Unveiling the Magic: Part Two of My Interview with Resa McConaghy

Charlotte Hoather

Jan 21

Welcome back, last week, we embarked on a captivating journey into the heart of creativity with the extraordinary dress designer, Resa McConaghy. Your responses and engagement were overwhelmingly beautiful, echoing the same admiration and awe I felt when I first laid eyes on Resa's stunning creation made just for me. Today, I'm thrilled to invite you back as we continue this enchanting conversation in the second part of our exclusive interview.

In today's post, we delve deeper into the essence of Resa's artistry, exploring the challenges and triumphs that come with bringing ethereal designs to life. Resa shares with us the intimate details of her creative process, the profound connection between an artist and their creations, and how each dress tells its own unique story, woven from threads of dreams and reality.

Prepare to be inspired by Resa's passion for design, her dedication to excellence, and her visionary approach to dressmaking that transcends the ordinary, making each piece a testament to the beauty and complexity of artistic expression. Through her words, we're reminded of the power of art to move, to transform, and to touch the soul in ways that are profound and personal.

So, without further ado, let's continue our journey with Resa, as we unwrap the layers of her creativity, dedication, and the unwavering love for her craft that makes her dresses not just garments, but works of art that leave a lasting impression on the heart.

Question 6: Collaborations in the world of arts are so exciting. What do you enjoy most about collaborating with artists like myself and others in the industry?

The camaraderie would be one thing. Sharing creatively builds a kinship, which is not to be confused with friendship. Although occasionally friendships ensue.

Satisfaction is on the list. Bringing an idea to life, to everyone's delight is gratifying. This can come about from many points of origin: original creative inspiration, needs, wants, practicality, personal tastes, budget and on.

Collaborations between two creatives tends to be mostly shared fun. When multiple creatives are involved, say director, actor, director of photography and costume designer, the collaboration can become a negotiation. To that point, when it ends in everyone being happy, it's exhilarating.

Question 7: Can you share any upcoming projects or ideas you have in mind for your future creations? We'd love to hear what's on the horizon for Resa McConaghy!

Two things here.

The main focus is Art Gowns at this point. Reinforcing the idea of sustainability through the lens of "Sustainable Glamour" is my give back.

I see the Art Gowns as Ambassadors to this cause.

I have 11 Art Gowns (soon to be 12) that are wearable for gala events, fashion shows, photo shoots, etc. I'll loan them out to individuals, charity functions or any entity that can use them to promote sustainability and/or other worthy causes in conjunction.

I have an idea for an Art Gowns fashion show. They would be the main attraction for an event featuring & selling the works of artists using sustainable materials, or whose art speaks to this.

Producing events is not my forte, and Charlotte, as you know from producing "Down the Rabbit Hole", it's a lot of work. Number one is the financing. I'll be

meeting with an artist this week, who just had a showing in NYC. She said she has some ideas, and I'm a willing listener.

Two - I've been writing humorous anecdotes about my experiences in film. These "incidents" were not funny at the time, however, in retrospect seem hilarious. Many involve famous actors.

I've done first drafts on about 12 so far and another dozen are started. Thing is I get going, it's fun and then suddenly it seems like I'm living my life over. At that point I put it away until the mood strikes again.

Question 8: Your passion for costume design is evident. How do you stay inspired and motivated in this constantly evolving field?

Honestly, I am somewhat jaded at this point.

Although not always the case, usually to be inspired I need a project that is more challenging than the ones before.

This can come in several areas: period design, important docudrama character(s), an amazing script, great actors, size of the production.

The union I belong to hasn't been signing productions that interest me, since before covid, and now even less so.

This leads into your next question.

Question 9: As a designer, you bring characters to life through your costumes. Is there a particular character or production that you dream of designing for in the future?

Yes! This is why even though I am focused on the Art Gowns right now, I have maintained membership in my union, the ATAS (Academy of Television Art and Sciences, which does the EMMYS) and the ACCT ( Academy of Canadian Cinema and Television, which does the Canadian Screen Awards). I am a voting member of both academies.

About a year prior to Covid, I was approached to possibly design the story of Ann Cole Lowe . She was the first black designer of note in the USA. She designed Jacqueline Kennedy's wedding gown, and the entire female side of the

wedding party. She was not credited for this achievement until her later life, because she was black.

What a story! The script was beyond fascinating and tantalizing.

She did gowns for the rich, and Hollywood elite for the early Oscars and more. Many of her gowns are documented. The budget to reproduce her gowns alone is mammoth. Done right, this would have to be a big budget movie, with huge stars.

The film has not been made, yet. It must be made, whoever does it!

This led me to think that I would love, love to design a movie about Vionnet, Elsa Schiaparelli, Worth or Erté.

Question 10: Finally, could you oﬀer a sneak peek into your creative process? What are some tips for aspiring designers looking to develop their own unique style and artistic vision?

The creative process varies, project dependent.

In film or theatre it could begin with a presentation of sketches (which do not need to be works of art, but just enough to express an idea) and/or tears, fabric samples or clothing samples. There would be discussions of ideas with the director. It grows from there.

For the Art Gowns, it begins with whatever fabrics or clothes to repurpose I have on hand. Iput together pieces that somehow visually and texturally work together. I play around with those on my judy. Eventually, I get inspired into a direction. After that, the gown almost designs itself. It's like painting with fabric.

I have never done a sketch prior to making an Art Gown. That happens after.

Young designers; immerse yourself in all or any of the arts. Go to art galleries & museums. Go to contemporary art shows, fashion shows, music events, interactive art events. Read about clothing in history books, browse through new and old editorial & fashion magazines.

One can see most of this online, but there's nothing like the real thing.

Be aware of what's happening in the urban streets of bohemian areas. Check out how the counter culture is dressing! Use yourself to try new styling ideas when you go out, be it a party or a walk in the streets. Be brave!

Last year, my Alma Mater found me, and did an article about my "sustainable glamour" Art Gowns. You can read a little more if you click through the link below.

"From castoffs to haute couture, Sheridan graduate sews to save environment | Sustainability | Sheridan College"