The Haunted Folklore of Mississippi Influenced This Costume Designer’s Career
From designing a pair of ruby slippers as a child to designing costumes for TV and film as an adult, this Mississippi native has always had a flair for creativity and Southern gothic style. Image: Ashley Heathcock
Growing up in Mississippi, Ashley Heathcock was named “best dressed” at Brookhaven High School. Today, she’s a costume designer whose talent has been showcased in hit shows like American Horror Story and films like Venom and Arkansas.
Now, Ashley is stepping behind the camera as the writer and director of The Debutante’s Gown. The award-winning short screenplay was informed by her deep connection to Southern Gothic folklore, which continues to inspire her creative journey. We chatted with the Natchez resident about Southern style, debutante balls, and how Clueless changed her life.
How did growing up in Mississippi shape your style and attitude toward fashion?
I guess you could say I became thrifty and savvy at putting looks together on a budget. Our household didn’t really have the means to go on shopping sprees. I somehow miraculously got “best dressed” while in middle school and high school. My resources were neighbors’ hand-me-downs, sales racks, and T.J. Maxx. Silhouette, fit, and style are key in creating a good look. My mom taught me how to sew on her machine in high school, so I was also altering my clothes.
Who were your fashion role models?
I remember thinking my older sister was so cool when she moved in with us. She was 14, and I was 12 and awkward. I loved her confidence, knee-high socks, and plaid skirts. Around that same time, I saw Clueless, which had a big impact on me. I would stay up late making matching hair accessories for my outfits. When I lived in Los Angeles, I met the film’s costume designer, Mona May, and I told her how it changed my life.
What is your earliest memory of being interested in fabrics, fashion, or storytelling?
My earliest memory is of living with my grandma, around age 4 or 5. My sisters and I were obsessed with The Wizard of Oz, and I talked my grandma into making me some ruby red slippers. I remember we spray-painted my dress shoes red and then covered them in red glitter. They were everything I could have hoped for. According to my dad, getting me dressed for school was challenging. You could say I had passionate opinions about what I was going to wear to kindergarten.
Did you always envision this career path?
Not exactly. I wish I had joined the theater community at an earlier age. I was always an artist, though. My grandfather was a Baptist preacher, and the only way I could stay awake in church was to draw during his sermons. My grandmother saw this skill and nurtured it. I didn’t think I could make it as a fine artist, so I found myself sketching outfits more and more.
How did you transition into costume design for film and television?
I relocated to New Orleans after college and worked as an assistant fashion designer for David Dartnell. While I was there, I heard HBO’s Treme was shooting in town. I realized all my fashion skills could transfer to the costume department for TV and film. My first job was as a costume production assistant for a small movie called From the Rough. And my second was as a background costumer on Treme.
What is your process for constructing a character’s identity through clothing?
First, I read the script a few times and make notes. I’m looking for clues about their personality, physical descriptions, or economic status. I research the geographic location of the story and the particular time period it’s set in. I think about what music the characters would listen to, and then I listen to that music while I pull costume reference photos. While I’m building a design board for the character, I’m also thinking about the tone of the story, and then the colors emerge — but that will often be adjusted when the actors are cast.
From costume designer to writer and director — how did that transition happen, and are there similarities between your roles?
As a costume designer, I’ve always connected with characters within the stories and loved to develop a backstory for them for authenticity. I think that’s the same connection I have in writing. It starts with characters, and then the scenes develop around them. Directing is a way for me to bring the characters to life. For all of those roles, it’s about being true to characters within the story.
Debutante balls are HUGE in the South. What inspired you to turn that world into your award-winning Southern Gothic horror script, The Debutante’s Gown?
The short answer is that I’m a costume designer who grew up in a haunted house. I was inspired by the folklore and houses in Natchez, MS. A couple of years ago, I was riding my bike around town and thinking about my thesis on “The Power of Clothes.” The concept of a haunted gown just popped into my head. I ran it by my husband when I got home, and he thought there was something to it.
Were you a debutante?
I wish. I would have loved the gowns and gloves of it all. I did, however, make up for that by attending every prom in a 30-mile radius.
What is the best piece of advice you’ve ever been given, and from whom?
I have three: Ask yourself, “Why not me, why not now?” (Scriptnotes Podcast), “Feel the fear and do it anyway.” (The Tarot), and “Listen to the stage direction of the Universe.” (Rupaul)
How would you describe your own personal style?
Like a rock ‘n’ roll Audrey Hepburn.
What is one item in your closet you could never live without?
I just got this black purse shaped like an alligator with real-looking eyes (it’s not real gator leather, but it looks like it). It’s the perfect representation of a Southern Goth lady!
If you could keep one costume you’ve designed from any show, which one would it be and why?
I designed a top for one of the characters in Night Comes that resembled chainmail made from bottle caps. We couldn’t use real bottle caps for safety reasons, so our specialty costumer made a mold from an actual bottle cap. Each cap was rubber and painted a different color. To me, it looks like it could be in a museum for the artistry alone.
What is your favorite local spot that always feels like home?
Under-the-Hill Saloon, sitting on the porch and watching a sunset on the Mississippi River. Whenever I come home from traveling, it’s one of my first stops.
What was the most unusual or interesting wardrobe you had to create for a character or show?
It would be the costumes in Night Comes. It’s a post-apocalyptic survival story through the lens of teenage sisters. It was so fun to create pieces using unconventional materials!
LIGHTNING ROUND
Last great book you read? The Calamity Club by Kathryn Stockett.
Favorite horror movie? This is a hard one because there are so many good ones. Today, I’d say Carrie, Hereditary, and Talk to Me.
Favorite Southern Gothic author? Anne Rice. I would have loved to have met her. When I lived in New Orleans, I lived one block from her old house.
Three things you are never without? I’m consistently inconsistent. Probably the rings I wear daily, my phone, and my lucky rock.
This article contains product affiliate links. We may receive a commission if you make a purchase after clicking on one of these links.
**********
To meet more inspiring women, visit our FACES archives.
Bonny Osterhage
Bonny Osterhage is a professional journalist with more than 25 years of experience in both print and digital media. An avid fitness fanatic, when she isn't exploring the next trending topic, Bonny can be found cycling, running, and leading classes at SolidCore. Find more of her work at Mind Body Green, The List, Business Insider, and more.
