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A costume designer on the art of building characters for film and TV

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A costume designer on the art of building characters for film and TV

How do you know how to dress someone when that person technically doesn’t exist? This inane yet genuine question burned in my mind when I sat down to interview Natasha Newman-Thomas, an award-winning costume designer. Newman-Thomas is the sartorial mastermind behind TV shows including HBO’s “The Idol” and Childish Gambino’s iconic “This Is America” music video (which garnered her a Costume Designers Guild award). Known for her character-driven approach and highly distinctive, vintage-inflected eye, Newman-Thomas explains to me that costume design requires not only a deep understanding, passion, and technical proficiency for clothing design and fashion styling: it also requires an ability to conjure and then investigate a fictionalized character’s psychological makeup. The answer to my question, in short, is that you have to believe in an illusion in order to make it a believable reality.

When you see an actor or musician in a costume designed by Newman-Thomas, the outfit looks authentic in a way that is almost unnoticeable — and this is the point. The selection and styling of the clothes appear so natural and unique to the character that it seems as though they showed up to set wearing it. Her latest subjects are Keanu Reeves and Cameron Diaz in the upcoming film “Outcome,” directed by Jonah Hill. While Newman-Thomas couldn’t get into the details of those characters yet, she shared the peculiar and fascinating details of her art with me and made the case for why flying helicopters is more interesting than sitting through a group critique in art school.

Natasha wears Comme des Garçons Autumn/Winter 2007 dress courtesy of Aralda Vintage, Fendi boots, Gabriella Kiss earrings.

Natasha wears Comme des Garçons Autumn/Winter 2007 dress courtesy of Aralda Vintage, Fendi boots, Gabriella Kiss earrings.

Costumes are the first place where you get to begin storytelling without actually knowing someone.

— Natasha Newman-Thomas

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Eugenie Dalland: My Gen-Z cousin had never seen “The Matrix” before, so I recently watched it with her. I realized how crucial all those latex and black leather costumes were to the tone of the film. Why are costumes so important?

Natasha Newman-Thomas: Costumes are the first place where you get to begin storytelling without actually knowing someone. It’s crucial on screen because you want to know as much about a character as you can, instantly, in order to get the viewer involved and on board. If you’re in a dystopian future like “The Matrix,” the costumes pull you in and make you believe in that world and in the story on a surface level.

ED: I’m curious about the nuts and bolts of creating these characters, what you’ve called the “sociological exploration” involved in building them. Who is involved in this process?

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NNT: It depends on the project. Sometimes I have one initial conversation with the director, and then they turn the whole thing over to me and let me do my thing. Other times, the director is super involved and we get into the nitty-gritty about every character. And then I’ve been on projects where I do that with the actors, which I like doing because it’s part of the character development for them. It’s super informative for both of us to have those conversations and figure out why a character behaves a certain way, the things that inform who they are, their pathologies.

ED: Shopping is a big part of costume design. What kind of mindset are you in when you’re buying clothes for a character? I imagine it’s sort of meditative.

NNT: It’s definitely meditative! I’m almost trying to put myself in their mental state, and then imagine how they would acquire clothing. Where would they shop? Or would their character only wear hand-me-downs? If so, where would those come from? Someone from their church, a sibling?

ED: I feel like this psychological approach is why your costumes always feel so personalized and unique. It makes the characters more believable as actual individuals. You’re not throwing them into whatever is trendy.

NNT: There’s totally something to be said for capturing a moment in history with [trendy costumes], but typically I strive to make something timeless. I try to make things as unique to the characters as possible.

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ED: I’ve always wanted to ask you about the outfit Childish Gambino wears for the “This Is America” music video, which you costumed. It’s very minimal — vintage pants, no shirt, gold chains — but he looks so f—ing cool and moreover, totally natural, authentic. I almost wondered if he showed up to set wearing that look.

NNT: It’s funny you say he looks really natural and embodies the outfit well, because up until 20 minutes before the shoot, Donald [Glover] and I were going back and forth about it. He was like, “I’m not comfortable in that, it inhibits my performance, I just want to wear sweats.” I was like, “no way, sweats are a completely different message, it’s really crucial that these are the pants you wear. If it’s inhibiting your movement, I’ll sew in a gusset.” I was literally sewing a gusset into those pants up until 30 seconds before we shot! I just did another project with Donald a few months ago and he was like, “by the way, you were right about the pants.”

Natasha Newman-Thomas

Natasha wears vintage John Galliano 2008 runway dress courtesy of Aralda Vintage. Opposite page: Natasha wears Christian Lacroix jacket, Wolford tights, KNWLS shoes Vivienne Westwood necklace, Gabriella Kiss earrings.

Natasha Newman-Thomas

Natasha wears Helmut Lang suit, vintage Frank Zappa shirt from Zappa’s personal collection, Rejina Pyo shoes, Bottega Veneta earrings, Mondo Mondo ring.

Natasha Newman-Thomas

ED: What were you aiming for with his costume?

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NNT: We referenced some Fela Kuti images, but also the idea of someone who acquires clothes and then really makes them their own. Someone who finds a pair of pants and makes them look sick by styling them in a specific way. That was so important because we didn’t want it to look or feel new, typical, or trendy.

ED: How did you get into costume design?

NNT: I went to the School of the Art Institute of Chicago because they didn’t make you choose between fashion and fine art, you could do both, which is what I wanted. But eventually I had the rude awakening that you really couldn’t do both. I took every fashion class I could without committing to being in the fashion design program there. A few years in, I realized I didn’t want to sit through a critique and hear people bulls— about “juxtaposition” ever again. I decided to drop out and move back to L.A. and go to helicopter school to be a pilot.

ED: Wait, what?

NNT: There’s a nonprofit program at the Compton Airport. It’s amazing. I’d love to go back and finish my flight hours and get my license. Anyway, while I was there, an old professor friend of mine from the Art Institute called and said, “I’m moving to L.A. to do costumes on this show, I’d love for you to try assisting me.” My first day on set I was like, “this is literally made for me, it combines all my interests.” The pacing, the creative problem solving, the clothes, the character development, all of it. That was it. Day One. I feel very blessed that I found a job where I can make money and do what I love.

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ED: What are some movies that made a strong impression on you in terms of costume design?

NNT: There’s so many. I actually just did a symposium about [Jean Paul] Gaultier’s costumes for “The Fifth Element.” I also love his work on “The Cook, the Thief, His Wife & Her Lover.” The costume design really blends with the production design, it’s so artful.

ED: What’s an unexpected shopping tip you tell people?

NNT: This is so cheesy: Be clothes minded, not closed minded. [laughter] I love to go into a shopping experience with the idea that you can really style anything to make it interesting. A game I’ll play with my best friend is we’ll send each other pictures of things and ask, “how would you make this cool?” Like “how would you make a pair of Toms cool?” I love a good challenge.

ED: How do you make a pair of Toms cool?

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NNT: The way I would do it is to cast a Toms shoe in a block of resin, and then put another Toms shoe on top of it. So it’s a platform shoe with the Toms inside the platform and then the other one on top.

ED: Please make this shoe.

NNT: Our first question when we start anything is what’s not cool right now, what is no one doing, and how can we use that to our advantage? We did an Yves Tumor music video and I was like, “no one is doing indie sleaze right now, I’m going to cover a pair of jeans in the Strokes patches, that’ll be so weird!” Two years later, the Strokes were playing the Celine show. It’s fun to try to get ahead of the cycle. It’s getting harder to do because with the internet, everything moves so much faster now, people just gobble up trends. But it’s creating an interesting position for designers to be forced to come up with new things that no one’s seen before, that aren’t referential. I think it could be really exciting. Fingers crossed.

Hair & Makeup Paige Wishart
Lighting Director David Lopez
Styling Assistants Margaux Solano, Tommy Petroni

Natasha wears Christian Lacroix jacket, Wolford tights, KNWLS shoes Vivienne Westwood necklace, Gabriella Kiss earrings.

Natasha wears Christian Lacroix jacket, Wolford tights, KNWLS shoes Vivienne Westwood necklace, Gabriella Kiss earrings.

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Natasha Newman-Thomas

Eugenie Dalland is a writer based in New York. Her essays, profiles and reviews have appeared in the Los Angeles Review of Books, Hyperallergic, BOMB, Cultured Magazine, the Brooklyn Rail and elsewhere. She publishes the arts and culture magazine Riot of Perfume.

Lifestyle

Sunday Puzzle: Pet theory

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Sunday Puzzle: Pet theory

On-air challenge

Today’s puzzle is called “Pet Theory.” Every answer is a familiar two-word phrase or name in which the first word start starts PE- and the second word starts T-. (Ex. What walkways at intersections carry  –>  PEDESTRIAN TRAFFIC)

1. Chart that lists all the chemical elements

2. Place for a partridge in “The 12 Days of Christmas”

3. Male voyeur

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4. What a coach gives a team during halftime in the locker room

5. Set of questions designed to reveal your traits

6. Something combatants sign to end a war

7. Someone who works with you one-on-one with physical exercises

8. Member of the Who

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9. Incisors, canines, and premolars that grow in after you’re a baby

10. Nadia Comaneci was the first gymnast to score this at the Olympics

11. What holds the fuel in a British car

Last week’s challenge

Last week’s challenge was a numerical one from Ed Pegg Jr., who runs the website mathpuzzle.com. Take the nine digits — 1, 2, 3, 4, 5, 6, 7, 8, 9. You can group some of them and add arithmetic operations to get 2011 like this: 1 + 23 ÷ 4 x 5 x 67 – 8 + 9. If you do these operations in order from left to right, you get 2011. Well, 2011 was 15 years ago.  Can you group some of the digits and add arithmetic symbols in a different way to make 2026? The digits from 1 to 9 need to stay in that order. I know of two different solutions, but you need to find only one of them.

Challenge answer

12 × 34 × 5 – 6 – 7 + 8 – 9 [or] 1 + 2 + 345 × 6 – 7 × 8 + 9

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Winner

Daniel Abramson of Albuquerque, N.M.

This week’s challenge

This week’s challenge comes from listener Ward Hartenstein. Think of a well-known couple whose names are often said in the order of _____ & _____. Seven letters in the names in total. Combine those two names, change an E to an S, and rearrange the result to name another famous duo who are widely known as _____ & _____.

If you know the answer to the challenge, submit it below by Thursday, January 15 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle.

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Paul Gripp, one of the last great orchid explorers and hybridizers, dies at 93

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Paul Gripp, one of the last great orchid explorers and hybridizers, dies at 93

After retirement, Paul Gripp still visited the nursery often, helping with weeding, as he’s doing here in this file photo, or just talking with customers.

(Dania Maxwell / Los Angeles Times)

Orchid expert Paul Francis Gripp, a renowned orchid breeder, author and speaker who traveled the world in search of unusual varieties for his nursery, Santa Barbara Orchid Estates, died in a Santa Barbara hospice center on Jan. 2 after a short illness. He was 93.

In a Facebook post on Jan. 4, Gripp’s sister, Toni Gripp Brink, said her brother died “after suffering a brain hemorrhage and loss of consciousness in his longtime Santa Barbara home. He was surrounded by his loving family, day and night, for about a week in a Santa Barbara hospice before he passed.”

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Gripp was renowned in the orchid world for his expertise, talks and many prize-winning hybrids such as the Santa Barbara Sunset, a striking Laelia anceps and Laeliocattleya Ancibarina cross with rich salmon, peach and magenta hues that was bred to thrive outside in California’s warmer climes.

In a 2023 interview, Gripp’s daughter, Alice Gripp, who owns and operates the business also known as SBOE with her brother, Parry, said Santa Barbara Sunset is still one of the nursery’s top sellers.

A vibrant orchid with salmon and peach-colored petals and a raspberry and deep-yellow throat.

Santa Barbara Sunset is one of the most popular orchids that Paul Gripp bred at his famed orchid nursery, Santa Barbara Orchid Estates a.k.a. SBOE.

(Dania Maxwell / Los Angeles Times)

Gripp was a popular speaker, author and avid storyteller who talked about his experiences searching for orchids in the Philippines, Myanmar (then known as Burma), India, the high Andes, Mexico, Guatemala, Brazil, New Guinea and other parts of the world, fostering exchanges with international growers and collecting what plants he could to propagate, breed and sell in his Santa Barbara nursery.

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“Working in orchids has been like living in a dream,” Gripp said in a 2023 interview. “There’s thousands of different kinds, and I got to travel all over to find things people would want. But the first orchid I found? It was in Topanga Creek, Epipactis gigantea, our native orchid, and you can still find them growing in [California’s] streams and canyons today.”

Gripp was “one of the last orchid people who went looking for these plants in situ — where they occurred in nature,” said Lauris Rose, one of his former employees who is now president of the Santa Barbara International Orchid Show and owner of Cal-Orchid Inc., a neighboring nursery that she started with her late husband James Rose, another SBOE employee who died in January 2025.

These days, Rose said in an interview on Thursday, orchids are considered “something to enhance the beauty of your home,” but when she and her husband first began working with Gripp in the 1970s, “they were something that totally captivated your interest and instilled a wanderlust spirit that made you want to explore the species in the plant kingdom, as they grew in nature, not as produced in various colors from laboratories.”

She said Gripp’s charm and self-deprecating demeanor also helped fuel his success. “People flocked for the experience of walking around that nursery and learning things from him,” Rose said in a 2023 interview.

“Paul lectured all over the world, teaching people about different species of orchids in a very accessible way,” Rose said. “He didn’t act like a professor. He got up there with anecdotes like, ‘One time I climbed up this tree trying to reach a plant in another tree, and all these red ants infested my entire body, so I had to take off all my clothes and rub all these ants off my body.’ A lot of people’s lectures are boring as dirt, but Paul could command a room. He had charisma, and it was infectious.”

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Gripp was born on Oct. 18, 1932, in Greater Los Angeles and grew up in Topanga Canyon. He went to Santa Monica College and then UCLA, where he earned a degree in horticulture, and worked as a gardener on weekends, primarily for Robert J. Chrisman, a wealthy Farmers Insurance executive and hobbyist orchid grower who lived in Playa del Rey.

After college, Gripp served a stint in the Navy after the Korean War, and when he got out, he called Chrisman, his old boss, who invited him to come to Santa Barbara and manage the orchid nursery he was starting there.

A  man in a blue jacket and cap bends over a table of sprouting young orchids.

After retirement, Paul Gripp still visited the nursery often, helping with weeding, as he’s doing here in this file photo, or just talking with customers.

(Dania Maxwell / Los Angeles Times)

The nursery opened in 1957, with Gripp as its manager, and 10 years later, after Chrisman died, he purchased SBOE from the Chrisman family.

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In 1986, Gripp and his then-wife, Anne Gripp, divorced. In the settlement, Gripp got their cliff-side Santa Barbara home with its breathtaking views of the Pacific Ocean, and his former wife got the nursery. When Anne Gripp died, her children Parry and Alice inherited the nursery and took over its operation in 1994, Alice Gripp said in 2023.

Gripp officially retired from the nursery, but he was a frequent helper several times a week, weeding, dividing plants, answering customer questions and regaling them with his orchid-hunting stories.

“Paul loves plants, but what he loves most in life is teaching other people about orchids,” Alice Gripp said in 2023. “He chats with them, and I try to take their money.”

Gripp wasn’t a huge fan of the ubiquitous moth orchids (Phalaenopsis) sold en masse in most grocery store floral departments, but he was philosophical about their popularity.

They’re good for indoor plants, he said in 2023, but don’t expect them to live very long. “A house is a house, not a jungle,” he said, “so there’s a 99% chance they’re going to die. But they’re pretty cheap [to buy], so it works out pretty good.”

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“He used to say, ‘I’m an orchid man. I love every orchid equally,’ and he does,” his daughter said in 2023. “I don’t know if he would run into a burning building to save a Phalaenopsis from Trader Joe’s, but he told me once, ‘I’ve never thrown out a plant.’ And that’s probably true. When he was running things, the aisles were so crammed people were always knocking plants off the benches because they couldn’t walk through.”

Gripp is survived by his children and his second wife, Janet Gripp, as well as his sister Toni Gripp Brink. In a post on the nursery’s website on Jan. 5, the Gripp family asked for privacy.

“We are still very much grieving Paul’s sudden passing,” the message read. “If you would like to share your memories of Paul, please send them by mail or email for us to read in the days to come. We will welcome your remembrances and gather these into a scrapbook to keep at SBOE. We appreciate your understanding of our need for peaceful reflection at this time. In the coming weeks, we will announce our plans for honoring and remembering Paul with our orchid friends.”

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Veteran actor T.K. Carter, known for ‘The Thing’ and ‘Punky Brewster,’ dies at 69

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Veteran actor T.K. Carter, known for ‘The Thing’ and ‘Punky Brewster,’ dies at 69

Actor TK Carter arrives for the premiere of “The LA Riot” at the Tribeca Film Festival, Monday, April 25, 2005, in New York.

Mary Altaffer/AP


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Mary Altaffer/AP

DUARTE, Calif. — Veteran actor T.K. Carter, who appeared in the horror film “The Thing” and “Punky Brewster” on television, has died at the age of 69.

Carter was declared dead Friday evening after deputies responded to a call regarding an unresponsive male in Duarte, California, according to the Los Angeles County Sheriff’s Department.

Police did not disclose a cause of death or other details, but said no foul play was suspected.

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Thomas Kent “T.K.” Carter was born Dec. 18, 1956, in New York City and was raised in Southern California.

He began his career in stand-up comedy and with acting roles. Carter had been acting for years before a breakthrough role as Nauls the cook in John Carpenter’s 1982 horror classic, “The Thing.” He also had a recurring role in the 1980s sitcom “Punky Brewster.”

Other big-screen roles include “Runaway Train” in 1985, “Ski Patrol” in 1990 and “Space Jam” in 1996.

“T.K. Carter was a consummate professional and a genuine soul whose talent transcended genres,” his publicist, Tony Freeman, said in a statement. “He brought laughter, truth, and humanity to every role he touched. His legacy will continue to inspire generations of artists and fans alike.”

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