If you're looking for a carefree, comical, smart, and wholly wonderful summer film, we recommend Ruby Sparks. Directed by Little Miss Sunshine team Jonathan Dayton and Valerie Faris, and written by lead actress Zoe Kazan, it's the story of a novelist who writes the girl of his dreams into existence. Aside from the imaginative romance, Los Feliz backdrop, and "instant classic" accolades, the film also boasts costume design by the renowned Nancy Steiner. Known for being a master of contemporary film styling—from Lost in Translation and Funny People to the period pieces, The Virgin Suicides and The Lovely Bones—Steiner always emphasizes character in her work. We spoke to her recently about her '90s music video beginnings, inspirations, and why story is important.
MAGNET: Let's start from the beginning. You got your start working in a clothing store then started styling music videos, right?
Nancy Steiner: Yes. I worked at a punk rock store called NaNa in Santa Monica. I went to a trade school—LA Trade Tech—because I had no money and went to learn fashion design there. Then I realized I didn't want to do fashion. But I met a few stylists who came into the store and they said, "If you ever stop working here give us a call because you have great style." So that's what I did; I gave them a call. I worked as an assistant in print, commercials, and in film got my first job as a PA/intern on I'm Gonna Git You Sucka. That's how I learned how a film worked. I was a set costumer and assistant shopper for years while I was doing commercials and videos.
What was your first job as costume designer?
It was the movie Safe by Todd Haynes. I had been doing music videos.
You did quite a few right?
Yes, I did several for The Smashing Pumpkins, "Tonight Tonight". I was the grunge queen. I did two Nirvana videos and worked with No Doubt in the beginning, Stone Temple Pilots, REM, Bjork, Red Hot Chili Peppers, Janet Jackson… there were many. And I've been working with Dayton/Faris since then, too.
The directors of Ruby Sparks…
Yes! We've been working together for 20 years.
What were your inspirations for Ruby?
It's contemporary and she's a figment of his imagination. She's his dream girl. What is this novelist's dream girl? We were trying to figure that out. The main thing about Ruby is she brought color into his life. She has a strict color palette that we stayed with as much as possible. He [the novelist character] was very bland. He wore a lot beige and muted, medium tones. When she came into his life, he started wearing more color. She was like the rainbow that came into his life. It's more about the color than the way she dressed. She had a palate; she was a dream, a vision. I tried to be subtle, but the colors were loud.
Did you collaborate with Zoe Kazan, who also wrote the film?
Zoe's really easy to dress. She has a great sense of style herself. I didn't want the clothes to take over. We wanted her to look comfortable in her clothing. Every actor has a say in what they wear. We had great fittings where she loved so much, and there was so much that didn't make it into the movie. You want to make it realistic, not that she has an endless source of clothing. The collaboration she had with Jon and Valerie was amazing. It really worked. She was brilliant.
Is there a dream collaboration you would, personally, like to have?
Yes, many! I'm trying to do more period work because the bulk of my work has been contemporary. I love it, but I adore vintage. I grew up as a forties girl in my teens. I only wore forties dresses, and I feel very attracted to that period. I love shoulder pads and how women looked like women—all those curves—and beautiful locks of hair. It's a feminine period, so I would love to do a 1940s piece. I'm also into the turn of the century—the first half of the 20th century is interesting to me. I've done two 1970s films, The Virgin Suicides and The Lovely Bones, so I'd like to do more.
What inspires you? What costume designers influence you?
My friend Arianne Phillips is an amazing designer. She did W.E. for Madonna, which was incredible. Milena Canonero when she did Barry Lyndon and A Clockwork Orange—that was amazing—it was creating a style that hadn't existed before. I think Sandy Powell when she did Orlando and Far From Heaven was incredible. Colleen Atwood's work is impeccable. It's more fantasy based but amazing. I need to make a list! Slumdog Millionaire... Suttirat Larlarb did a beautiful job. I grew up watching The Women and The Red Shoes. But I'm inspired by art and what I see on the street on a daily basis. That is what inspires me. I find normal people the most fascinating and inspiring of all... the keys in their pocket, the way they wear their hat. I love real people.
Is there any advice you would give to people interested in working in costume design or who are interested in fashion design but might not realize that costume design is a fantastic option?
Costume design is different from styling for fashion. Costume design is making characters; fashion is looking pretty. They're two different things. I love fashion and looking at clothing, but if you're interested in costume design, watch movies! Nobody will ever know what it's like to work on a film until they've done it. It's not just about the clothes. It's not just you making the decisions. Costume design is about knowing your characters. Go on the Costume Designers Guild website. There's also a website called Frock Talk. Remember that you're not trying to make a statement. It's about characters and serving the story... in whispers more than screams.
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