Q: As self-taught designers, how did you get into designing costumes for theatre?

Saxit: Back in 1999, we formed our label in Bangkok. We have friends and people in the theatre industry who know that we have knowledge of fashion and costumes as well as an understanding of theatre itself. These two aspects combined made it easy for us to get into costume designing for theatre.

Q: What is the most important thing you've learned from so many years of costume designing?

Saxit: You have to learn to work together as a team. In the theatre business, you are a part of a universe, you are a part of something that is going to create something special. You have to learn to work with everyone—from the director and scriptwriter to the actors, actresses, and photographers. You need to understand their points of view, demands, needs, and weaknesses, and then try to compensate as a designer to make everything visually cohesive.

Phisit: The most important thing for me is understanding that every actor and actress has their own unique character. We need to know what their figure looks like and how to best highlight their silhouette. Some features should be emphasised, while others can be downplayed.

Q: Where do you get your inspiration from?

Saxit: We draw a lot of inspiration from different cultures. When we travel, we observe how people dress—their clothing, textures, techniques, and colors. We pay attention to how everything comes together to create a unique style.

Q: Do you have any mottos that you live by?

Saxit: We are anything but minimalists! More is more.

Q: What are the challenges of working on overseas projects like this one?

Saxit: The measurements are always a challenge. With different people taking measurements, we get different numbers. Usually, we like to have a picture of the person along with their height and weight, so even if we get the wrong measurements, we can look at the photograph to estimate the correct fit.

Phisit: For me, the biggest challenge is the shoes. Almost every actor and actress struggle with them. For example, on the set of Bawang Putih Bawang Merah, the stage was very slippery, and the shoes we brought didn’t grip well, making it even more difficult for the performers.

Saxit: Sometimes, we aim for beauty, but just looking good isn’t enough for the stage. It has to be a balance—50-50. The costumes need to look great, but they also need to function well for the performers.

Q: Any advice for someone who would like to become a costume designer or join the industry?

Saxit: I’m actually a part-time lecturer in theatre and costume design in a university in Thailand. I always tell my students that this field offers a wide range of opportunities. From theatre to television, film, concerts, celebrity styling, and even advertising—there’s so much work you can explore. You just have to be open-minded and willing to give it a try.