Meet Acclaimed Costume Designer John Dunn

John Dunn, a prolific award-winning costume designer and really wonderful guy is known for his epic visual storytelling through his often historically complex costumes. From recent television series such as Julia and Hunters to Dickinson, Vinyl, and of course, the critically acclaimed Boardwalk Empire, John Dunn is a sought-after designer who embraces the meticulous aesthetics and crafting of costumes particularly for period shows. John is a very busy man so I was thrilled and extremely grateful that he took the time to do an interview with MWS.

I’m always intrigued by beginnings, so where were you raised and what did you like to do as a kid? Was there a clue in your childhood that costume design would be your future?

I grew up in a Chicago suburb in the 50’s. I would say I was always pursuing creative activities. When I was eight years old attending a Catholic grade school, we were each tasked to create a crown for the Virgin Mary statue to commemorate her special month of May. I went home at lunch and fashioned a wreath made of fresh lilac blossoms. It won hands-down! I was also obsessed with 20’s flappers, particularly in films such as “Some Like It Hot.” But my real interest in costume design didn’t come until much later.

When you were young, who or what influenced you and why? Perhaps a parent, teacher, or TV character?

I was a teenager in the late 60’s which was a time of crazy cultural upheaval (not unlike the 20’s.) Despite being a suburban kid, television broadcasting was opening the world to everyone musically and especially visually. I so longed to go out and explore the world beyond my hometown. I fell into the theater crowd at my high school, the classic safe harbor for kids with an artistic bend.

What did you study in school? Was costume design something you pursued through education? If so, did you feel you were on the right path? Or were you heading in another direction?

I attended the University of Illinois in Champaign-Urbana as a directing major in the theater department. In my senior year, I took a costume design course as an elective, and that changed my path completely. But I was graduating and wanted to move on from the academic world. So I ended up acting with a fleabag touring theater troupe that performed in Catholic grade schools around the country. After nine riotous months of that, I jumped ship and called a high school chum, Tom McKinley, and invited myself to visit him in New York City for the weekend. And then I never left NYC!

How did you transition from school to work? What was your first job and/or internship either in costume design or that other direction?

Tom worked as the shop coordinator for a top-drawer boutique costume shop in NYC called ” Ray Diffen Stage Clothes”. The shop created clothes primarily for Broadway shows, NYC Opera and Dance. Ray was a Brit and a huge name in the New York costume world.  He brought over Barbara Matera from England and Sally Ann Parsons of Parsons-Meares was one of Ray Diffen’s star drapers.  The shop had just lost its shopper so Tom suggested I interview. I did an interview with Ray and told him that if he didn’t hire me I’d have to return to Hillside, Illinois immediately. He hired me on the spot which was kind of insane as I had not spent more than three days in New York City up to that point.

How did you find your way to costume design? Was there a person or a job that gave you “that big break”….besides the break you clearly got from Ray?

After surviving that hurdle and learning so much about fabrics, construction, exacting standards (everything)!!! I saw it was time to pursue my goal of designing. I had met many designers working at Diffen’s and used those connections to begin assisting on small projects. I particularly focused on Yale designers to assist as I admired their work most highly. Designers like Rita Ryack, Jess Goldstein, Susan Hilferty and Santo Loquasto. Santo designed mostly for the stage but also worked on early Woody Allen period films like “Purple Rose of Cairo.” My first project with Santo however, was “Desperately Seeking Susan.”  He sent me to lower East Side lingerie shops to buy 50’s brassieres for Madonna.

What shows early in your career were very challenging and why? What shows were wonderful and why? I’m thinking about those times you learned something and grew from the experience?

I assisted Rita Ryack on many theater and film projects in the 80’s. Rita has such an offbeat sensibility and total passion for design and I learned so much from her. I especially learned to trust my gut and not be afraid to explore the unexpected, design-wise. As I had no formal academic training I found it important to constantly learn on the job as I followed this path. 

How did you start to make a name for yourself? Was it talent, work ethic, attention to detail, awards? Was there a show or a person that sort of changed your life or your trajectory?

Among the films I worked on with Rita was Martin Scorsese’s “Afterhours.” He then did a film called “New York Stories.” It was a trilogy of shorts by Scorsese, Francis Ford Coppola, and Woody Allen. Rita was unavailable so I was offered Scorsese’s short film to design. That was my lucky break. Incidentally, Rita and I went on to co-design Scorsese’s “Casino.”

Tell me about “Boardwalk Empire”. How did you get that job?

By 2010 I had been based here in New York for many years and had extensive experience in period feature films. As “Boardwalk Empire” was to be shot here it was a good fit. I was intrigued by the challenge of a huge period show being filmed at the speed of television production. I always questioned why a period TV show couldn’t be as gorgeous as a Visconti film. So much period TV costuming up to that point seemed somewhat inferior. I very much wanted to up the TV costume design standard.

It was a wonderful period show. What is the design process like? I’m so interested in how you go from words on a script to clothes on actors. Does someone give you an outline of what they want or is it up to you? And how the heck do you research that and then go from what I assume are designs on paper to a finished piece?

“Boardwalk Empire” was daunting but ultimately I do think it was a catalyst for a “golden age” of television costume design. People loved the clothing. The research was unending (which I love) as we covered so many social worlds and diverse locations. I still have a shed full of physical research we assembled as it was still the early days of the online research capabilities we have today. The research was our guiding light throughout.

One of the most surprising parts was researching color from the period. We’d been served a steady diet of sepia-toned costumes in films and old photos up to that point; but in fact, the early 20’s was a madly colorful time. We really wanted to show that to the viewers.

We did have design meetings for all of the design departments for every episode; but, over time as the producers saw our work we were given pretty free rein. They trusted that we “got it” and would produce the goods every episode.

The main characters were all mapped out. We built the most important women’s pieces at our in-house costume shop. The men’s suits were largely built at Martin Greenfields in Brooklyn. Having the producer’s trust was key because often my designs were influenced by the vintage clothing we bought and rented constantly throughout the season. It was also helpful when I needed to adjust designs for particular casting choices.

I was excited for there to be a big long-running 20’s period series in town as it gave many young wardrobe personnel the training needed to work on period pieces to come. They learned skills such as how to tie a real bow tie, lace a proper corset, or position a cloche properly. Those people went on to work on all the terrific period pieces that followed.

Do you have a preference for period shows? I imagine it’s more difficult than a contemporary show.

I prefer period projects largely because I still find it thrilling to bring the past to life for the viewer.

I actually find contemporary work more daunting. In contemporary projects, I find you often deal more with the actor’s ideas of what is agreeable or acceptable for them to wear. You are dealing with their personal notions of what “works” for them. Generally, I find actors are more conducive to exploring ideas in a period piece and disappearing into a role.

Tell me how you got the job on Julia (which I love by the way)?

It was because of the pandemic that “Julia” came my way. Tom Broecker, the terrific Saturday Night Live costume designer was originally chosen to design “Julia.” Unfortunately, the pandemic shut down the filming and when it was deemed safe to start up again Tom was in the thick of the restarted SNL season.  So, they came to me and I was happy to step in. It was my first project once production started up and I was very curious about working with all the restrictions and safety protocols. When “Julia” was picked up for the series I was delighted to be able to continue with the Boston crew.

What was the design process like for a show about very famous real people? Was there epic research? What were some of the challenges relating to this?

Julia was just one of many famous characters I’ve designed through the years including three versions of Andy Warhol in different projects. The key for me is to do a deep dive into the research but not restrict myself to producing exact reproductions. I think it can hinder an actor not to have some breathing space. It’s important that they not feel like a wax museum replica. There are occasionally iconic costume moments that need to happen but finding space for the actor to explore their character is so vital.

I’ve heard you say that “Costumes are key in telling the story” and “costumes become a partnership with the actors”. I really applaud this! Perhaps you have an anecdote about an actor and your costumes?

In the case of “Julia”, actor Sarah Lancashire is physically quite different from the real Julia Child, but I think we found a charming look and silhouette to capture her exuberant essence. One key in that was footwear, Sarah is much shorter than the famously tall Julia. So. ultimately the solution was to build platform versions of all of Sarah’s shoes so she could tower over her castmates. We had non-platform shoes for camera of course and platforms for everything else. It was a last-minute “to do” getting them ready but Sarah was thrilled with the result and it pretty much transformed her performance.

I really notice costumes in film and TV, sometimes I even say, I hated the show but the costumes were amazing. What is your goal as a costume designer? Is it accuracy, believability, flow…something completely different?

My goal with the costumes is first and foremost to serve the writer’s and director’s vision. What is the experience they are hoping to share with the viewers? Of course, I have no control over the writing,  performances, or music but I strive to contribute thoughtfully with visual information that reinforces the story. I just have to trust that all the various components of a project will come together seamlessly.

What is the best thing about your job?

The best thing about the job is that in a sense, you get to “play” all the characters in a project without going in front of the camera.

And please tell me the worst thing too?

The hours!!!

Now let’s talk about the pandemic which shut down the world and hit our industry very hard. How did you spend your time? Were there opportunities to stay creative or like me did you find out there is a stove in your kitchen that isn’t for storage but actually cooks stuff?!

I was upstate most of the pandemic enjoying our humble little shack on a lake, but I really missed the camaraderie of working with a great costume team.

And how did the strike affect you? Were there any projects you could work on or did you feel hopeless, cry, and drink boxed wine? (OK that’s what I did) tell me what you did?

I read a lot of books; in part, to keep an eye out for any juicy projects that might be developed into films or television series.

So what’s next? Another season of Julia?

Sadly MAX has decided there will not be a 3rd season for “Julia”…..I know, it’s a bummer!!

What is your connection with Manhattan Wardrobe Supply? I think Cheryl told me you worked together?

MWS has been a part of almost every project I’ve done since it opened. I even prepped a Sam Mendes film called “Away We Go” out of a back wardrobe space rented by MWS.

Cheryl and I go back to a 1987 project I associate costume designed called “Rocket Gibraltar” with Burt Lancaster and Macaulay Culkin.

Is there an item (hopefully that we sell at MWS) that makes your job easier? 

Topstick Forever!!!

Thank you, John! This was such a thrill for me. I am in awe of your work and can’t wait to see what’s next!