Today we’d like to introduce you to Kennedy Lindberg.
Alright, so thank you so much for sharing your story and insight with our readers. To kick things off, can you tell us a bit about how you got started?
I’m originally from Alabama, I’ve been drawing and making art since I was able to use crayons which is where my teachers and family realized I had a talent for it. There are hardly any opportunities for art in Alabama and if there were any, I went there. I went to an art academy in high school all four years. From there I wanted to work in fashion design when I was in high school, but realized that costume design was an option and went in that direction because of my love of film. I applied to only SCAD and got accepted there.
Now I’m in my senior year. Throughout my time in college, I’ve designed costumes for so many films, music videos, theater, and commercials. Now I’m working on multiple productions on an XR stage, and I’m working on my own thesis which I’ll also be directing a film, all about rhinestone cowboys!
I’m sure you wouldn’t say it’s been obstacle free, but so far would you say the journey has been a fairly smooth road?
It absolutely has not been a smooth road as with anything art related! Working in an environment that is film is already tough enough, but being a young woman in the industry is truly rough. It can be difficult to be taken seriously and really heard-not just because I’m often the only woman at the table but also because I’m a lot of the time, the youngest. No to mention that costume design can definitely be overlooked and not held to the same standard as other departments.
Dealing with directors and productions like this has really taught me a lot about the industry and how to speak up for myself and others, so I am grateful for the many challenges I’ve faced in working on films. I of course have to mention the hell that was 2020 being a struggle, it was for all of us. This is actually the year where I really started working on a lot of films but did so remotely. I think this changed the way a lot of us work permanently because some ways are just easier in communicating. So overall it has been a rocky road but I wouldn’t change it.
Appreciate you sharing that. What else should we know about what you do?
I work in costume design primarily in film. I design costumes for productions and work on sets. So what I do is work with a director on bringing characters from their script to life on screen. A lot of people don’t realize how much goes on behind the scenes in creating the costumes you see on tv and in movies. I have to analyze scripts, have an understanding of history, film, and story, be able to do historical research, and really learn about all of the details. It can be a lot of online shopping, whether that be for clothes, fabric, materials, or dyes.
I illustrate the costume design and work with the director until we have a look that really works for the story and on camera. I also work based on a budget, I work with the actors, we have fittings for the costumes, and sometimes screen tests to see how it works with lighting and all before filming. And then I often work on set to get the actors dressed and make sure everything looks beautiful for the camera! If I’m known for anything right now costume-related, it’s probably anything to do with rhinestones since I covered a costume in them for a stage production of All Shook Up, it was all red leather that our sort of “Elvis” character wore. This has led me to my own thesis on Rhinestone Cowboys where I’ll design and make a rhinestone cowboy costume.
I even went to Graceland recently to see the Elvis costumes in person for research for my thesis. I think what sets me apart from others is how I always try to go the extra mile with my work and I try to take creative risks wherever I can to make the costumes really unique and exciting. I love using unconventional materials in my costumes, which really sets them apart. I want the audience to say WOW! when they see my actor walk in, and it makes me happy that I’ve definitely been able to achieve that many times.
We’re always looking for the lessons that can be learned in any situation, including tragic ones like the Covid-19 crisis. Are there any lessons you’ve learned that you can share?
It’s definitely tough to think about what you actually got out of 2020 in a positive way, but I will say that having so much excessive free time sort of forced me into creating a routine for myself in creating art every day and holding myself accountable to do so. I had so much more time to work on personal projects and did that every day during covid.
This has definitely influenced the way that I work today and how I organize my own schedule. In costume, I have to make my own schedule and routine. I of course have deadlines and quick and sometimes unexpected turnarounds but the way I go about my week working on them is ultimately up to me, so I think what those times taught me is to make art every day and pace yourself.
Contact Info:
- Website: https://kennedypeyton1.wixsite.com/costumedesign
- Instagram: https://www.instagram.com/kennedylindberg/
- Other: https://www.instagram.com/rhinestonecowboy.project/
Image Credits
Andy Pedroza, Sydney Boston, Sydney Bowers, and Fernando Tipacti Jr.
