mom. I bear in mind going purchasing with my mom on South Road in Philly and [visiting] this little vintage store or classic store, and she or he purchased me this fork and spoon earring. Individuals had been like, “Why the fork and spoon?” and I used to be like, “I don’t know. I simply suppose it’s cool!”
Particularly once you go to a non secular college the place you’re the minority — I went to St. John’s in Queens in Faculty Level. Then, I went to Kew Forest, which was in Kew Gardens, the place plenty of my classmates had been from very prosperous neighborhoods the place they’d some huge cash. We did very well for ourselves, however my father lived very modestly, in order that I may go to non-public college. It was a kind of issues the place you put on a uniform, however you discover the fitting shoe, you discover the fitting jewellery, you discover the fitting equipment. I feel that’s performed an enormous half in me being a stylist, studying the right way to take one thing and take advantage of out of it. Individuals assume that being round individuals who have cash, they purchase all this designer stuff — and it’s really actually the other. They purchase items. It actually taught me the right way to take staple gadgets, develop on them, and make it work.
What attracts you into explicit initiatives? What makes you wish to signal on and say sure?
Every mission has been totally different for me. For “Ballers,” it was the problem of me doing what I used to be already doing in actual life and placing it on display. I had watched issues that I assumed had been presupposed to symbolize us however watching them, I used to be like, “This isn’t proper. Like, we wouldn’t do this,” which is without doubt one of the issues that I’ll ceaselessly be grateful to Stephen Levinson about. That was one of many producers that I may actually go to, sit and say, “We wouldn’t do that,” and he would go “OK, what would you do?” and he would really hear.
For “Ballers,” it was the urge of desirous to get it proper. I feel it was the identical with “All American: Homecoming,” and truly liking the present that got here previous to that. For “Shooter,” it was the truth that I didn’t have the expertise to do it. I bear in mind my first interview, I used to be most likely on the cellphone with 10 executives and mainly they mentioned, flat out, “Why ought to we provide you with this job?” and I used to be like, “I don’t have an ego. All I can do is put my efficiency earlier than my delight and get this proper.” It was actually laborious, however to at the present time, Omar Epps is sort of a brother to me. I really feel like we walked away with this household, doing one thing that was actually laborious and difficult, that had severe content material, however all of us dedicated to it and took it very critically.
The primary few initiatives of my profession, though they had been reveals that had folks of shade in them, they weren’t actually thought of cultural staples or contact factors. When “Atlanta” was offered to me, for the primary time, I used to be like, “Oh, nicely, right here’s my alternative to try this.” For me, the draw was going again to Atlanta, proper. I went to highschool in Atlanta, I do know the town of Atlanta. I really feel like as a lady from New York, that was the place I first gained my independence. I first began dressing artists there, stepping out alone and doing trend, working with teams like Jagged Edge. That was me going again to my roots. Now, I feel I decide initiatives primarily based on what’s going to maneuver the needle.
Is there a specific character you’ve styled on a present that has been your favourite or probably the most difficult?
I don’t have any favorites, as a result of they’re all so totally different. Now, I’ve favourite seems to be that I’ve created the place I’ve been like, “Oh, this one is a favourite for me,” however I don’t have favourite characters, as a result of I feel every of them have been so particular and distinctive to me. Dr. Brooke on “In Therapy” was a particular one for me as a result of that is the primary time that we see a therapist that’s coming from a neighborhood in LA the place Black girls have cash. It was essential, particularly with somebody who wasn’t a dimension 2, to be sure that we weren’t lazy in displaying what that appeared like and pushing the envelope when it comes to what that model appeared like. I bear in mind on that present they had been attempting to maintain issues actual conservative. That was a 22-episode sequence, and Uzo Aduba was in each episode. I needed to construct a model of her physique simply to strive outfits on the model, as a result of she wasn’t at all times out there for becoming. I had like 4 superb monochromatic seems to be. The producers simply stored bumping us on it, like “No, no, no.” Then Inauguration Day occurred and Michelle Obama, Jennifer Lopez, and everybody walked out in these stunning monochromatic seems to be. We had been like, “You see! That is it. That is what persons are doing.”
What are you engaged on presently?
The title of this film is “Shadow Power.” It’s Kerry Washington and Omar Sy. Assume “Mr. and Mrs. Smith.” While you work with these actors which have these iconic characters, for Kerry, carrying sure coats, she’s like, “It’s too Olivia Pope.” That is her doing a full, live-action film the place she’s combating, so how do I get the viewers to see Kyra and never Olivia Pope, proper? Sure, she’s performed all these different issues since Olivia Pope, however that’s nonetheless one thing for her that she performs. Even for Omar, he has “Lupin.” For me, in all my initiatives, a chunk of me that I sprinkle in there’s anyone’s gonna have some sort of fireplace footwear. I’m a sneakerhead. The stress for me with Omar was with him doing “Lupin,” he was like, “My character at all times wears Jordan 1s.” I’m like, “Yeah, however they’re not the unique unique joints.” So he’s like, “OK, nicely, what are you considering?” You’re gonna see one thing that’s like, woo.
The place do you see your profession going subsequent?
Actually, I like trend a lot when it comes to being a fancy dress designer, however I might additionally like to creatively produce. I really feel like I’ve a lot to supply when it comes to assets, with productions who could not have larger budgets, with the ability to assist construct relationships with clothes strains. I see administrators now which might be asking designers to assist with their films. As one other costume designer, I’m at all times like, “Oh, my God, like, they need to name such and such,” nevertheless it’s such as you don’t ever wish to overstep. It’s important to let every designer do their very own course of. You see TV reveals the place the producers are like, “Hey, we’re on the lookout for upcoming designers.” I might like to be a artistic producer when it comes to that.
Individuals have at all times requested me if I might ever wish to do a line. I wouldn’t wish to do a line however I might positively wish to do some kind of collaboration. Numerous my associates are like, “It is advisable change your title on Instagram from @TiffTheStylist to @TiffTheDesigner.” I at all times really feel torn about it as a result of I simply had this dialog with D-Good, who’s the one that gave me the title @TiffTheStylist. I like there can be no designer with out the stylist. I’m not an “or” woman. I’m not a stylist or designer; I’m a stylist and a designer. I wish to reside in each worlds.