We caught up with the brilliant and insightful Lisa Lovaas a few weeks ago and have shared our conversation below.

Hi Lisa, thanks for joining us today. One of our favorite things to brainstorm about with friends who’ve built something entrepreneurial is what they would do differently if they were to start over today. Surely, there are things you’ve learned that would allow you to do it over faster, more efficiently. We’d love to hear how you would go about setting things up if you were starting over today, knowing everything that you already know.

I’ve been fortunate to have a long and successful career in the film industry. After school, I began as a fashion designer, and with the support and guidance of others, transitioned into costume design for film.

If I could go back, I would like to trust my instincts more and carry myself with greater confidence. Over time, I’ve learned how we often let insecurity get in our way—but we don’t have to. Believing in your voice and having the courage to step into new opportunities as they arise can change everything.

Lisa, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

I grew up in rural Malibu in the 1960’s, back when it was a town with a lot more horses than celebrities. In school we all learned to sew, and if I wanted something fashionable, I had to make it myself. Indian print bed covers became the fabric we used for everything from bikinis to halter dresses to palazzo pants. My babysitter, a wonderfully eccentric former film actress from the 1940’s, had a collection of studio costumes—including stunning bias-cut silk slips and dresses. Those amazing pieces became my dress up clothes. From early childhood, I knew clothing was my calling.

I followed my dream to work in fashion and become a designer. I was heading down that path—until an unexpected twist changed everything. After racking up way too many parking tickets, I ended up in court. I was assigned Public Service and was given the option to volunteer at the Odyssey Theatre in West Los Angeles. They happened to be starting a production of Mother Courage, and on my very first night, the actors first blocking rehearsal, the designer left me to take notes. Twenty actors came to me afterwards with notes to pass on about the sound they would like their shoes to make (louder), the size of the flower that could be on the hat (bigger), etc. I realized I was no longer in the fashion world—I was entering the world of costume and it was amazing.

I stayed in the theater world for 3 years. From theater, I transitioned into commercials, and eventually found my way into film. Traditionally you work as a costumer, then a set costumer, then a key costumer, before becoming a costume supervisor. With my theater experience I moved very quickly into being the supervisor. I’ve been working in film costume for 45 years, first as a costume supervisor and now as a costume designer, and have had the opportunity to contribute to nearly 100 films. It’s a career that’s allowed me the opportunity to travel to many places around the world, often working 12-16 hours a day. Long hours to be sure, but it’s been an incredibly rewarding journey.

Can you tell us about a time you’ve had to pivot?

A major pivot for me was one of the biggest lessons I learned—thanks to that unexpected detour through the court system—is that when you stay open to new experiences, life can surprise you in the best of ways. If I’d kept blinders on and focused only on fashion, I would have missed what has turned out to be the most fulfilling path for me.

I would never have considered a career outside of fashion back then. But discovering costume design opened up a whole new world for me. It embraces the artistry of fashion, but it adds depth: you’re designing for a character, for a story. There’s a purpose behind every garment, and that to me is even more interesting and creatively rewarding.

Another major pivot in my career was working with the amazing producer Ian Bryce (Saving Private Ryan, Transformers, The Mandalorian). He was the first producer who hired me to design a big feature film. I owe a debt of gratitude to him.

Kevin Costner also gave me a huge boost in my career when he hired me on the film series Horizon––four separate period films about life in post Civil War America. A project of this size and caliber is truly a once in a lifetime opportunity, and has been an exciting undertaking and a huge thrill every day.

What’s a lesson you had to unlearn and what’s the backstory?

For a long time, I used to say, “I can’t do public speaking,” or “I’m not good at it.” That mindset really limited me—not just in opportunities, but in the confidence I had in myself.

But over time, I realized that these chances to speak were being offered for a reason. So I made the decision to stop saying “I can’t” and start saying “I’ll try.” I’ve been practicing, showing up, and saying yes—even when it feels uncomfortable.

I’ve grown through those experiences, and while I didn’t start out as a natural speaker, I’ve become better, more comfortable, and, most importantly, no longer hold myself back.

Contact Info:

• Website: https://lisalovaas.com

Image Credits

Photo by Leslie Sungail, Cale Glendening and Lisa Lovaas