The Moment When Actors Say, 'This Is the Character!' – Interview with Miriam Muschel

Mirjam Muschel on Her Costume Design for Münter & Kandinsky

Since October 24, 2024, the historical drama Münter & Kandinsky has been playing in German cinemas. The film captures the complex artistic and personal relationship between expressionist painters Gabriele Münter and Wassily Kandinsky in a visually stunning narrative. Mirjam Muschel’s meticulous costume design brings these historical figures to life, reflecting their artistic essence. In this interview, Muschel provides insight into her intensive research, creative decisions, and the challenges of designing costumes for this special film. She also discusses how her approach differed when designing costumes for the RTL+ series Gute Freunde – Der Aufstieg des FC Bayern.

What does costume research for a historical film like Münter & Kandinsky involve?

Mirjam Muschel: From the very beginning, I knew I had to conduct more in-depth research than on any of my previous projects. For Münter & Kandinsky, it was important to capture not just the historical aspects but also the emotional depth of the characters. Locations such as the Lenbachhaus in Munich and the Münter House in Murnau were crucial sources of inspiration for me. Additionally, immersing myself in the early 20th-century avant-garde movement had a significant impact on my work. The artists of that time were no longer striving for classical beauty but instead expressed emotion and meaning through bold colors and forms.

How did you translate this artistic expression into the costumes?

Mirjam Muschel: The costumes needed to be historically accurate while also embodying the personalities and artistic souls of the characters. I emphasized Münter’s deep connection to nature through flowing, organic forms. Her blue culottes symbolize mobility and freedom, reflecting her love for cycling. The color scheme of the two protagonists also mirrors their relationship—Kandinsky preferred black and green on her, so I deliberately used these colors to highlight the intimacy and dynamism between them. Kandinsky also designed clothing for Münter himself, including a dress for an exhibition in Berlin and an Asian-inspired gown she wore during their time in Sèvres.

What were the biggest challenges in designing the costumes for this film?

Mirjam Muschel: One of the biggest challenges was sourcing historically appropriate fabrics, as materials like wool, silk, and linen in the quality and craftsmanship of that era are difficult to find today. At the same time, it was crucial to visually convey the societal changes around 1900, when women began to break free from corsets and think and act more independently. This liberation was also reflected in clothing. Finding the right balance between historical authenticity and a modern interpretation of the costumes was essential.

Have there been moments when your costumes had a special effect on the actors?

Mirjam Muschel: Yes, absolutely. A great example was when Vanessa Loibl stepped into the role of Gabriele Münter. During the fittings, I could see how the costume helped her embody the character. The moment when both the actors and I say, “This is the character!” is always magical. Costumes are not just clothing—they bring the characters to life both physically and emotionally and are essential to the film’s overall aesthetic.

You also designed the costumes for Gute Freunde – Der Aufstieg des FC Bayern, a TV series about FC Bayern Munich in the 1960s and 70s. How did your approach differ for this project?

Mirjam Muschel: Gute Freunde was a completely different world. Here, the focus was on the sports and social context of the 60s and 70s, which required a much more grounded approach. The goal was to realistically portray the different social classes and the history of the club. The colors red and white, which are iconic for FC Bayern, played a central role. However, this project was less about artistic symbolism and more about everyday clothing that reflected identity and the spirit of the times.

How did the Babelsberg costume archive support you in these projects?

Mirjam Muschel: The archive is an indispensable resource for me. The authentic historical pieces available there are either originals or meticulously crafted reproductions, providing a perfect foundation. Many costumes, such as Münter’s painter’s smock or Kandinsky’s suits, were specially made for the film in Babelsberg. The archive team has extensive expertise in historical fashion and greatly assisted me in selecting fabrics and adapting them to the characters. Their close collaboration and understanding of my vision are crucial to my creative process.

What role does the costume archive play throughout the production?

Mirjam Muschel: Especially during the preparation phase, the archive serves as an enormous source of inspiration. The ability to see and touch historical fabrics and cuts gives me a clear idea of colors and shapes. The flexibility and variety offered by the archive contribute significantly to the authenticity and depth of the characters. The team there supports me not only professionally but also creatively, and our collaboration quickly becomes highly productive.

How do you see your role as a costume designer in film production?

Mirjam Muschel: I always say, “I design costumes to turn characters into real personalities.” As I read the script, the characters come to life in my mind, and I start dressing them. Then it’s all about the details: Which fabrics fit? How does an actor move in a particular shoe or suit? Often, it’s the small, barely noticeable details that ultimately define a character’s authenticity. I hope that costume design continues to receive the recognition it deserves and that audiences understand how vital it is to character development and a film’s atmosphere.