Beyond the Screen – Linda Harper

How and why did you become a costume designer? 

HOW is difficult to answer. It was ultimately a coincidence, being in the right place at the right time in Berlin after the fall of the Wall, after my travels in Asia. I was able to witness an incredible sense of new beginnings in Berlin. Nobody knew where it was going or where it would lead. Open to anything and everything – the main thing was that we could unleash our creativity! I still have very close friendships from that time, friends who have supported me on my journey and have had a lasting influence.

WHY is certainly easier to answer: I have an affinity for textiles, their materiality, textures and colour nuances. This means that when worn, they can accentuate the silhouette and the characters in their role. I invariably have a vision for the whole design and can visualise the people and their roles. I love the creative collaboration with actors and directors, the very moment of trying on the costumes and getting the design exactly right.

Do you have any role models?

As a result of my training in couture, I would consider Alexander McQueen to be a master of silhouettes and staging. I was able to visit his breathtaking fashion and art exhibition at the Victoria and Albert Museum in London. And because I am half English, I also feel a connection to Vivienne Westwood’s English sense of humour; the punk lady who self-assuredly accepted the Order of the British Empire from the Queen while wearing no knickers.

“Late Shift” is premiering at the Berlinale. How long did you have to think before saying yes to this film? 

Petra Volpe has shown great trust in me and my work ever since we started working together many years ago. And it’s a relationship that works both ways. Whatever we do, we are always completely focused on the subject matter and the issues that we want to address in the film. She is an excellent director and gifted screenwriter who can put humanity into words, using them to touch the audience and her film crew. I don’t have to think for a second when Petra Volpe contacts me with a new script.

What was your biggest challenge with “Late Shift”?

Well, in terms of costumes, I couldn’t just go charging off and create whatever I wanted. It meant that I had a relatively clear and specific framework – which was precisely the challenge.

Did the costumes have to meet any special design requirements?

As I pointed out earlier, it’s always about the content for me and less about asserting myself artistically. We had to be modern and up to date. During my research, I wondered why a doctor’s coat still looks the same after hundreds of years, both in colour and cut.

In short, in our part of the world it has primarily to do with trust, as does the colour white. This has been imprinted in our minds for generations. Generally speaking, you used to be able to clean undyed fabrics by boiling them to remove all stains. But this would no longer be necessary today, and yet no doctor does rounds in a pink coat.

How would you describe your collaboration with Petra Volpe?

The human honesty that Petra conveys to an audience fascinates me. What she writes also moves her personally. For DREAMLAND or THE DIVINE ORDER, she spent years dealing with the topics and thus acquired in-depth knowledge. For LATE SHIFT, she worked in advance with DoP Judith Kaufmann and actress Leonie Benesch in the hospital to ensure that as few mistakes as possible were made in dialogue, in the use of equipment, procedures, etc.

LATE SHIFT reveals how incredibly hard this job is, something that has almost been forgotten again in the wake of the pandemic. Nursing staff are struggling with budget cuts or having to walk several kilometres per shift in support stockings and are rarely able to take breaks due to the urgency of the situation. It’s a job where life and death are at stake every day and it’s an issue that affects almost all of us.  In LATE SHIFT, Petra illustrates how valuable this work is and how difficult it will be in 30 years with the shortage of skilled healthcare professionals.

At what point are you involved in the projects?

From the moment I read the script, and the funding is secured for the project.

Did the Swiss Film Award give you a boost in getting more international visibility for projects? 

Personally, this award came as a complete surprise and showed me that my work as a costume designer on OF FISH AND MEN, NEEDLE PARK BABY and SPAGAT is indeed visible. This year, three films that I worked on as a costume designer were also screened at the Solothurn Film Festival: THE COURAGEOUS, THE SPARROW IN THE CHIMNEY and BAGGER DRAMA. These films and their themes usually go on to international film festivals. In the meantime, there is the world premiere of LATE SHIFT at the Berlinale – in the city where it all began for me. So, for my taste, only the Cannes Film Festival is missing. I’m really quite modest, but I like to dream big.

What are your next projects – or example, “Little Adam” by Karim Patwa?

Among others, yes. A marvellous screenplay with international political potential. Now we’ve got our fingers crossed for the funding of the film.

What do you wish to convey with the costumes?

Always something different! Many factors play a role in this, which is why my job is boundless in thoughts, dreams, intensity, emotions, humour and fun. For the overall project, it has a lot to do with a shared vision and the vibe of a team.

You can find several personal statements on my website that describe the fruits of our collaboration, for example, from producer Linda Vogel about UNREST by Cyril Schäublin, from production company Zodiac Pictures or actors such as Bettina Stucky. I usually remain subtle; I have a particular weakness for that. It’s not so important for me that everyone sees what I do.

Do you keep costumes for yourself as a souvenir from the film?

Not necessarily as a souvenir from a film. On the other hand, my costume collection shouldn’t be limited; I need a lot of light and space for my concepts and ideas. But small, whimsical finds from flea markets that inspire me and might have a story behind them sometimes find a place for a character and have been able to step into the spotlight on the big screen.

Have you ever reused material?

My costume collection is well stocked with basics that I can fall back on regardless of the budget. I would rather spend the budget on fundamental and essential costumes that I or the role or the director cannot do without. This affords me much more freedom when creating my costume designs.

I love experimenting, questioning my research and creating outside the box, only to reduce it to the minimum and get to the heart of the matter. The journeys to the fitting rooms are incredibly appreciated by the actors and directors because they create a dialogue and ensure that we realise our shared vision. Costume fittings are like a sumptuous dinner together. They create an essential feeling of comfort, satiety and satisfaction – simply wonderful.

What kind of “crazy” project would you like to take on next?

So, I just have to smile, because sometimes projects overlap. I was asked to be the costume designer for the crazy project NOVAK by Heretic Films, the coproduction company of TRIANGLE OF SADNESS, which is being coproduced with Switzerland, starring Ella Rumpf and Zlatko Buric. Director Harry Lagoussis and producer Giorgos Karnavas were enthusiastic about my work and would very much like to work with me; perhaps this will come about on another project.

In Berlin, I often worked on crazy productions during the golden days of music videos. This is where I learned a lot about the possibilities you have artistically as a costume designer. Once you’ve mastered the technical skills of the craft, you can go beyond the human silhouette. I have a very broad creative range, and thanks to the many varied experiences, I have had the opportunity to put them into practice in all these great projects so far. This has allowed me to grow. I am very open to “crazy projects” here in Switzerland and abroad, and I love to travel and immerse myself in other cultures.