Costume designer Catherine George discusses her experiences collaborating with Lynne Ramsay, Jim Jarmusch, and Bong Joon Ho.

      A few weeks ago, shortly after presenting a comprehensive masterclass at the Thessaloniki Film Festival, Catherine George joined us for a conversation on a balcony that offered a view of Aristotle Square—a pedestrian area located at the end of a grand promenade connecting the city's ancient Agora to the Aegean Sea. Since relocating from Northern Ireland to the United States in the early 2000s, George has established herself as a renowned costume designer for some of the most distinctive filmmakers of that time, including Lynne Ramsay, Jim Jarmusch, and Bong Joon Ho. The latter approached her after viewing We Need to Talk About Kevin at Cannes, leading to collaborative works on Snowpiercer, Okja, and Mickey 17. It was November 1st, the day after Halloween, and I was eager to find out if her extensive work had inspired any costumes.

      "There were a few Mickeys this year," George shares in her Northern accent, "but I actually worked on a film called Problemista featuring Tilda [Swinton] as a character with red hair, resembling an old, rock-and-roll dragon. Many people in New York dressed up as her!" George grew up in Belfast during the tumultuous 1980s and credits the fashion of that time, notably Vivienne Westwood, as a lasting influence. In the 1970s, her older brother Terry moved to New York, where he wrote a play at the Irish Arts Centre, leading him to co-write In the Name of the Father with Jim Sheridan—a screenplay that earned them Oscar nominations. George began her career working on Sheridan’s 1997 film The Boxer before fully engaging in the vibrant American independent scene: “I was brought in as a wardrobe supervisor on Coffee and Cigarettes,” she recalls of her initial encounter with Jarmusch, “Cate Blanchett’s character meets her cousin, who has a punk style. I borrowed clothes from my friends; she ended up wearing my friend's leather jacket, my trousers, and a T-shirt from another friend. I was so in awe of Jim [Jarmusch] that I kind of geeked out when it came to talking to him.”

      Currently, George and Jarmusch are frequent collaborators and friends, having worked together on Paterson, The Dead Don’t Die, and his latest project, Father Mother Sister Brother, which has been a significant year for the costume designer following the premieres of Bong’s Mickey 17 in Berlin and Ramsay’s Die My Love at Cannes. We continued our conversation, which has been edited and condensed for clarity.

      The Film Stage: In the masterclass, you mentioned being quite cautious with color at the beginning of your career. Did your collaboration with Lynne Ramsay on We Need to Talk About Kevin mark a turning point for you?

      Catherine George: Absolutely. With Lynne, Tilda, and all the reds in that film, it was wonderful to embrace that. Lynne is so literal and visceral. Tilda’s character experiences trauma, but it’s unclear if it’s real. She presents it from her own viewpoint, making you question its truth.

      Was the creative experience on that film liberating?

      It was fantastic. People often ask if it was a tough shoot, but it was actually one of the most enjoyable experiences. We all stayed in Connecticut and would hang out together, sometimes even have sing-alongs in the evenings. John C. Reilly is a talented singer and guitarist, and Lynne loves to sing. The team dynamic was truly special. It was my first collaboration with Tilda, and we clicked right away.

      You incorporated a lot of floral prints in Die My Love. Was this part of your discussions with Lynne? It seems to resonate with Lawrence’s character, especially in those striking moments when she’s moving through the grass.

      We discussed colors extensively due to the film being shot on Ektachrome, an older film stock known for its vibrancy. We collectively embraced saturated colors because Jennifer’s character, Grace, is going through a breakdown, which her clothing reflects. It’s a combination that might not ordinarily coexist. At one point, [Robert’s character] wears her floral dressing gown paired with his sports shorts and flip-flops, and at times she wears his shirts.

      Ramsay is such a fascinating filmmaker, almost like a genius who emerges every decade with something entirely fresh, yet she appears so down-to-earth in interviews. Do you stay in touch with her?

      We’ve become friends. I have that connection with a few people I’ve collaborated with multiple times, like Lynne, Director Bong, and Jim Jarmusch.

      That sounds like a wonderful circle of friends.

      You form a sort of family, and this film, Father Mother Sister Brother, feels like an extension of that. Jim fosters an environment on set where everyone is committed to delivering their best work. He’s such a legend that everyone is motivated to perform at their highest level. It’s intense but