It’s showtime! In this insightful interview, acclaimed costume designer Kathleen Felix-Hager takes us behind the scenes of Hacks, sharing how she crafted the iconic costumes for Jean Smart’s Deborah Vance, often under tight deadlines and last-minute changes. Kathleen reveals the creative synergy between costume, hair, and makeup departments that elevated Deborah’s high-fashion moments, showcasing the meticulous artistry that has become a hallmark of the series. As a special treat, Kathleen also reflects on her time designing for the iconic Veep, offering a nostalgic glimpse into the creation of Selina Meyer’s timeless costumes.
Spencer Williams: I am so happy to welcome my friend, costume designer Kathleen Felix-Hager. Hey, how are you?
Kathleen Felix-Hager: I’m good. Hi, Spencer. You’re a big podcaster now, so I’m very flattered to be here.
Spencer Williams: Well, it’s funny that you mentioned that because the last time we officially talked was for Hacks Season 2. That was before you were nominated for an Emmy for that season, which you won. Now that you’re nominated once again for Hacks Season 3, how does it feel looking back on this Hacks journey?
Kathleen Felix-Hager: Gosh, it feels incredible. The Emmy thing is just the icing on the cake. The job itself has been so much fun. It’s a little surreal to me, the whole Emmy situation, you know? But I’m very honored, and we’re excited about it. People love it. I think it’s just that people relate to it. It appeals to all people, every age group, so it’s beloved. I’m super happy that people love it so much.
Spencer Williams: It’s such a fun show. Speaking of Season 3, let’s get into Hacks and this third season. In the first season, when we meet Deborah, it feels like she’s at the climax of her career in Vegas. In season 2, Deborah and Ava hit the road, which is a lot of fun. Now, Deborah is at a new height in her career with this potential talk show. Everyone wants to get close to Deborah, and she’s looking glamorous these days. So, how did this evolution influence your approach as a costume designer in this third season?
Kathleen Felix-Hager: There has been an evolution. We established Deborah and her Vegas residency in the first season, so we saw what that was like. In Season 2, they were on the road, so she was stripped down. In Season 3, she’s going after what she wants with this late-night talk show opportunity, so she’s dressing the part. She’s playing the game and pushing hard for the win. It was super fun to dress her. While we didn’t necessarily see stage looks in Season 3, we did see a more structured silhouette that she adopted—still with her Deborah Vance flair. I just love her costumes so much. They’re a part of the character, and working with Jean has been a dream.
Spencer Williams: In the first season, she was always glamorous, but it felt almost like she had a uniform because she was doing the same shows night after night. In Season 3, it’s like, “Oh wait, people are looking at me all the time now,” not just on stage but in her daily life. So that transition is there—she knows there are always eyes on her, and it’s not the same drunks showing up to her Vegas show every night.
Kathleen Felix-Hager: Deborah Vance knows her audience and uses her wardrobe to communicate what she wants from a situation. That’s been a consistent thread throughout all three seasons. Her costumes are vital to interacting with the world and the people around her.
Spencer Williams: Absolutely. Jean Smart has done such an incredible job bringing Deborah Vance to life. We all love Deborah so much that we almost wish she were real! With Jean’s role encompassing both hilarious and serious moments, capturing her character’s evolution is crucial. Could you share a bit about your collaboration with Jean Smart and how you’ve worked together through these three seasons?
Kathleen Felix-Hager: Working with Jean has been amazing. We hit the ground running in 2020 when the show began production in the middle of the COVID bubble. That situation pushed us to become very close and collaborative very quickly. I had worked with Jean before on Veep, so we already had a rapport. When we were creating Deborah, we wanted her to be unique, not a derivative of anyone we’d seen before, and crucially, she needed to feel like a real person, not a caricature. Jean has her preferences—she loves sparkle, for instance—which we incorporated into her costumes. Mixing patterns and bold color combinations that she might not have chosen for herself made her feel like Deborah Vance and helped her embody the character.
Spencer Williams: The real Jean Smart definitely seems to have a bit of Deborah Vance. She has to relate to some of the character’s traits!
Kathleen Felix-Hager: Oh, she enjoys shiny, sparkly things!
Spencer Williams: Shifting gears to Ava, played by Hannah Einbinder—who is Deborah’s writing partner. Ava is such a relatable character; this season, she feels like she’s growing up a bit. She’s still not as polished as Deborah, but there’s a sense of maturation. How did you and your team approach Ava’s evolution this season?
Kathleen Felix-Hager: You’ve captured it perfectly. Ava’s in her twenties and still figuring things out, reflected in her evolving style. In Season 3, she’s taken a step up, professionally and personally. As she works more closely with Deborah and gains her street cred through her writing, her wardrobe reflects that growth. We balanced her youthful, casual side with a more polished, professional look, and I think we might see an even more refined Ava in season four.
Spencer Williams: It’s like we’re catching her mid-transition, emerging from a phase of self-discovery.
Kathleen Felix-Hager: Exactly. Both Ava and Deborah feel like real people to me. They’re complex, flawed individuals at different life stages, and their costumes reflect their ongoing journeys.
Spencer Williams: That’s one of the reasons contemporary costume design is so fascinating—it’s all about the subtle storytelling. Your work is exemplary. There’s so much storytelling through the costumes, and it’s clear in scenes like the one with Deborah’s “closet,” which feels like a museum of her past. Can you talk about how you and your team contributed to this set?
Kathleen Felix-Hager: The closet scene was a huge collaborative effort between production design, set design, and the costume department. We envisioned it as an enormous warehouse or airplane hangar filled with Deborah’s collected clothes. Some pieces were pulled specifically for set dressing, while others, displayed on mannequins, were actual costumes Deborah wore on the show. For example, there was a pink dress on a mannequin that young Deborah wore for a failed pilot. We included these little Easter eggs and nods to her past, making it a fun and meaningful set to participate in.
Spencer Williams: I had so much fun looking at every piece in Deborah’s closet. I was really hoping to spot the lesbian cruise outfit, but I guess that’s more of a personal wish! The scene was such a blast.
Kathleen Felix-Hager: Oh, the lesbian cruise outfit is actually right downstairs. It’s a piece we cherish.
Spencer Williams: Keep it close and safe! There should definitely be a real Deborah Vance museum someday—ideally never, because that means the show is still going strong! Let’s talk about the hilarious yellow Bill Blass dress that brings Deborah and Ava back together. Ava describes it as a “fugly ass” dress, giving off big bird vibes. I was laughing so hard at this scene. How did you land on this particular look?
Kathleen Felix-Hager: It is indeed a Bill Blass dress, even more embellished than the original design. It did have horsehair in the skirt, which we added to enhance the drama. The script initially called it “The Ugly Dress,” I believe the episode was even titled that at one point. It’s always exciting when a costume can drive the story, but also a bit nerve-wracking because it has to hit the right comedic note. The dress had to be convincingly ugly enough for people to lie about, yet something Deborah might have once thought was chic. When I found it on The RealReal, it was the first one we tried on Jean, and it fit perfectly. We all loved it—it even flattered her, which helped the story make sense.
Spencer Williams: It’s funny because, despite being described as ugly, the dress looked great on her. I would’ve probably told her it looked fantastic too!
Kathleen Felix-Hager: It really did look great on her, and the scene where she does her runway walk was so fun. It set a playful tone for the season, showing that Deborah is confident and embracing her style.
Spencer Williams: Absolutely. Another memorable moment was Ava caddying for Deborah on the golf course. The contrast between Deborah’s country club chic and Ava’s more casual look was hilarious. How did you and your team approach this scene?
Kathleen Felix-Hager: We had a lot of discussions about what Deborah would wear on the golf course—color and patterns were key. For Ava’s caddy outfit, we used an actual caddy vest but turned it around for a more comedic effect. Hannah, who plays Ava, looked unexpectedly chic in the navy outfit. We added a visor and reversed the vest to enhance the humor. Sometimes, these things come together organically on set and add to the comedy.
Spencer Williams: It was such a great touch and added to the storytelling. I also wanted to mention how much I’ve enjoyed Kayla and Jimmy this season. They’ve become one of my favorite duos—so funny and complementary. Did you and your team have any specific rules for their costumes?
Kathleen Felix-Hager: It’s interesting that you mentioned that. There weren’t any strict rules, but it might just have been happy accidents that their outfits complemented each other. Kayla, played by Megan Stalter, is a joy to dress—she’s so fun and game for anything. Paul W. Downs, who plays Jimmy, always looks great too. Their dynamic and costumes just naturally work well together.
Spencer Williams: Watching them play pickleball was a highlight for me. They’re fantastic together. Lastly, I want to ask about Deborah’s black-and-white editorial look. It was so high fashion, and I’m obsessed with the black gloves. What was the concept behind this look?
Kathleen Felix-Hager: I’m glad you liked it! This look was all about embracing high fashion. We wanted Deborah to look striking and sophisticated, and the black gloves added a dramatic touch. The concept was to showcase Deborah’s fashion prowess in a high-end, editorial style that still felt true to her character. Creating this look and seeing it come to life was a lot of fun.
That dress was a whirlwind! I had this vision of an architectural shape for it. With the schedule changing at the last minute, I had only two days to pull it together. The fitting happened on set during lunch the day before. Despite the rush, I absolutely loved the shape of that dress. It was beautiful, fun, and Jean loved it too. It was the first dress we tried on her, and it worked perfectly. We even made the gloves ourselves. The collaboration with the hair and makeup teams was crucial; we wanted everything to be cohesive. The look was chic and high fashion, and it was one of those moments where all departments really came together to make Jean look stunning.
Spencer Williams: I’m glad you mentioned the makeup because it highlighted the collaboration between the departments. Everything worked together so effortlessly, and Jean looked incredible.
Kathleen Felix-Hager: She looked fantastic and felt great on set. It was such a fun and rewarding experience to see it all come together.
Spencer Williams: Kathleen, this show has been amazing, and I selfishly hope it never ends. What has Hacks meant to you personally and professionally as a costume designer?
Kathleen Felix-Hager: Hacks has been incredibly meaningful. Being involved from the first season, I feel deeply connected to the creative process. I’m really proud of what we’ve created with the writers, actors, and production team. Working with such talented people has pushed me to elevate my craft. It’s been a joy to work on a show that’s not only fun but also well-received by the audience. I’m grateful to be part of the Hacks family and to have had the chance to contribute to something that brings so much joy.
Spencer Williams: That’s wonderful to hear. I’m grateful for your work on the show, and I think many viewers share that sentiment. It’s always a joy to watch. Since we have a few more minutes, can I ask you about Veep?
Kathleen Felix-Hager: Oh my gosh, please!
Spencer Williams: As a die-hard Veep fan, I must bring up the recent surge in viewership—a 350% increase! Reflecting on your work on Veep, what was it like working with Julia Louis-Dreyfus on the Selina Meyer character?
Kathleen Felix-Hager: Working on Veep was absolute heaven. Julia was incredible, and we had so much fun. It was another opportunity to work with a strong female voice, which I loved. Selina Meyer was such a complex character—flawed and ambitious, breaking barriers. We decided there were no rules regarding her wardrobe, so I avoided traditional suits and jackets. Instead, we went for dresses and pencil skirts, creating a specific silhouette that felt timeless. We aimed to avoid trendy elements and instead crafted a unique Veep style bubble that, in a way, has become a reality now. Julia’s portrayal and the wardrobe made the character memorable and iconic.
Spencer Williams: It’s fascinating to hear about the creative choices behind Selina Meyer’s wardrobe. Thanks for sharing these insights, Kathleen! Do you ever see any pieces in real life that you’re like, “Oh, that’s very Selena?”
Kathleen Felix-Hager: All the time, especially right after we wrapped. Julia would text me saying, “Oh my God, this dress is so Selina!” and I’d have similar moments. Even now, when I’m out shopping, I’ll spot something and think, “That’s so Selina Meyer.” She’s still around in spirit.
Spencer Williams: We definitely miss her. I have to shout out two of my favorite Veep costumes before we wrap up. One was from the early episodes of your first season when Selina and her daughter Catherine, played by Sarah Sutherland, show up in the same red dress. The other was toward the end of the series, with Selina in that blue dress with the flared sleeves. Both were fantastic, showcasing comedy through costumes.
Kathleen Felix-Hager: Oh, those were great moments! Seeing Catherine and Selina in the same dress was such a fun touch. And yes, we had to make that sweater for Sarah Sutherland, who played Catherine. I was just reminiscing about those days—I saw a few actors from Veep recently, and it really made me nostalgic.
Spencer Williams: Also, Jean Smart’s appearance as Gary’s mom toward the end was a fun surprise.
Kathleen Felix-Hager: That’s where I first met Jean! It’s a completely different character for her, but she really brought it to life.
Spencer Williams: Absolutely, it’s a great way to get more of Jean Smart in your life. Kathleen, this has been such a joy. Thank you so much for speaking with us, and congratulations on the nomination. I can’t wait to see what’s next!
Kathleen Felix-Hager: Thank you! I’m excited too. And I hope to see you around.
