From Past Lives to Materialists: Katina Danabassis on Dressing Character

Meet Katina Danabassis, the Saskatchewan-bred costume designer whose work has quietly shaped A24’s most beloved cult hits.

In Materialists, a contemporary romantic comedy by Celine Song, clothing doesn’t speak aloud. It reveals, refracts, and, under the thoughtful eye of costume designer Katina Danabassis, quietly unpacks the psychology of its wearers. “It’s like acting,” Danabassis says over the phone from the set of Good Sex, Lena Dunham’s latest project set in New York and starring Natalie Portman and Mark Ruffalo. “What’s the motivation? Every choice has to be grounded in the reality of this story.”

With credits including Past Lives, Bodies Bodies Bodies, and the highly anticipated The Drama with Robert Pattinson and Zendaya, Katina has established herself as one of A24’s most radical collaborators. Originally from Saskatoon in Canada, she initially didn’t set out to become a costume designer. “I took a broad spectrum of classes in my first year at the University of Saskatchewan,” she says, “but I realized quickly that I needed to live a little before continuing school.” After taking time off to travel, she found her way to Simon Fraser University in Vancouver. “I studied anthropology and communications. It seemed practical, but also aligned with the things I was really interested in: culture, media, and how they shape each other.”

That background is deeply woven into the way she approaches costume. “I’ve always been fascinated by advertising and cinema and how these systems reflect who we are,” she says. “So it makes sense that now I work in this space where I can tell stories through what people wear.” Danabassis’ creative process always starts with the script. “That’s the roadmap,” she says. “It grounds every decision.”

In Materialists, which reunites her with Song, the costumes feel precise yet lived-in. Dakota Johnson’s Lucy, a high-end matchmaker navigating New York’s complex web of money and romance, wears a mix of mid-range designers, vintage finds, and subtle silhouettes. “She’s not head-to-toe luxury. She might splurge on a Proenza [Schouler] dress, but she’s also in a Zara blouse or Nordstrom button-up,” Danabassis explains. “Some people online said, ‘She could never afford those clothes on her salary,’ and I firmly disagree. I think those people just don’t know how to shop. Like, have you heard of eBay? Or The RealReal?”

Danabassis’ influences span from cinematic idols to strangers on the street. “There’s a guy I remember in Vancouver, at Main and Hastings,” she recalls. “He may or may not have been a drug addict, but the way he wore his clothes, I’ll never forget it. Sometimes it’s not even the outfit. It’s the way someone wears it. That confidence.”

Asked for her all-time favorite characters, she doesn’t hesitate. “Daniel Day-Lewis, especially in Gangs of New York. He’s so magnetic. And Margot Tenenbaum, dry, wry, sardonic. I even dressed up as her for Halloween,” she laughs. “I love that kind of darkness. Angelina Jolie in Girl, Interrupted, Wednesday Addams; it’s all in the same family.”

Lucy’s love interests in the Materialists were also meticulously drawn through dress. There’s Harry, portrayed by Pedro Pascal. The rich, fastidious suitor with a wardrobe of Elder Statesman cashmere, Brooks Brothers undershirts, Ralph Lauren Purple Label, and six-hundred-dollar Hermès boxers. “For someone like him, dressing well is a protective measure,” she says. “He’s hiring a matchmaker, someone to help him become the best version of himself. His clothing reflects that concern with perception.”

Then there’s John, played by Chris Evans, Lucy’s ex, the philosophical foil to Harry’s polish. “His clothes are an afterthought,” Danabassis says. “Even that communicates something. He doesn’t care, but that effortlessness is still a choice. He’s the guy who’s worn the same underwear for too long. He just doesn’t have the budget or the interest to be updating his wardrobe. There’s something sexy about that to me.”

Before the conception of the film, Danabassis met a real-life matchmaker. “She had a cyber-party girl aesthetic, and does millionaire match-making.” That encounter highlighted something key: there’s no single archetype. “You just find the version that fits the story.” Adding another layer of authenticity, Song herself had a stint in matchmaking, giving the team expert insight from day one.

Despite her growing résumé, Danabassis remains grounded about her success. “I don’t have a contract with A24,” she says. “But once you’re in that orbit and you build relationships with producers, your name just comes around. Hopefully it’s because you’ve done good work.”

Past Lives remains the project she’s most recognized for. “It’s a crowd-pleaser,” she admits. “But also incredibly relatable. We all have a past, a lost love. And the clothes were simple, wearable. That’s what people connect with, wardrobes they can imagine themselves in.”

Danabassis’ personal style echoes her design ethos: durable pieces with quiet intrigue. “I want higher quality now,” she says. “I have this one shirt, which I think is like an early Issey Miyake line. It’s simple at first glance, but the collar detaches, and the split sides, it’s those little unexpected details I love.”

As for what’s next, she smiles. “There are a few things cooking. Some quick jobs. And the fall’s wide open. We’ll see.” Wherever she goes, one thing is certain: Katina Danabassis will keep telling stories, not through loud logos or theatrical silhouettes, but through clothes that whisper, linger, and quietly change the way we see a character.