We always hear stories of how someone made the jump to being an actor or director in Hollywood, but legendary Hollywood costumer Harold Crawford's story is written a bit differently.
Crawford graduated from Compton High in 1968 and enrolled in the Los Angeles Fashion Institute of Design and Merchandising, where he was one of three men in the 26-person class. At first, he wanted to be a fashion buyer. The mother of a girl he was dating at the time was an actor, and she told him to apply at Paramount Studios to be a costumer through the minority labor program. The rest is history.
Crawford has worked on more than 100 movies and TV shows in his 50-year career. He has worked at major Hollywood studios like 20th Century Fox Studios, Paramount Studios, Warner Bros Studios and Universal Studios, where he would stay for seven years as a costumer.
Yet, he moved to Cleveland with his wife so that she could be closer to her family. Then, he started to break into Cleveland’s theater scene, which he calls “the best decision that I have ever made, because coming to Cleveland, I got to reinvent myself, I got to reinvent myself as a costumer.”
Crawford is set to receive a star on the Palm Springs Walk of Stars. He is also continuing his work as costumer, helping the next generation with the Harold Crawford Legacy Foundation.
Cleveland Magazine spoke with Crawford about his career as a costumer in Hollywood and his time in Cleveland’s theater scene.
(Courtesy Harold Crawford Legacy Foundation)
Cleveland Magazine: How did programs like the minority labor program, NAACP and Affirmative Action influence your career path?
Harold Crawford: The idea was to get faces of color behind the camera. They created an apprenticeship program. I qualified. I ended up passing a succession of tests and exams. I was accepted. I was hired by the minority labor program for one year as an apprentice to work for a major studio at 19 years old. My first was at 20th Century Fox as an apprentice in the wardrobe department. I don’t know if you can imagine a young man of color at 19, graduated from Compton High, graduating from going to a fashionist to finish that program. Standing there not knowing anybody and walking into that world, I wasn't readily accepted. None of us were in 1970. So I stepped into this world as a costumer, and I remember the head of the wardrobe department who looked at me. He said, “So, you're here for this apprenticeship program to be a costumer?” I said, “Yeah.” So, in three months, I learned how to pin shirts. I picked up tags on the floor. And they stuck me in this. I was learning how to size, put clothes together. I never pinned so many. I walked away. My fingers were bloody because I didn't know how to pin it. So I had to learn.
My next assignment was Paramount Studios. They had, at that time, the Mod Squad introduce me. They took me around, and they just showed me things. Then, they didn't take that much of an interest in me, a young black man. They did what they were supposed to do. That was the idea, obviously, just do this, this and this. And no one really paid that much attention to me. When I finished those three months, I ended up at Warner Bros. Now, there are certain people in this industry that I consider mentors. I have high regard because they mentored me. This particular wardrobe, Jack Delaney, when I came in, he said, “You're here to be a costumer, so I'm going to show you I'm to being what it takes to be a costumer.” And I worked on my first movie. It was called the Skin Game. I was the first face of color. They taught me how to be a costumer.
My next and final assignment was Universal Studios. I walked up to a young man and I said, “Hey, I'm looking for the wardrobe department.” His name was Larry Harmell. Later on, he became the head of the wardrobe department of Universal Studios. But when we started out as costumers, that person that took me under his wing and mentored me and several other young black men.
(Courtesy Harold Crawford)
Sign Up to Receive the Cleveland Magazine Daily Newsletter Six Days a Week
CM: You were Robert Guillaume’s personal dresser during his historic run in The Phantom of the Opera. What was it like supporting such a trailblazing performance?
HC: Bobby came off stage and met me. We hugged and shook hands, and we were standing at the craft service table, getting coffee and standing next to each other. We were both drinking and smiling without realizing that we were. I think we saw what was happening because when we walked into his dressing room, we put down the coffee cups, and we hugged each other and we laughed because we were making history. Robert Guillaume had beat out every singer, anybody that could sing in Hollywood. When Michael Crawford made the announcement that he wanted Robert Guillaume, it was like a shock wave through Hollywood. And he beat 'em all. The first African-American, my man, to be the phantom of The Phantom of the Opera. And to this day, there has never been another.
(Courtesy Harold Crawford)
CM: What brought you to Cleveland, and how did you get into theater after doing film and TV for your whole career?
HC: [My wife] had been flying back and forth [to Cleveland] visiting with her son and grandkids. When she came back one day, she was on the phone talking to her son. She had just got back. I wasn't paying her much attention. So when she finished her conversation, I said, “Honey, would you like to move to Cleveland to be near your kids?” She didn't think I was serious. She said, “Well, what about work?” I said I can work anywhere. And so we moved here. I ended up doing Everybody Hates Chris. So I was back. I would always work six months in L.A. and six months at home.
Terrence Spivey — he's one of the senior directors [at Karamu House]. He discovered me. He got in contact with me. We hooked up, sat, and talked for about four hours about all the movies and what it was like with this and that. That was pretty much it, but there was a young man who was going to create costumes, and he passed away tragically. So Terrence called me, and he said, “Hey, Harold, I really would like it. Would you be willing to cut the camera and work on a play with me?” I was ecstatic. So I ended up doing my first real sedated play for Karamu [House]: Permanent Collections.
And from there, it was love. I was in love. I'm doing theater. I've done The Wiz for them. I've done Trip Girls, God's Trombone. I've done a lot of major plays. I was with Karamu for four seasons, but I was flying back and forth, also doing movies in Los Angeles. And then I come back home to Cleveland, and I do some theater.
READ MORE: Trans-Siberian Orchestra's Longtime Drummer Talks 25 Years of Cleveland Shows: Q&A
CM: Looking back on your career, is there a particular project or moment you’re most proud of?
HC: I’ve enjoyed each and every project that I've ever worked on. When I get asked that question, I have to say “now,” because I love them all. I mean, geez, to do King with Cicely Tyson and Paul Winfield and create that vision? I look at these movies and I think to myself, “What was my mindset?” I mean, what was I thinking? I was immersed. I was living, breathing and eating my work. I worked on a movie with James Spader and Josh Brolin. It was Slow Burn. I worked on that movie, and the idea was they had to wear one outfit throughout the whole movie. And based on the script and the description, I think that's the exciting thing as a costumer, when you can match the description that has been described in the script.
(Courtesy Harold Crawford)
CM: What’s next for you in Cleveland theater or beyond? Are there any upcoming projects you’re excited about?
HC: I'm getting ready to work on a movie with children, kids and teenagers as a costumer. The costumer that's going to be doing this movie, she's my protege. I taught her. She worked with me for 20 years as my apprentice in theater and film. So now, I'm her assistant. She's my legacy. And I have a few other people that I taught to be costumers.
For more updates about Cleveland, sign up for our Cleveland Magazine Daily newsletter, delivered to your inbox six times a week.
Cleveland Magazine is also available in print, publishing 12 times a year with immersive features, helpful guides and beautiful photography and design.
