What was it like working with director David Fincher?
I would like to costume all his movies. I can’t think of anybody who could’ve been cooler on such a crazy project. He was absolutely inspired from the moment I met him. We discussed everything from mortality to the South in the ‘20s, and his vision for the movie was so provocative that it inspired me to start researching the movie five months before I’d even been hired, just feeling this connection with him. He has an incredibly artistic eye, which you can see from his movies. He composes scenes like paintings—you feel like you’re working on a movie that’s going to become iconic. How did you go about depicting so many different eras in the film? I looked at certain artists who I felt conveyed a feeling of the South—a lot of Walker Evans, Mike Disfarmer, even some Dorothea Lange. And I looked at Lewis Hine and translated his images to a more Southern look. I also used old family photo albums that I found online because I really wanted to see how characters kept their integrity and their
