What does it take to create the right aesthetic for super heroes, post-apocalyptical villains, and pop culture icons? As a costume designer for shows like Flash, Arrow, and The 100, Beverley Huynh knows how to make costumes stand out in binge-worthy media. We were excited to speak with Beverley and get her perspective of costume design in relation to representation. Beverly’s main focus is using her her platform to tell her story about needing to have more women of color in entertainment in front of and behind the camera. In all of her career as a costume designer she has always been one of very few minorities in "the room" making decisions, which is where the real power of Hollywood is. Until there are more people of different cultural backgrounds holding power there will always be an uneven balance in the industry, and that is what Beverley is fighting to change. For more on Beverley, please read our exclusive interview below.

Where are you based?
Currently, I'm based out of Vancouver, British Columbia Canada. Ideally, I'll go where ever the projects are.

We’d love to get more of your story and how you ended up as a costume designer. What made you interested in this career? Have you always been interested in design and fashion?
I fell in love with fashion first. Saturday mornings I would tune into "Fashion Television", I started drawing and designing dresses when I was 7. Making clothing for Barbie out of old rags. I wanted to be Vera Wang.

My interest in story telling had a lot to do with my sister. She was into theatre and it's thanks to her that fashion evolved to costuming. She liked being on stage, where as I was far more focused on the people wearing all black moving things around in the back. I was in fashion school when a school project prompted us to do a fashion history project combining different time periods designing one for costume and one for fashion. My sister's comment of "Your costumes are way more interesting than your fashion designs" placed a little spark in me that stayed. When I was getting ready to graduate from fashion, my boyfriend at the time asked me to be involved with a short film he was producing. I agreed, and seeing what was happening behind the camera was too much fun not to do it again.

I realized that in the world of costumes the possibilities were endless, I could go into history or I could go as far as my imagination would take me. The plus side being my livelihood wasn't based on hitting a trend or predicting what the latest fad would be. I've been working towards this ever since.

Where do you find inspiration for your designs?
Everywhere! Nature is a big part, a lot of inspiration comes from the script itself and descriptions I'm sometimes given of the character. From there I talk to other head creatives, directors, designer, producers, show runners etc to understand the overall concept. I then look at character arcs to pull from, actors sometimes have insight and ideas too so we can work together to develop ideas.

We’re obsessed with a lot of CW shows --from superhero shows like Flash and Arrow to the post apocalyptic landscape of The 100, you’ve been apart of many highly rated shows as the costume designer! How do you go about setting a vision for the costume aesthetic for each show?
For the shows mentioned above, I can't take credit for the designers who paved the way for me on those shows. I've been fortunate enough to be a part of a team headed by very talented designers. I was in my learning stages being a part of the CW family. I was mentored and influenced by very creative women who taught me everything I know today. When I was part of the 100 I got to build and dive deep into a world of found objects. With Katia Stano at the helm, I was given an opportunity to experiment and use my knowledge to the fullest extent. I remember distinctly when I was making a piece of armour and she said "That's very good, but it's too pretty, make it dirtier and raunchier".

Now that I'm in a position to set the tone for aesthetic, I look to all that inspires me or what visually comes to mind. I create mood boards and I pitch to decision makers and hope that our vision and aesthetic pair with one another.

More specifically, how do you translate a character into their costume?
I pull from real life, history, psychology, people, conversations with the actor, other creatives... everyone. There's a conversation to be had and after many meetings you start to get a sense of what the overall vision needs to be. Being an introvert and finding joy in observing help, years of people watching is kept in a memory bank.

Do you have a favorite costume that stands out or one that you are proud of from your time at the CW?
I got to build some very cool armour pieces for The 100, that sticks out in my mind. But I can't take any credit for the aesthetic and overall look for this show. It brought something out in me I didn't know was within myself. But has stayed with me for the shows I DO get to head the department for.

You’re wrapping up your time as a costume designer on Syfy’s Van Helsing. Do you get to take any souvenirs as the designer?
Very rarely do I get to keep anything, as a designer I'm a natural hoarder so I try not to feel too attached to the things that come from mind to fruition. I take photos of the ones I'm most proud of and that's a beautiful memory to hang on to.

We have heard that you’re an expert in costume “easter eggs”. What are costume easter eggs and can you give us an example from your own work?
For a creative person, I think an Easter Egg is where a story or piece of information is shared behind the inspiration of the costume or wardrobe. One little easter egg I love to do for the performers I work with is to give them something to help with their character. For example, if an actor is meant to be calloused, or mean but meant to really just have a protective heart. I'll line their pocket with something soft for them to hang on to.

How has your work been impacted by the Covid era? Do you get to still be on set or are you more isolated?
It honestly has not affected me that much. The mandatory lockdown early on was a much needed break for me. I've been working since May and we (Van Helsing) was one of the first productions to get back into it. When working on a series, I'm normally more isolated. When we need to be within proximity, we always take the greatest care and have many protocols in place to keep us safe. These days I go to sets if I absolutely have to, but otherwise it feels the same, business as usual with a few new steps to include.

Costumes are a major part of media literacy and can hold so much meaning, especially with representing diverse characters. Can you tell us more about designing for diverse cast members?
With deep conversation and diving into a character together. In a space of developing and creating a character, the process is the same, diverse or not. When I show or present what I have in mind, I like to ask if this feels right to them. I never want to misrepresent, but I'm also fully aware of my own ignorance and am always open to a conversation.

I do a lot of research beforehand and try to ask the right questions. I apologize for my lack of understanding when I've made a mistake, but I always follow up for more information. I WANT to understand, as a diverse person, in their own personal experience, help me understand.

Jejune loves that you are an advocate for diversity in Hollywood. What are some of the obstacles that you see for diversity as an Asian Canadian costume designer? How can these obstacles be overcome or challenged?
I love seeing more artistic asians coming to the forefront. Some personal obstacles I've come across is whether or not I understood the aesthetic of a white-washed narrative. I think the best way to overcome this is to start telling our own stories. But also hire best for the job regardless of cultural background, but off of experience and body of work, not necessarily to fulfill a quota for diversity.

The past year has been eye-opening for racism in America. How have you been handling the recurring stories of violence against Asian Americans and Asian Canadians?
It's been hard. I'm angered and saddened by the stories that bombard social media. I particularly worry about my aging parents. As a culture where we are taught to respect our elders and to uphold them as the patriarchs of our family as long as they are still breathing; it's especially heartbreaking when you see attacks being taken out on the defenseless. I'm handling it by doing my best to bring awareness to it. Which has been tough, because trying to unlearn about my own personal prejudices.

You speak out often on Instagram about the need to #StopAsianHate. What advice do you have for people who are wanting to be more attentive and responsible allies?
Put the camera down. Get involved, speak up, speak out and stand tall for those who are too scared to use their own voice. If you want to be a responsible ally, LISTEN, take the time to hear our stories and validate the experience. Knowing we have allies that are willing to hear our stories, to try and understand the perspective is all what most people want. To be heard.

As with so many issues with representation, more visibility is needed for Asian representation in Hollywood. What do you think will help visibility become actualized?
I think Hollywood taking a step in ownership of their role of how they've told stories in the past is a huge step forward. The focus now is to choose diverse stories to be told and accept that multicultural and multi nationality is modern North America.

We would love to keep up with your work in the future and recognize your creative touch when we see it. Do you have any upcoming projects that you can share with us?
A film called "Needle in a Timestack" is about to get a released date that I'm very excited about. And currently working on a Netflix feature that unfortunately I can't say much more.

What has helped you remain positive during shelter-in-place over the last year?
Honestly it was time-off I didn't know I needed. The main thing that got me through was reconnecting with old hobbies and learning new creative skills.

What is your motto in life?
Stay curious.

To learn more about Beverley Huynh, please follow her via the below platforms:
www.bevwin.com
Instagram: @bevwincostumes

Photography Credit: Shimon Karmel

Beverley Huynh - Telling Diverse Stories As A Costume Designer