I had two shapes of trousers and two shapes of skirts because they were starting to become little ladies. I did a different model of trousers, because the kids were starting to and you couldn't have just one shape for everybody. I insisted on wool for and then the year after, we added a little bit of.
I thought the sweater looked more luxurious, you know? an incredible school, and they have Galleons of money, anyway, coming from the bank. Then I used huge, real wool for the sweater, which was a terrible idea. I made them silk because I thought they made a better knot. I put a collar inside that you could see the houses and the diversification of the kids in a big crowd. So, we designed the, and I put a hood on the back of it. I started doing colors, then I wanted to a, which was really glamorous - something they would put on and feel immediately special. "Thank God, because if I would have been completely paralyzed and incapable of doing anything. I partially expect for her to deliver a response bordering on ambivalence - can you imagine how many times a day she hears the same fan-backed fervor? - but instead, she smiles. "At the time, I didn't realize how important it was," she says. When I meet Jany Temime, the costume designer who came on board for "Harry Potter and the Prisoner of Azkaban" and stayed for the remaining six movies, I lose any cool I normally inhabit during interviews. It's been six years since the final film came out and 10 since the last book was released come June 26, "Harry Potter" officially turns 20, a fact that ages me more than any number of birthday candles ever could.
It would be impossible for me to quantify my attachment to the world of "Harry Potter," just as I recognize is the case for a great number of you reading this. In our long-running series, "How I'm Making It," we talk to people making a living in the fashion industry about how they broke in and found success.