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For costume designer Qiuyi Li, storytelling doesn’t begin with words — it starts with observation. As an immigrant student from China now completing her graduate studies, Qiuyi has built a design philosophy rooted in empathy and quiet curiosity. Her journey into costume design was sparked by a fascination with everyday people — their gestures, their emotions, and the hidden stories they carry.
From recreating 1980s China on a shoestring budget for a student film to navigating the challenges of an often-overlooked profession, Qiuyi’s path has been one of dedication and resilience. Now on the cusp of entering the professional world, she’s determined to champion the power of costume design as a vital storytelling tool — one that brings characters to life and helps audiences connect in unexpected ways.
In this edition of NEW TALENTS We sat down with Qiuyi to learn more about her creative process, her inspirations, and her hopes for the future.
我是一个比较内向的人，所以我总是习惯安静地观察别人，喜欢留意他们的举止、表情，以及隐藏在日常细节下的故事。我对普通人的好奇和对他们平淡生活里的酸甜苦辣的迷恋，让我对戏剧影视服装设计充满热情。 进入这个行业后，我发现服装设计不仅仅是塑造外形，更是一种讲故事的方式。它让我得以深入挖掘每个角色的内心世界，通过服装将他们的经历、性格和情感具象化，让他们的故事真正“活”在观众眼前。 八年前，我并没有清晰的职业规划，只是单纯地喜欢看电影，喜欢观察角色的生活如何映照或偏离我自己的经历。电影和戏剧不断拓宽我的视野，而服装设计则让我能够将这些不同的视角传递给观众。每一个项目，都是一次探索不同人群情感和联系的旅程，而我乐于成为其中的一部分。
I am a relatively introverted person, so I’ve always been accustomed to quietly observing others, paying close attention to their gestures, expressions, and the stories hidden beneath everyday details. My curiosity about ordinary people and my fascination with the joys and struggles in their seemingly simple lives have fueled my passion for costume design in theatre and film.
After entering this industry, I realized that costume design is not just about shaping appearances — it’s a form of storytelling. It allows me to delve deeply into each character’s inner world, using costumes to visualize their experiences, personalities, and emotions, bringing their stories to life for the audience.
Eight years ago, I didn’t have a clear career plan; I simply enjoyed watching movies and observing how characters’ lives reflected — or diverged from — my own experiences. Films and theatre continually broadened my perspective, and costume design became my way of sharing those diverse viewpoints with others. Every project is a journey of exploring different emotions and connections between people, and I’m grateful to be a part of that process.
我曾参与制作一部以 20 世纪 80 年代中国 为背景的学生短片，当时的预算非常有限。学生电影通常资金紧张，许多剧组会削减服装和美术设计的成本，但我始终认为，无论预算多少，服装设计都是完整电影制作过程中不可或缺的一环。
在拍摄过程中，我和团队不断地寻找符合时代感的道具和服装，走遍复古市场、朋友家、路边摊，甚至敲开陌生人的门，只为找到最真实的物件。
这段经历不仅让我学到了宝贵的采购和研究技巧，更让我对那个时代的历史背景有了更深入的理解。 尽管制作过程充满挑战，但在有限的资源下拼凑出一个真实可信的世界，成为了我最大的快乐。
I once participated in the production of a student short film set in 1980s China, where the budget was extremely limited. Student films are often tight on funds, and many crews choose to cut costs on costume and production design. However, I have always believed that no matter the budget, costume design is an essential part of creating a complete film.
During the shoot, my team and I tirelessly searched for props and costumes that reflected the era. We scoured vintage markets, visited friends’ homes, explored roadside stalls, and even knocked on strangers’ doors — all in pursuit of the most authentic items. This experience not only taught me valuable sourcing and research skills but also gave me a deeper understanding of the historical background of that period.
Despite the many challenges during production, piecing together a believable and immersive world with limited resources became my greatest joy.
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戏剧影视服装设计依然是戏剧和电影行业中收入较低的职业之一，部分原因在于大多数观众并不了解幕后制作的复杂性和高压环境。因此，我希望能有更多平台和机会，让观众看到幕后制作的魅力，理解服装设计在塑造角色和叙事中的重要性，以及复杂繁琐的工作流。
只有当更多人真正了解这个行业，才能带来更多的尊重与支持。 这可以通过采访设计师、报道作品中的服装设计、展示制作过程等方式，让幕后工作者的努力被更多人看见和认可。
Costume design for theatre and film remains one of the lower-paying professions in the industry, partly because most audiences are unaware of the complexity and high-pressure nature of behind-the-scenes work. For this reason, I hope there will be more platforms and opportunities to showcase the magic of production design, helping audiences understand the vital role costume design plays in shaping characters and storytelling, as well as the intricate and demanding workflow behind it.
Only when more people truly understand this industry can it gain the respect and support it deserves. This can be achieved through interviews with designers, coverage of costume design in productions, and behind-the-scenes insights that highlight the hard work and dedication of those working behind the curtain.
我希望观众能够从我的作品中多多少少找到一些共鸣，这样的共鸣不拘泥于任何形式，可以是某一段过往经历，可以是一种熟悉的感觉，可以是某个擦肩而过的陌生人，可以是脑海里的某种声音。这是我一直在努力的目标，设计也是一种沟通的语言，既然我不擅长语言交流，我希望可以用自己的设计语言来表达意义，表达我对不同人群的理解和感受，表达人与人之间的联系。
I hope that audiences can find some sense of connection in my work — a connection that isn’t confined to any specific form. It could be a past experience, a familiar feeling, a fleeting encounter with a stranger, or even a voice in their mind. This has always been my goal: to use design as a language of communication. Since I’m not particularly skilled at verbal expression, I strive to convey meaning through my design — expressing my understanding of different people, my feelings about human connections, and the invisible ties that link us all.
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