Talking With Film and TV Costumer Lisa Sass

This edition of Talking With focuses on costumer Lisa Sass, who discusses working on projects for the big and small screen, including Spielberg’s Oscar nominated film “The Fabelmans” and the acclaimed HBO series “Perry Mason.”

Originally from Germany, Lisa earned a Bachelor of Arts degree in Costume Design at the University of Applied Science and Arts in Hannover. After school she gained experience on smaller projects before moving to Los Angeles to further her career.

Since then, Lisa has amassed credits that span the spectrum across a variety of genres, platforms, and budgets. Her long list of film and television credits include the upcoming FX TV mini-series, “The Sterling Affairs,” as well as Hulu’s “The Last Survivors,” Tubi original “Tow,” Lionsgate’s “Shattered,” Paramount’s “Star Trek Beyond,” Amazon Prime’s “One Night in Miami…,” Netflix’s “War Machine,” “6 Underground,” and “Star Wars: The Force Awakens.”

To learn more, we are Talking With Lisa Sass:

How did you get into costuming?

LISA SASS: I started drawing from an early age and was influenced by comic books a lot growing up. I fell in love with drawing and creating characters which turned into focusing on their costumes. I started studying costume design wishing to go into music videos and concert stages until I did an internship on a film set. I fell deeply in love with that side of it and never turned back.

What’s the first thing you do when getting started on a project?

LS: Read the script and getting a feeling of the world that is being created. Sometimes you already know a rough vision for the project but sometimes it is exciting to be able to build your own version and see how it matches with the other creatives bringing the story to life. From there on it is a very collaborative process and it is beautiful to see how it evolves and expands.

Do you have a favorite project you’ve worked on?

LS: It’s hard to say because every job is so different, and they all have something special to me. Visually, I love futuristic worlds and sci-fi so being able to work on “Star Wars: The Force Awakens” and “Star Trek Beyond” were very thrilling not only for the great costumes and the significance of those franchises in film history but also to be able to work with such visionary costume designers like Michael Kaplan (“Star Wars: TFA”) and Sanja Hayes (“Star Trek Beyond”). I’ve also thoroughly enjoyed working for esteemed designers in both period and contemporary capacities with the likes of Mark Bridges (“The Fabelmans”) and Catherine Adair (“Perry Mason,” “The Sterling Affairs”).

A lot of people have the idea that it’s all “fun”, but what’s it really like?

LS: It is a lot of hard work, long hours, and instability in your private life. It has to be truly a passion of yours to be able to deal with what little free time crew usually has when working on a project and every job has a time limit after which you’re searching for the next short-term commitment. But when it is a passion of yours and you enjoy the lifestyle, it can absolutely be fun as well.

Do you make a lot of the clothing or are items mostly off the rack?

LS: It depends on the type of project. Contemporary projects can certainly come ‘off the rack’ depending on your budget. As a designer, even if it looks store bought, it often helps to be able to create pieces that fit more to your vision or if you need a lot of multiples of the same item to create different stages of continuity throughout a storyline; progress of ageing/distressing or blood, mud, etc. When it comes to futuristic projects or period pieces, it is much more common to have a higher percentage of made-to-order costumes but there’re also a lot of rental houses that we can pull from for all kinds of periods and storytelling needs. Rental pulls are especially beneficial for atmosphere and background.

What was most complicated costuming project you’ve ever worked on?

LS: Most jobs have their own specific challenges, be it creatively or outside influences like working in unforgiving environments such as 120+ degree weather in the desert for “Star Wars: TFA” when the actors you’re dressing have layers and layers of fabric and mechatronic masks to create alien species on the planet Yakku.

You’ve worked closely with a lot of famous actors and directors; what’s that been like?

LS: One of my most memorable experiences has for sure been working with Steven Spielberg on "The Fabelmans." Every day coming to work was exciting working with someone that has had such an influence on film history and to experience his way of working. Truly an experience I will never forget.

If you could work on any projects from the past, which one would it be and why?

LS: “Blade Runner,” “Blade Runner 2049” or even more recently “Dune.” I love this type of world building and the visual storytelling and the depth of which the costumes play a part in drawing the audience in.

What inspires you the most creatively?

LS: Music has always been a big influence for me. It helps create an atmosphere that builds the world the characters inhabit and provides a visualization as to how I want it to look. But everything can be an inspiration if you try to keep an open mind looking at things around you in your daily life like textures or everyday objects.

Is there anything else you’d like to share with us?

LS: I am thankful to be truly passionate in all facets of costuming; whether I am working on a project as a costume designer myself or collaborating as a costumer within a team in an effort to bring a designer’s vision to life on set.

Connect with Lisa Sass on Instagram: @misssass_y