Devilish Costumes: An Interview With ‘Lucifer’ Costume Designer, Agata Maszkiewicz

Lucifer revolves around the story of Lucifer Morningstar (Tom Ellis), the DC Universe’s version of the Devil, who abandons Hell for Los Angeles where he runs his own nightclub named Lux and becomes a consultant to the Los Angeles Police Department.

I was honored with the opportunity to speak with the costume designer who designed the last few seasons of the show, Agata Maszkiewicz. In this interview, we talk about Agata’s early beginnings, dressing Lucifer Morningstar, the iconic wedding scene from the final season, and some favorite costumes from the show!

Spencer: Thank you so much for joining me. I’ve been looking forward to talking to you. I love Lucifer, and I loved your work on it.

Agata: Thank you. It’s nice to be here. I’m always surprised how many people love that show from all walks of life.

Spencer: These costumes are super fun. I could ask you about every single costume if we had the time. For every first-time interview, I love to turn back time a little and ask about your journey to becoming a costume designer, the overall story of Agata.

Agata: Sure! I grew up in Poland towards the end of the communist times. So, I hadn’t an idea that costume design was even a job.

I always loved clothes, but it just seemed so abstract. So I went to high school for arts. I studied graphics and one of my teachers said I might have to have to find a different career. “You’re not going to make an artist.” *laughs* But I did learn a lot of things that became quite handy later on. It was a broad program. There was painting, drawing, sculpture, and photography. It gave me a good background.

Credit: John P. Fleenor/Netflix Copyright: © 2021 Netflix, Inc.

In the meantime, my dad traveled a lot and ended up in New York for about four years and then moved to Los Angeles. He asked me, why don’t I study fashion in Los Angeles? I just thought… okay, you can do that? Turns out you can! I asked him to please send me the paperwork for FIDM (Fashion Institute of Design and Merchandising) in Los Angeles.

Spencer: Wait! You went to FIDM? 

Agata: Yeah!

Spencer: Oh, no way! I won’t include this in the article but I work with FIDM and also studied fashion design there. We are both alums!

Agata: Oh, no we have to talk about FIDM now!One of the things that FIDM does is their annual costume exhibits in the FIDM Museum. They showcase costumes from many films and television shows from throughout the year. For somebody who loves costumes, it’s just such a wonderful thing to see. Because you get to watch the movie, then you get to see it up close in real life.

It was a wonderful, learning process for me. I remember going to see costumes and thinking, “thats how they did it! ”. Sometimes you’re surprised because you think everything is done a certain way. You get to observe the costumes yourself and see that certain things read completely different in real life versus when they are on camera. So that was then a light bulb went off!

Credit: John P. Fleenor/Netflix Copyright: © 2021 Netflix, Inc.

I liked this so much better than fashion design. I finished the regular fashion program and then went into the FIDM Debut program where you get to do a fashion show in the end. But by the end of that, I was completely changed and knew I wanted to try costumes.

FIDM has a placement program, helping students get internships and my first one was on on How Stella Got Her Groove Back. So I met Ruth Carter, who is amazing. 

Spencer: Oh wow that’s amazing.

Agata: She was so kind and sweet and I was a kid, but she was so patient. She looked at my drawings and showed me how it’s done. Ruth was running, she was busy. But she gave me her time and I’ll never forget it. That was the kindest thing anyone had ever done for me in costume. I was hooked.

Spencer: Oh, I love this story so much. It’s funny, our stories almost run in same paths. I feel like so much of what I do now originated in the FIDM Museum. That museum sparked so much of that love for costume within me as it did for you.

Let’s fast forward now to Lucifer, today’s topic at hand. You took on Lucifer at a pivotal moment for the show as it was being taken over by Netflix. What was that experience like? Were you nervous? Were you excited? Those emotions must have been interesting?

Agata: I’d never done something like taking over a  show that was so thoroughly developed. But as you said, it was a moment when change was happening. Moving to Netflix, changed the show a little. There was a slightly different format. The seasons are shorter, and you sort of had more freedom. It felt. So I feel like I used that freedom! *laughs*

Spencer: You were creating looks for angelic and demonic characters. What sort of inspirations were you taking in? 

Agata: Yeah, they are sort of the celestial creatures. First thing, I looked at a lot of Medieval and Renaissance paintings. I feel we all have a collective idea of what an angel and demon is. That comes from a lot of paintings.

Credit: John P. Fleenor/Netflix Copyright: © 2021 Netflix, Inc.

I wanted a specific look, not just of vague idea. From there, I looked at a lot of different armor from very different eras. There’s some samurai influences, some ancient armor. I had to figure out how to marry that all together.

Spencer: I certainly saw those influences, yet I find it funny because this all takes place in modern-day Los Angeles.

Lets talk about some specific characters. We have to start by talking about the main character of the show. Lucifer Morningstar, played by Tom Ellis. He knows how to wear a suit and tuxedo. Walk me through the process of dressing your lead actor if you would?

Agata: Yeah! His suits were made by a suit maker in Los Angeles called Di Stefano. They made his suits in Italy so we had them ordered at the beginning of the season. They would get shipped to us, and we picked the fabrics. Then we had some made in Los Angeles if we had a shorter timeline. I tailored here. Then on special occasion, we made him some tuxedos. I don’t know who doesn’t love him in a nice tuxedo. 

Spencer: Right. He looks soooo good in a tuxedo.

Agata: Tom is so dreamy, and he’s the nicest person, very easy going. It was just such a pleasure. I loved it. Tom is usually game for anything. But Lucifer does have a look. Take the wedding for example, he wears this beautiful burgundy tuxedo jacket and that’s one we actually made. I was looking all over town around Christmas time. So I just kept thinking there had to be a perfect burgundy. I had such a hard time finding it. It had to have a certain weight. I finally went to this drapery fabric store… so Lucifer is basically wearing curtains and looking good doing it. 

Spencer: *laughs* Brilliant. Did you and Tom have a strong collaboration? Did he have input on the costumes?

Agata: Yes, definitely. It was always such a pleasure. It was more like coming over for a chat! There’s that fairly short scene where he wears a fully white tuxedo. It was so fun when he’s God towards the end of the sixth season. He is wearing white Birkenstocks, which was his idea actually.

Copyright: © 2021 Netflix, Inc.

Spencer: I love that, so much. I love a comfortable Birkenstock. 

Agata: If anybody looks closely, there’s Tom and his beautiful white tuxedo and white Birkenstocks. 

Spencer: One thing we talk a lot about at The Art of Costume is the idea of storytelling through costume design. Did you feel like the costumes helped evolve the characters throughout your three seasons? Was there a particular journey felt like you were trying to convey through costuming?

Agata: Yes. Different characters have different journeys. I feel like the character who had the most change was Maze (played by Lesley-Ann Brandt). She went from being a soul-less demon to being someone deeply in love. love dressing that character. There were a lot of fun costumes there. 

Spencer: So let’s talk about some favorite looks of mine, which really were worn by Maze since you brought her up. The first one came from the season five finale. This costume is so cool, but then there’s so much great costuming happening all around. 

Copyright: © 2021 Netflix, Inc.

Agata: Maze’s costume was made from scratch. She stood there for quite a long time. I feel it was a couple of hours and I was just painting the leather on her. She was very patient and she’s very committed to her costumes. That’s not always the case. This is basically leather spandex on her and then a wonderful seamstress in the Warner Brothers tailor room put it together. 

Courtesy of Agata Maszkiewicz

That was fun. This happened right when COVID was happening, we were supposed to shoot scene in February, but we ended up not doing it until September. There were originally way more people. We did fittings for weeks. Then it got scaled down quite a bit. 

But Maze started pretty much wearing black all the time. Then in small doses, we were adding color, mostly red, representing that fiery warrior. 

Spencer: For lack of a better word, it was pretty bad ass. Another episode I want to talk about, which also happens to be a Maze centered episode. I would love to talk about Maze and Eve’s wedding looks from episode seven of the final season. I’m obsessed. I couldn’t take my eyes off of it. That black gown that Mazes wears… sheesh!

Copyright: © 2021 Netflix, Inc.

Agata: When designing a wedding for a television show, it’s a completely different game. With wedding dresses, everybody knows you’re ordering months in advance and unfortunately, we didn’t have that much time.

But we were lucky. There’s this amazing designer, Gelerah, that Lesley-Ann and I were talking about for the wedding. We were throwing around some ideas and I was showing her some things. But we were just looking, and she’s like, “this is pretty great isn’t it?” My assistant reached out to them and they made the dress. We just added the arm pieces from Etsy, I believe somebody in Germany made them. It was the simplest thing, we just sent measurements and address. Perfect.

Courtesy of Agata Maszkiewicz

Spencer: Wow, it rarely works out that easily.

Agata: I got so lucky. Then when we were designing Eve’s dress, we wanted it to be the complete opposite to what Maze was going wear. 

Spencer: Right. It couldn’t be more different.

Agata: Yeah, there’s this beautiful Renaissance painting,  Spring by Botticelli. I remember sending it to Inbar Lavi and she’s like, “my God. Yes. I think that’s it.” So that’s what the dress is inspired by.

Sandro Botticelli (Florence 1445 -1510)

Spencer: I love that.

Agata: We bought a dress on Etsy and they sold us some extra fabric. So the bustier is from a dress from Etsy. Then we remade the skirt. It worked out well!

Spencer: Well, it came out looking like a dream. Quite the fairytale! I want to to talk about one more look. This look is a testament to the range and freedom you had. Let’s talk about Maze and this pink anime-inspired outfit. It was so startling to see Maze in pink! Walk me through the inspiration for this.

Agata: Well, that’s a funny moment because she gets called back on her wedding night to a emergency meeting. She runs over from whatever she was doing with Eve to the penthouse. So I was talking with Lesley-Ann and we were thinking about what would that be? You know, her wardrobe is pretty out there, she goes to Starbucks pretty much wearing chains.

Copyright: © 2021 Netflix, Inc. Courtesy of Agata Maszkiewicz

Spencer: *laughs* Right.

Agata: We had to think where to go from the dark, chains side of Maze for her wedding night outfit. I think it was also Lesley-Ann’s idea to go completely opposite. We got some fabrics, and we started putting it together. The belt is a necklace with a little cat necklace. This lovely tailor from Warner Brothers made the big tutu. It took hours to make, there were so many layers. There was so much pink! It cracks me up every time I see it. I kept a belt, by the way. I still have it.

Courtesy of Agata Maszkiewicz

Spencer: Of course. How could you have not? My last question, was there a particular episode or design you created overtime on the show that might be one of your favorites? I know that’s kind of a tricky question.

Agata: Actually yes. Season 5, Episode 4, “It Never Ends Well For The Chicken”… the Noir episode. It’s all in black and white. That was so much fun. It’s so much work, but so much fun. My assistant and I, we were just putting things together, then photographed things in black and white. It was so fun to see how everything looked and creating this 1940’s Los Angeles.

Spencer: Wow. You, really got to do a lot of fun, different things with these final seasons!

Agata: Oh, yeah. I feel like it wasn’t just me. It was everybody on the show. There were less episodes but more freedom. I don’t know who told the writers that they can do whatever they want, but they did. It was really fun and I do miss it. I miss that show. There are certain projects, certain characters… 

Copyright: © 2021 Netflix, Inc.

Spencer: Right. It was a special one. With that, what kind of exciting things might we see you working on in the future? 

Agata: I’m starting a project pretty soon actually. It’s called National Treasure.

Spencer: Oh no big, just a little something called National Treasure!

Agata: Yeah. I feel like this will be pretty fun!

Spencer: That’s amazing. I’m excited about that and I can’t wait to hear all about it. It’s a new chapter. New inspirations. New research. I’m excited for you.

Agata: Yeah, me too. We will see how we see how it goes. I like studying new things. Sometimes I just think, is this even really work? Because I really love what I do. Ooh, there’s going to be a whole new room full of stuff.

Spencer: Agata, thank you so much for talking with me. I’m so excited for you. I loved talking about Lucifer, and I hope to have you back soon!

Agata: That would be fun! Let’s do it.

The Finale Season of Lucifer is now available on Netflix!

The Academy Museum of Motion Pictures: A Costume Design Dream

At long last, The Academy Museum of Motion Pictures will open its doors to the public on Thursday, September 30, 2021. Located in Los Angeles, this exciting new museum is the largest in North America devoted to exploring films and film culture. This brilliant new museum also emphasizes the importance of costume design and costume designers’ essential roles in the film industry. I was honored by The Academy Museum with an invitation to tour the exhibitions before the public, and I’ll just say, it was worth the wait!

©Academy Museum Foundation

It felt like a dream walking through the halls of The Academy Museum, full of costume surprises around every corner. Though I walked in with an idea of what I would see, I constantly came across acquisitions that made the hair stand up on my arms.

We first moved into a large gallery containing a chronological walk-through of Academy Awards history from 1929 to the present, an overview of the origins of the Oscars and the Academy, memorable wins and infamous snubs, Oscars fashion, and wraparound screens showcasing significant acceptance speeches.

Academy Awards History gallery in Stories of Cinema, ©Academy Museum Foundation/Image by WHY Architecture

The moment I knew I was in for quite the magical evening was when I came across the infamous 1986 Bob Mackie ensemble Cher wore to present an award at the Oscars. I was standing in the presence of one of the most famous outfits to grace a red carpet! Me being a Cher super-fan, I felt like I could have passed out. Luckily for me, Assistant Curator J. Raúl Guzmán (and my brilliant guide for the evening) was there to catch my fall.

We then proceeded on to The Identity gallery. The Identity gallery was the museum’s shining North Star for those who love and respect costume design art. Within this gallery, there are more than forty costumes and costume design sketches on view representing a wide swath of film history from the last century, including Lady Sings The Blues (1972), The Wiz (1978), Frida (2002), Us (2019), and Rocketman (2019). In addition, there is a display highlighting a single costume designer, which opens with costumes designed by Mary Zophres. And yes, you will see The Dude’s bathrobe ensemble worn by Jeff Bridges in The Big Lebowski (1998).

There was one costume; however, I could not take my eyes off. Honestly, I never imagined myself stepping into the presence of the famous May Queen gown designed by Andrea Flesch worn by Florence Pugh in Midsommar (2019). Honestly, images don’t even do this gown justice, and I would say just seeing this gown is worth the price of admission.

The fun continued as we made our way through The Academy Museum and into The Encounters gallery, full of unique costume design. This gallery looks at the artistry that brings the worlds of sci-fi, fantasy, and horror to life, featuring original set pieces, costumes, and iconic characters, including C-3PO, E.T., and R2-D2. There were some showstopping costumes in this exhibit that I have always wanted to see, such as the iconic Edward Scissorhands costume by Colleen Atwood. Of course, no exhibit would be complete without the famed Dora Milaje armor worn by Okoye (Danai Gurira) in Black Panther by Academy Award-winning costume designer Ruth Carter.

©Academy Museum Foundation

One of the most magical moments within The Academy Museum took place in The Encounters gallery as I approached a costume that still sends chills down my spine. Why it was none other than one of the infamous gowns worn by Gary Oldman in Bram Stoker’s Dracula. What else is there to say? It was powerful and actually brought me to quiet tears. I was happy I snuck away from Assistant Curator J. Raúl Guzmán for a moment so that he couldn’t see me quietly having an emotional moment.

The Academy Museum of Motion Pictures dedicates quite a lot of space to the legendary costume designer, Eiko Ishioka. On my tour, I got to see Ishioka’s Oscar she won for her costume design work on Bram Stoker’s Dracula, the envelope and card to announce her well-deserved win, and even the Japanese poster for Francis Coppola’s 1979 film Apocalypse Now, designed by Eiko Ishioka.

Aside from all of the fantastic costumes I have shared with you, the seven-story, 300,000-square-foot museum will open with:

  • the 30,000-square-foot core exhibition Stories of Cinema, offering celebratory, critical, and personal perspectives on the disciplines and impact of moviemaking, past, and present
  • the temporary exhibition Hayao Miyazaki, the first museum retrospective in North America of the work of the acclaimed filmmaker and Studio Ghibli
  • The Path to Cinema: Highlights from the Richard Balzer Collection, with selections from the world’s foremost holdings of pre-cinematic optical toys and devices
  • Backdrop: An Invisible Art, a double-height installation that presents the painting of Mount Rushmore used in North by Northwest (USA, 1959)
  • And The Oscars® Experience presented in the East West Bank Gallery, an immersive simulation that lets visitors imaginatively step onto the stage of the Dolby Theatre to accept an Academy Award®.

I cannot recommend this experience enough. I could have spent all day in this museum. Actually, I kind of did spend all day, and I still don’t think I saw everything I wanted to. This museum recognizes the importance of costume designers and gives proper credit to the incredible designers around the world, past and present, for their imperative contributions to film. Tickets are available now, so please head to the website for The Academy Museum and reserve your spot today!

Reserve Your Tickets Today at AcademyMuseum.Org

Ruth E. Carter: Afrofuturism in Costume Design

Ruth E. Carter: Afrofuturism in Costume Design at SCAD FASH Museum of Fashion + Film – Images Courtesy of SCAD FASH MUSEUM OF FASHION + FILM

The date is February 25th, 2021, and what a historic day it is! It’s officially Ruth E. Carter day in Hollywood! Today, Ruth E. Carter will become the first Black costume designer to receive a star on The Hollywood Walk of Fame, only the second costume designer to be honored with a star following Edith Head, who was honored in 1960 at the origin of this iconic landscape.

“A career spanning more than three decades in theater, cinema, and television, Carter’s depth of artistry flowing together with her creative instincts, passion for culture and history, empathy for people, enormous capacity for research, eye for detail, and ability to deliver the director’s vision while infusing her art makes her one of the most sought after and renowned costume designers in the world”

Hollywood Walk of Fame

Though the ceremony was virtual, it was still a fabulous event featuring iconic guest speakers and previous collaborators of Ruth’s, Oprah Winfrey, and Eddie Murphy. We even got to see the making of Ruth’s star! I honestly can’t think of anyone more deserving of this incredible honor. Ruth E. Carter is an icon, a mentor, and most of all, a trailblazer who serves as an inspiration not only to costume designers but all creatives hoping to build a life around their creative passions. I feel like I am speaking for everyone when I say Ruth is simply just, the greatest of all time.

“She opened a lot of doors for us. I’ve seen more people requesting Black designers this year — due to her win, but also partially due to the social climate. Even me being considered [for awards] right now is due to her winning and laying this groundwork.”

Costume designer, Charlese Antoinette Jones –

“People ask me how did I get RUTH CARTER to be my first guest on my Instagram Live show…. I tell them, I just asked! Without hesitation, Ruth said, “I’m in, let’s do this!” To me, that is Ruth. Authentic, real, and giving to the core. I am so honored to call this star my peer, and more importantly my friend.”

Costume Designer & Host of CONVOS WITH COSTUME DESIGNERS, Mandi Line

While this is all so exciting, the celebration doesn’t stop there! If you thought securing a spot on the historic, Hollywood Walk of Fame, or winning an Oscar was enough, you are so wrong! I am excited to share with you all an exciting exhibition that you can all safely visit in Atlanta, Georgia. This Winter, The Savannah College of Art and Design’s SCAD FASH Museum of Fashion + Film opened the monumental exhibition Ruth E. Carter: Afrofuturism in Costume Design

Black Panther – Images Courtesy of SCAD FASH MUSEUM OF FASHION + FILM

Within this exhibition, you will be in the presence of costumes from generation-defining films such as Selma, Do the Right Thing, and Black Panther. Nearly four decades of Ruth’s work is currently on display! In addition to Carter’s costumes for stars such as Oprah Winfrey and Denzel Washington, “the exhibition also features garments worn by luminaries” such as Angela Bassett, Eddie Murphy, Lupita Nyong’o, Rosie Perez, Forest Whitaker, and of course, the late Chadwick Boseman, “demonstrating the varied work her career brings to the screen.”

“The award-winning museum will showcase more than 60 costumes by Carter, as well as sketches and ephemera illustrating the designer’s in-depth historical research and creative process for each project. Carter is an expert storyteller who harnesses the power of visual communication to share vital narratives exploring culture, race, and politics.

SCAD FASH Museum of Fashion + Film
Malcom X – Images Courtesy of SCAD FASH MUSEUM OF FASHION + FILM

The Ruth E. Carter: Afrofuturism in Costume Design is so expertly curated. Honestly, when I first saw the exhibition,  I felt as though my heart stopped for a second. The pure excellence, vibrancy, and emotional power of Ruth’s work, in combination with the beautiful displays of SCAD FASH Museum of Fashion + Film, is overwhelming in all of the right ways.

“The exhibition was created in that spirit of love of self and it serves to empower anyone with an inner creative with a passion to nurture their own voice, like I did, and are determined to share their story through their art. I want to inspire a new generation, who are already expressing the need to project a profound personal connection of diversity in storytelling and to do it authentically in a way that connects with their creative self. I want to encourage them to trust their voice and embody their Afrofuture no matter who they are or where they come from.”

Ruth E. Carter
Roots – Images Courtesy of SCAD FASH MUSEUM OF FASHION + FILM

Ruth E. Carter: Afrofuturism in Costume Design is co-curated by Rafael Gomes, director of fashion exhibitions, and Christina Frank, assistant director of fashion exhibitions, in collaboration with guest curator Julia Long. The exhibition is open now until Sept. 12, 2021. For ticketing and more information on the exhibition and SCAD FASH, please visit 

On behalf of The Art of Costume Team, I would like to congratulate Ruth once again on these incredible achievements and I look forward to many more years of your groundbreaking, innovative work. All hail the queen!

“When I was working on the many Spike Lee films, I got the nickname ‘Ruthless’ by fellow crew members who would say, ‘Hey Ruthless!’ I knew it was because I worked so hard behind the scenes, designing the many looks, gathering materials, and getting hundreds of actors in costume, connecting actor to character through fashion. I’m grateful for this opportunity to collaborate with SCAD FASH in bringing my collection together to share my career experience with everyone.”


Ruth E. Carter: Afrofuturism in Costume Design is open until Sept. 12, 2021

For ticketing and more information on SCAD FASH, please visit 

Works Cited:

Howard, Nandi. “Ruth E. Carter Will Become The First Black Costume Designer To Receive Star On The Hollywood Walk Of Fame.” Essence, Essence, 22 Feb. 2021,

“Ruth E. Carter.” Hollywood Walk of Fame, 24 Feb. 2021,

“’Ruth E. Carter: Afrofuturism in Costume Design’.” SCAD FASH Museum of Fashion + Film, 25 Nov. 2020,

Tangcay, Jazz. “Ruth E. Carter Makes History With a Star on the Hollywood Walk of Fame.” Variety, Variety, 24 Feb. 2021,