0:00
My name is Emilio Sosa. I am nominated for Best Costumes in a Play for Trouble in Mind
0:11
How excited are you? It's Tony Day. We're sitting here. It's like that, isn't it
0:18
It's like that. But I think it's one of the days where you can just relax, be yourself, and really be a fan of the people around you and your peers
0:27
And really just be part of the community. You know, when the telecast comes, there's a lot of running around. You really don't get to really mix with people
0:35
This is one of the events where you get to see them live in Memorex. Like you can touch them and just tell them how wonderful they are and how they made you feel
0:43
But that's the theater community, right? That's what we do. That's what we do
0:47
What did you enjoy the most about working on Trouble in Mind and designing those gorgeous clothes
0:53
You know what it is about that show? First of all, we have to say the name Alice Childress
0:58
After so many years of not getting her flowers in life, the fact that we were able to give her her flowers and the audiences embraced it, I think that's the reward
1:11
Unfortunately, the show still resonates today. And that's something that we're working on, which is something that I do as part of being the chair of the American Theater Wing
1:21
We always want to make it a better playing field for everyone. But to be able to bring her words to life is what's the reward
1:30
And then I get the chance to dress LaChanze. You know, I've never dressed her before. I've been a huge fan
1:37
And I'm a fashion designer. I started as a fashion designer. So this is the type of show that I can really dig into my fashion background, but then have my theater part and really create something special for everyone
1:50
And not just the world of clothing, the world of fashion, into the world of theater
1:54
Yeah, talk to them. Because they go hand in hand. Because for me, I've always said this, when I design costumes, I don't design costumes. I design clothing for the stage
2:03
And all that is about how it is made, but the aesthetic for me still has to read like these are people in real clothing
2:11
Not putting a costume on someone and then making them wear something they don't feel comfortable
2:15
I'm very collaborative with my actor. I really want them to be able to embody
2:20
You know, I have a vision. The director and I, we have a vision. But I always include my actor in the process
2:26
Because when they walk on stage, I want the audience to feel like these people are inhabiting these clothing
2:31
It's not a costume piece and they don't know how to wear them
