Kate Forbes is a London-based Costume Designer who has worked on a diverse range of projects, including feature films, commercials, music videos, and short films. Kate consistently creates bold and expressive costumes that elevate the visual storytelling of each of the projects she works on. Recently, Kate has completed work on Brady Corbet’s upcoming feature THE BRUTALIST, produced by Protagonist Pictures and Killer Films, and starring Adrien Brody, Felicity Jones, and Guy Pearce. Kate designed the costumes for Chloe Domont’s feature FAIR PLAY which was nominated for the Grand Jury Prize at last year’s Sundance Film Festival.

Beyond the world of narrative, Kate has designed a number of high-profile commercials, working with directors such as Spike Jonze, Sam Pilling, Henry Scholfield, Gary Freedman, and Jake Nava and for artists and brands such as Coca Cola, Stella Artois, Louis Vuitton, Levi’s, Samsung, Radiohead, and Skrillex.

Her most recent work for “The Brutalist” (Director: Brady Corbet) premiered at the Venice Film Festival and won the SILVER LION – Award For Best Director. It tells the story of Hungarian-born architect László Tóth and his wife Erzsébet who survived the Holocaust and emigrated to the USA after the end of the Second World War in order to realize the “American dream”.

We talked to her about her work and what it felt like for her visiting Theaterkunst for the first time.

Copyright: Jenny Lewis (Portrait), Netflix, Focus Features

The period of the film spans 1947 to 1980 so there was a lot of research. Stylistically the tone of the film warranted a more naturalistic almost documentarian style rather than anything too stylised or affected but at the same time I wanted to evoke a feeling of the movie stars and movies shot during the timespan of the film so I watched a lot of old films from King Vidor’s ‘The Fountainhead’ to many Hitchcocks and Fellini’s. Ultimately the costume was very much dictated by the story and social positioning of the characters and sourcing pieces that would be true to their lives and livelihoods. Given most of the film is set in America it was important to understand the sometimes subtle differences between European & US tailoring & styles, this was essential in delivering the American look when using European costume houses. It was also important for me to also have some anomalies and unexpected costume choices that break with convention and reinforce the identities of certain characters.

Did you put a special focus on the change of costumes from their time in Hungary and their new life in the US? How did their style change?

Yes absolutely. There a very few moments that show their time in Hungary during the war so it was a case of having a limited and slightly dated wardrobe for those characters to arrive in the US with and then gradually incorporate their new acquisitions of the more American style. Post war US was an interesting time for clothing: the sportier more relaxed look, some of the first more mass produced, off the peg clothing came into production, the beatnik movement was happening in more creative circles so this was all very influential in creating the Bauhaus-educated emigres new American styles, being design aware modernists they would have really embraced all these newly available styles.

For this project, you have been to Theaterkunst the first time in your career. What was your first impression of our costume house and what do you like most about it?

JOY! It was an absolute joy coming to Theaterkunst for my first time! So many beautiful pieces, all so carefully curated, preserved and respected and I felt so looked after by the team at Theaterkunst who were conscious of our time and budget limitations. The generosity I experienced from everyone in house remains unparalleled and I found so many wonderful pieces that really inspired many of the directions I ended up taking with the design despite the stock being a less American and more European, it was invaluable to the look of the film.

What do you think is the most important thing about a good costume design?

That’s a big question!! But without writing an essay – I think finding the correct tone for costume is so key to do justice to the story, subject matter and the director’s vision. Then it’s immersing yourself in the research so you are completely familiar with the setting and period. Having the trust of a director is also key, that really allows you the freedom and confidence to explore and find the unexpected that just break the conventions and give an originality to the characters and the overall look. I suppose being open to being surprised and embracing those serendipitous finds really breathes life into costume design.

Thank you very much for the interview!

It’s my absolute pleasure! Thank you for your wonderful collection and all the wonderful, warm and knowledgeable people you have working in house, I can’t wait to return with my next project!