Workshop 2: Interviewing Miggy Cheng

Question (Casey):

The selection of texture, pattern, and palette is often regarded as a supplementary offset of the architecture or environment in the settings…

Response (Miggy):

Arghhh… not really… it may have been perceived as a secondary complementary, but that’s interesting, what makes you think that?

Question (continued):

Oh, cause I’ve noticed you mentioned in your presentation that the colorway, or saturation of the costumes should always merge with the background of the set in order to¬†convey a sense of visual harmony and conformity to the audience. For example, in the 2012 movie Floating City, shads of navy blue is incorporated in the costumes of the fishermen to minimize the contrast between the stone-cold brownish grey tone to the warm sea blue. So my question would be, are there any circumstances where the role of costume and environment is reversed, such that the environment is dependent on costume design and textile selection?

Answer (Miggy):

Well, it really depends on the plot of the movie and the motif throughout each set. If it’s in the action genre like Pirates of the Caribbean, then I’d say the dynamics of movements, the interior design of the warship, and CG effects on the surrounding environment would ingredients that dominate the taste of the soup. However, if let’s say the setting is now a royal ball, then the role of costume design and the environment would, like you said, be reversed. You also have to bare in mind that fashion and costume design are of two different dimensions. You can have a style or establish a statement in fashion, but you can only go so far as facilitating the style and statement of a film director as a costume designer. In fashion, it’s often a competition between the matter of individual taste, and artistic instincts. It’s just more abstract in general, like filling a blank sheet of paper with doodles and colours. In costume design however, your competition lies between you and yourself only. Since it’s often bound to limitations, and a framework, it works more like a challenge and finding a solution, rather than creating something from sketch. Therefore, you’ll find yourself constantly battling old ideas and on and on until you and the director are finally satisfied. But don’t get me wrong haha, it’s still a fun job.

Response (Casey):

Thank you very much for your time. I do appreciate it.


Yip Kwan Chi


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