‘What a person wears ( when given a choice ) is a direct extension of ones psychology. Whether to exude qualities that may be lacking inherently, or to amplify strengths or camouflage weaknesses, a director cannot underestimate the importance of costume.
As in real life, clothing choices can subtly reveal past experiences or powerfully convey ambitions, hence what a character wears is of huge importance to a film.
Like putting on armour, apparel does much to project power or can signify fear. It can give us clues as to the characters subconscious needs, obsessions and self perceptions. It can show us the persons aspirations, their ambition. Their frailty can be shown like a heart on the sleeve, or an extra layer of clothing like a cocoon.
Perhaps the ageing star starts to reveal more flesh in a last bid for relevance or the ambitious young person beginning to look more like their boss.
Costume Design supports the story. It can also add accent to the plot or to the theme. It can create conflict between characters. It can evoke feelings of empathy or hostility in the audience.
Costume enables the director very powerful layer in which to permeate their vision.’'Thoughts on Costume' Rachael Haupt 2017
With over 20 years in the Feature Film industry, Rachael Haupt is a designer whose work demonstrates vast technical knowledge. Traditional garment construction skills meld with cutting edge digital draping and rendering.
On point design, expert knowledge of colour theory, character/creature design, script analysis and breakdown enable her designs to fulfil dramatic effect and cinematic power – whether subtle or overt.
An Australian by birth, Rachael has had a very adventurous and eclectic life – from moving allover the world with her journalist father, to studying Ballet with a Bolshoi teacher during the 1991 coup in Moscow. Leaving the stage to her true passion Costume Design Rachael then studied for a Bachelor of Fine Arts and started a Bachelor of Dramatic Design at NIDA ( one of only six accepted ) before being snapped up by Neil Scanlan Studios for SFX. She then relocated to London to work at Pinewood Studios alongside the famous Corboulds on films such as Gladiator.
Rachael was there at the top of the film SFX industry when digital VFX shook up the film business. Rachael immediately made the move to digital design at MPC SOHO where she spent many years on the Harry Potter films, Tomb Raider, Troy, and many more.
Ever the adventurer, Rachael then made the move to New Zealand to work at the world famous #1 VFX studio – Weta Digital. Here she worked closely with VFX legend Joe Letteri on a range of films and projects such as Irobot, Kong, and design concept bid work. She also worked with Peter Jackson on his Wellington exhibition: Gallipoli.
Rachael was nominated for a VES award for her ‘Futuristic Chicago’ design work on IRobot – starring Will Smith.
A hard worker, enthusiastic and extremely friendly – Rachael is a benefit to any project. A wealth of personal and professional experience she is well read and well-travelled. Rachael is a mature and well researched person who possesses excellent collaboration skills and is a valuable asset to any production.