The fourth edition of Qumra, the annual industry event by the Doha Film Institute (DFI) that focuses on building new voices in cinema, concluded with an inspiring masterclass by Qumra Master Sandy Powell. The masterclass offered a behind-the-scenes look at some of the captivating films she had worked on.

Moderated by Richard Pena, the session was highlighted by show-reels of some of her masterful works that brings out Powell’s versatility and ingenuity as one of the world’s renowned costumed designers. Powell said she discovered her passion for costume design while working on theatre and going on to “learn from mistakes”. Her advice for young talents is to understand the art of costume design with the fundamental approach that “you are creating characters and making them believable”.

She discussed her debut work as film costume designer for Derek Jarman’s 'Caravaggio', after having worked with him on music videos. “I didn’t know what I was doing,” she said, with the average age of the crew at 25, and each of the member learning by doing. “It was real learning.”

With an accomplished oeuvre that includes several period films, fairytales and historic set-pieces such as Orlando, Shakespeare in Love, Gangs of New York, The Aviator, Hugo, and Cinderella, Powell said that while it is important to work with the team, she also goes by her instinct and intuitive understanding of the character. She said her priority in choosing a project is its script and that she is open to work in Bollywood, adding the industry “has a number of good designers already”.

Powell does background research on the costumes from paintings as well as from contemporary fashion, “as there is always something one can take inspiration form it," creates mood-boards for the characters, and then decides on the colours, contrasts and fabrics. She said she is not overly attracted to working in science-fiction films because “I am not attracted to them.”

“I am not interested in creatures, aliens, and superheroes,” she stressed, adding that she is delighted in doing independent, low-budget films because “they push you creatively” to work within the resources.

Her advice, from her personal experience as costume designer, is to “work instinctively not intellectually”.