Today we’d like to introduce you to Laura Cristina Ortiz.
Laura Cristina, let’s start with your story. We’d love to hear how you got started and how the journey has been so far.
My childhood was fueled by imagination & creativity. Costuming has always been a big part of my life- Halloween was always a big to do in my family and my parents are classic cinema aficionados. I consistently played with my siblings & cousins various games of make believe (where we would, of course, dress up in theme) as well.
My family is very artistically inclined. Whether it is music, film, fine arts or writing, the common thread is storytelling. We’re all addicted to it, in some shape or form. Add the vivaciousness that comes with being Puerto Rican and our adventures always felt over the top and absolutely cinematic, even if we were just playing in the living room.
I was also bit by the film bug! The Costume Design by Trisha Biggar (in “Star Wars Episode I: The Phantom Menace”) and Colleen Atwood (in Tim Burton’s “Sleepy Hollow”) was mesmerizing for a kid like me. I adored films like “All About Eve” (Costume Design by Edith Head and Charles Le Maire) and “The Women” (Costume Design by Adrian Greenburg). My name sake is the film “Laura” (1944). Our family loves going to the movies and watching behind the scenes, so it was really fun to share my enthusiasm with this newfound passion.
I started sewing at 13 because I fell in love with Cosplay (costume + play, dressing up as a character and attending conventions/social gatherings). I’m a total geek- I grew up playing video games, watching Japanese anime, reading manga (Japanese graphic novels) and reading fantasy books. I did that for about six years as a beloved hobby before my husband Idan (then boyfriend) really encouraged me to pursue costuming professionally.
I attended my aunt’s alma mater the Fashion Institute of Technology in NYC. While a student, I was working part-time at the Disney Store, doing an internship with Broadway Costume Designer Martin Pakledinaz and volunteering on student film sets. Upon graduating FIT, Idan and I decided to move to Los Angeles together to both pursue our dream of working in the film business. That was in 2013.
When I moved to Los Angeles, my life was a whirlwind of networking and struggling to keep a roof over my head. Learned how to drive (listen, I’m from Queens), I worked at Disneyland as a Costumer and slowly picked up small costume gigs here or there. I was a Costume Production Assistant for a couple of years where I learned how big budget costume departments functioned. When I was finally awarded my first couple of projects as a designer, I was doing everything myself for the most part. Continuity, budget, shopping, ageing, dyeing, alterations, fittings- responsibilities that are usually assigned to multiple costumers. When I designed my first feature film “Are We Not Cats” (Directed by Xander Robin) that was probably the first time I had a team. That was very exciting though! I got to share my workload, haha! Nowadays, I usually don’t work without a team because the projects are more demanding with their creative needs so it’s a necessity.
Fast forward to 2020, now, and I’m Costume Designing a television pilot for Disney Channel. I’m a proud member of the Costume Designers Guild, IATSE Local 892, Represented at APA Agency and I live in my apartment with my husband and our dog, Gambit da incredible super pup. It’s been a wonderful adventure so far!
Has it been a smooth road?
I’ve certainly had my challenges. I was academically dismissed from my first college (prior to FIT) because I was battling depression and stopped going to class. When I moved to Los Angeles from NYC, I didn’t know how to navigate new friendships while also settling into an independent life with Idan. Working in freelance, there’s always a worry about when the next paycheck is going to come. Struggling with insecurity and imposter syndrome sometimes still haunts me.
Trying to make your mark in the entertainment industry is incredibly difficult emotionally and mentally (even physically, depending on your role). It demands nothing less than steel perseverance in order to survive. The constant grind can be a burden, the navigating of various personalities is draining and the uphill climb is especially taxing. You learn how to stand your ground with time while not losing the sense of what made you do this in the first place.
Without a doubt, I know the reason I’m able to do what I do and why I’ve gotten so far is because of the support of my family. Both blood and chosen- the family I have here in LA (my friends from different circles who are all inspiring and amazing humans) and mi familia back on the East Coast, constantly motivate me to keep on going. They’ve leant their hearts to me for strength in times when I was weak. Given pep talks after a rough day at work. Provide me with openings to go farther in my career because they believe in me. Called me out when I wasn’t thinking straight. That love is powerful.
We’d love to hear more about your work and what you are currently focused on. What else should we know?
As a Costume Designer, I visually create characters using fashion as my medium. That means my job is not to make someone fabulous just for the sake of being fabulous- I’m a storyteller first and foremost. Fashion is a tool for me to explore the narrative of the script. It’s an understanding of fashion and film history, art, color theory, anthropology, garment construction and properties of textiles. Even in a contemporary project, the choices a Costume Designer makes (in conjunction with the Director and Actor/Actress) are nuanced. It’s inspiring to read a design dissertation from a particular film or TV show to fully grasp the richness of the narrative.
As previously mentioned, I’m currently designing for a Disney pilot. The show is titled “Ultra/Violet & Blue Demon Jr.” and it’s about a 12 year old latina luchador inspired superhero! It’s been an honor to be a part of the creative team of this project- not only because of the story we are telling in front of the camera, but to work on a show with so many latinx filmmakers is truly incredible. Creatively collaborating with the other departments, in order to showcase different ways to represent our culture, has been inspiring. It’s been a fun, meaningful project and I hope the world gets to see it!
How do you think the industry will change over the next decade?
My hope is the film industry becomes more sustainable and ecofriendly. There is so much waste on film sets and so much fast fashion that is purchased- I’d really love to see a shift to be more aware of the impact.
I also want more inclusivity – we’ve made strides in representation in recent years but I want it to be the norm. Diversity in front AND behind the camera. There are a lot of younger people who don’t even consider working in the arts because they don’t see an avenue for themselves. We have to tangibly show, instead of getting on social media soapboxes, that there is space for queer, PoC, disabled, gender queer, etc. people. We gotta speak up and do better.
Finally, I want more community within the industry. I want people to share their knowledge instead of bitterly gatekeep. We are stronger together than infighting. My hope is that all of these things change for the better.
Contact Info:
- Website: www.lacrisort.com
- Phone: 347 563 7926
- Email: [email protected]
- Instagram: lacrisort
Image Credit:
Carissa Dorson, Idan Menin, Misc.
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