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labricoleuseI'm really excited about the new interview component of the blog, and the broadening scope it brings to the content here. I'm hoping to use the interviews to focus on professionals in costume production and related fields (like millinery!), and hopefully to bring visibility and insight into the range of careers and types of employers out there. And, i think it'll be a great way to expand the voice of ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
labricoleuse to include other perspectives--this blog serves as a fairly comprehensive document of my own opinions and methods, and the interviews will be one means by which I can widen that focus.
Today's interview subject is Kyle Schillinger, who works as a cutter/draper at the Clarence Brown Theatre, a LORT-D regional theatre in residence on the campus of the University of Tennessee at Knoxville. In addition to his work as a production staff member at the CBT, Kyle is also an accomplished freelance costume designer. Kyle and I first met one summer several years ago when we were both hired as crafts artisans at the Utah Shakespearean Festival. We've stayed in touch, and Kyle has even done some overhire work for PlayMakers shows (such as the two pairs of houndstooth trousers for the Duke in Big River. and when I decided to pursue this interview series, he immediately came to mind as a possible participant.
Q. For a bit of background, would you describe the shop at Clarence Brown Theatre--how many employees, what different positions there entail, etc?
A. The Clarence Brown Theatre’s Costume Shop is staffed with a Shop Supervisor, a full time Cutter/Draper (me), and two full time staff Stitchers – one of which doubles as the Wardrobe Supervisor. We don’t have a First Hand, but one of my Stitchers is a great cutter and helps out a lot on large shows that have a good lead-time. Melissa Caldwell-Weddig, our shop manager, spends much of the day in meetings and communicating with us and the rest of the CBT organization – she also helps me by ordering supplies that I request, coordinating fittings and making sure that our facilities and equipment are in proper condition. Together, she and I are responsible for shop workflow and making sure that each show successfully fulfills the design within the budget and timeframe.
Q. What are your responsibilities as lead draper?
A. Much of my day is spent in pattern drafting/draping, cutting, and fittings. I also spend a good deal of time talking with the designer to get into their head – I try to ask the minimum of questions during our first meeting so I don’t overload myself or limit myself with information – I ask more questions as I’m draping and during fittings. I have shifted into doing more flat drafting than draping on a form – for some reason we’ve been doing much more tailoring at the CBT lately. Then I’m in charge of cutting mock-ups, or talking my Stitcher/First Hand Amber through how I want them cut – she does quite a bit of mock-up cutting so I can keep patterning – it really helps.
Communicating with my Stitchers is a huge part of my job. If you are unable to express to others how to put a garment together than you’ll have a very hard time as a draper. I try to plan a construction method as I pattern and notch things to help me remember. Often, my Stitchers will help me figure out the method or come up with a far better way of doing something. Remember, listening is part of communicating!
Fittings are one of the most enjoyable parts of my job. I love working with the actors and designers to really achieve the costume.
We’ve started something new this year to help us all communicate more effectively in the CBT Costume Shop. On Monday mornings at 9:30 we’ve started to hold a shop meeting – Melissa lets us know what’s going on on her end, I talk through the work of the week and then we open the floor to questions. It has helped us all really think through the week and set goals.
Q. You have also worked for a number of well-known regional Shakespeare festivals--Utah, Great River, Alabama. Could you talk a bit about the similarities and differences between working for a Shakespeare festival and working for a regional theatre like the CBT?
A. Every theatre has its own way of working and set of constraints but, generally, most Costume Shops are pretty much the same; it is the people that make each place an intriguing and different place to work.
Utah Shakespeare Festival [Cedar City, UT] is a great place to work – it is run very smoothly, they have it down to a science. The best thing about Utah is that there are 6 main stage shows that open within two weeks and almost each has a different team (Draper, First Hand, and several Stitchers) building it. You get to meet so many different people and have a chance to learn from each other. Also, there is some beautiful scenery in Southern Utah.
Great River Shakespeare Festival [Winona, MN] is only 8 years old, so they are still growing and coming up with their own process, though its is still beautifully run. It is much smaller in scale than Utah, especially in the Costume Shop. There is always at least one Draper, one First Hand, and one Senior Stitcher. The rest of the staff are interns, usually still in Undergrad. Very often this is their first summer stock and they are there to learn. It is a wonderfully small place to work with a real family atmosphere and an amazing community that loves the festival.
Alabama Shakespeare Festival [Montgomery, AL] is very different. It is not a summer festival, but a year round regional theatre. They have marvelous facilities and do some beautiful work. It was a great place to work right out of undergrad because I got full health insurance! I haven’t been back since 2005, though I was in talks to come in to drape when I got out of Grad School, but was snapped up by the CBT instead.
I think that the work and the process of what we do in the Costume Shop is the same at every place I’ve ever worked. You may have to follow some different theatre specific rules or protocol, but it is the people that make it different.
Q. How long have you been working in the costume field, and how did you get your start?
A. I’ve been working in costumes for eleven years. I started out like many technicians and designers – as an actor. In undergrad, at Truman State University, we were not able to specialize; we had to do everything. The costume professor, Joan Mather, was directing the first production of my freshman year. I was cast, and encouraged to come down to the basement Costume Shop to help. I stated as a volunteer and moved up from there. Joan helped me get my first job at Utah Shakes and I’ve never been without a job since.
Q. The CBT is in residence at the University of Tennessee-Knoxville, where they offer an MFA program in costume design. As lead draper, how do you interface with those graduate students?
I love working with our students here at the University of Tennessee, both graduate and undergraduate. I’m not a faculty member, and don’t teach classes, but all of us in the Costume Shop teach in practicum how a professional shop works and how designers work with a professional staff. Our design students work in the shop as well and I work with Melissa to give them assignments that are going to challenge them and keep them interested. At present we have a grad student, Miwa Ishi, who is interested in draping. We’re prepping a big production of Tartuffe and I’ve given her a full character to pattern and taught her my tailor drafting system. When I am working with a student designer I try to ask them very pointed questions to help them consider what a Draper needs to know from a designer and what they need to plan for. I help them with fabric choices and yardage estimation. Then in fittings I try to explain what I am doing as I work so they know where to look and how to communicate more effectively when they are out in the real world as a working designer.
Q. What is your educational background in the areas of costume design and production?
A. I have a BA in Theatre Arts from Truman State University. We weren’t allowed to specialize so I acted, I built and designed sets, I focused lights and took every class offered in costuming – Tech and Design. I even created classes so I could do more period draping.
My MFA is from the University of Arizona and is in Costume Design. The U of A has a design program and a tech program, but the designers take almost all of the tech classes and the tech students take a few design classes. I took all the tech classed that I could and created a few for myself as well.
Q. What advice would you give to readers who aspire to a career in costume design and/or production?
A. First, I would tell both designers and technicians that they should act at least once, stage fright or not. We work so closely with actors and even one time on stage, in front of an audience, will tell you so much about what an actor needs from us. It is invaluable.
Second, I would advise designers to get as much technical experience as they can. There are two schools of thought here – one says that designers should know tech, the other says that designers should stay away from tech. I agree with the former. A designer that knows tech will have a better understanding of the properties of fabric and the workings of a shop, better fitting skills and a greater ability to communicate with the technicians working on their production. I’m not saying that designers need to be a pro in all areas, but some general knowledge and experience will help greatly. Also – many designers are finding jobs where there is no technical support – you have to be your own shop. If you can do for yourself you may be much more marketable as a designer.
Third, take a public speaking class. Designers have to give presentations frequently and the confidence that a public speaking class can give you will really show. For technicians, it can help you to organize your ideas more effectively before you have to share them.
Lastly, don’t try to rush your career forward. Be aware that you’re going to have to start at the bottom, but with hard work you will move up eventually. Set goals and don’t be afraid to ask the people around you for help and advice.
Q. You also are a working costume designer and freelance draper for other theatres. What are some of your tips for balancing those responsibilities with your CBT-staff workload?
A. That can get a bit tricky and overwhelming at times! The CBT is my full time job, meaning I have to work at least 40 hours a week. Everyone at the CBT knows, however, that I am interested in moving forward in my career so they are very willing to work with me when it comes to outside projects.
Most of the design work I’ve done recently has been at the CBT, so I do the design part in the evenings or weekends and the draping part during the day. I’ve been doing some outside tech work as well which I try to keep to the weekends and evenings. I love what I do, so I don’t mind the hours.
The economy is in a tough place right now for freelancers. Most theatres are hiring locally or designers that they have worked with before. It is hard to get your foot in the door, but you just need to keep looking forward! I’m very lucky to have my job at the CBT!
Q. Can you talk about some of the projects you have worked on recently?
A. This past summer I returned to Utah Shakespeare Festival to drape Romeo and Juliet, designed by Bill Black, who is a professor here at UT and one of my favorite designers to work with. It was a beautifully simple production, with Italian Renaissance silhouettes but with a modern edge. We used zipper tape as cording on doublets!
At present, I’m designing a production of Moonlight and Magnolias, directed by Kate Buckley, here at the Clarence Brown Theatre. We go into tech this week and I can’t wait to see the show in full costume and light! It is hysterical! I built a replica of a dress from Gone with the Wind as a prop, and we’ve been having fun with Scarlett O’Hara in the shop.
I’m also draping a large production of Tartuffe, designed by Marianne Custer. It is set in period (17th century) and we are building almost the entire production. I love building period garments and this is one I’ve not really had the chance to do. Tomorrow I get to finish patterning a Mantua and then get to move on to building a fat pad.
We never really have down time at the CBT. I’ll be starting to drape Christmas Carol after a small 25th Annual Putnam County Spelling Bee, then on to Fuddy Meers, Black Pearl Sings, then rounding things out with Kiss Me Kate! I may be designing a show away in spring, but nothing has been finalized.
I am so lucky to do what I do. I never really know what to expect from day to day – and that is exciting and what keeps me coming back for more!
Replica of Scarlett O'Hara picnic dress, draped by Kyle Schellinger
And, that concludes the interview, thanks Kyle!
One thing of note in the way Kyle talks about his work: in the basic language that he uses, he talks about his job as a series of opportunities, rather than a series of obligations. "I get to do this," instead of "i have to do this." This is fairly universal--when you go to a national conference and talk to your peers, when you see as many portfolio presentations as I do, that kind of outlook and attitude is present with every truly successful person I meet in this field.
I hope you are enjoying the new interview component to the blog. I've got a couple more in the works!
labricoleuse to include other perspectives--this blog serves as a fairly comprehensive document of my own opinions and methods, and the interviews will be one means by which I can widen that focus. Today's interview subject is Kyle Schillinger, who works as a cutter/draper at the Clarence Brown Theatre, a LORT-D regional theatre in residence on the campus of the University of Tennessee at Knoxville. In addition to his work as a production staff member at the CBT, Kyle is also an accomplished freelance costume designer. Kyle and I first met one summer several years ago when we were both hired as crafts artisans at the Utah Shakespearean Festival. We've stayed in touch, and Kyle has even done some overhire work for PlayMakers shows (such as the two pairs of houndstooth trousers for the Duke in Big River. and when I decided to pursue this interview series, he immediately came to mind as a possible participant.
Q. For a bit of background, would you describe the shop at Clarence Brown Theatre--how many employees, what different positions there entail, etc?
A. The Clarence Brown Theatre’s Costume Shop is staffed with a Shop Supervisor, a full time Cutter/Draper (me), and two full time staff Stitchers – one of which doubles as the Wardrobe Supervisor. We don’t have a First Hand, but one of my Stitchers is a great cutter and helps out a lot on large shows that have a good lead-time. Melissa Caldwell-Weddig, our shop manager, spends much of the day in meetings and communicating with us and the rest of the CBT organization – she also helps me by ordering supplies that I request, coordinating fittings and making sure that our facilities and equipment are in proper condition. Together, she and I are responsible for shop workflow and making sure that each show successfully fulfills the design within the budget and timeframe.
Q. What are your responsibilities as lead draper?
A. Much of my day is spent in pattern drafting/draping, cutting, and fittings. I also spend a good deal of time talking with the designer to get into their head – I try to ask the minimum of questions during our first meeting so I don’t overload myself or limit myself with information – I ask more questions as I’m draping and during fittings. I have shifted into doing more flat drafting than draping on a form – for some reason we’ve been doing much more tailoring at the CBT lately. Then I’m in charge of cutting mock-ups, or talking my Stitcher/First Hand Amber through how I want them cut – she does quite a bit of mock-up cutting so I can keep patterning – it really helps.
Communicating with my Stitchers is a huge part of my job. If you are unable to express to others how to put a garment together than you’ll have a very hard time as a draper. I try to plan a construction method as I pattern and notch things to help me remember. Often, my Stitchers will help me figure out the method or come up with a far better way of doing something. Remember, listening is part of communicating!
Fittings are one of the most enjoyable parts of my job. I love working with the actors and designers to really achieve the costume.
We’ve started something new this year to help us all communicate more effectively in the CBT Costume Shop. On Monday mornings at 9:30 we’ve started to hold a shop meeting – Melissa lets us know what’s going on on her end, I talk through the work of the week and then we open the floor to questions. It has helped us all really think through the week and set goals.
Q. You have also worked for a number of well-known regional Shakespeare festivals--Utah, Great River, Alabama. Could you talk a bit about the similarities and differences between working for a Shakespeare festival and working for a regional theatre like the CBT?
A. Every theatre has its own way of working and set of constraints but, generally, most Costume Shops are pretty much the same; it is the people that make each place an intriguing and different place to work.
Utah Shakespeare Festival [Cedar City, UT] is a great place to work – it is run very smoothly, they have it down to a science. The best thing about Utah is that there are 6 main stage shows that open within two weeks and almost each has a different team (Draper, First Hand, and several Stitchers) building it. You get to meet so many different people and have a chance to learn from each other. Also, there is some beautiful scenery in Southern Utah.
Great River Shakespeare Festival [Winona, MN] is only 8 years old, so they are still growing and coming up with their own process, though its is still beautifully run. It is much smaller in scale than Utah, especially in the Costume Shop. There is always at least one Draper, one First Hand, and one Senior Stitcher. The rest of the staff are interns, usually still in Undergrad. Very often this is their first summer stock and they are there to learn. It is a wonderfully small place to work with a real family atmosphere and an amazing community that loves the festival.
Alabama Shakespeare Festival [Montgomery, AL] is very different. It is not a summer festival, but a year round regional theatre. They have marvelous facilities and do some beautiful work. It was a great place to work right out of undergrad because I got full health insurance! I haven’t been back since 2005, though I was in talks to come in to drape when I got out of Grad School, but was snapped up by the CBT instead.
I think that the work and the process of what we do in the Costume Shop is the same at every place I’ve ever worked. You may have to follow some different theatre specific rules or protocol, but it is the people that make it different.
Q. How long have you been working in the costume field, and how did you get your start?
A. I’ve been working in costumes for eleven years. I started out like many technicians and designers – as an actor. In undergrad, at Truman State University, we were not able to specialize; we had to do everything. The costume professor, Joan Mather, was directing the first production of my freshman year. I was cast, and encouraged to come down to the basement Costume Shop to help. I stated as a volunteer and moved up from there. Joan helped me get my first job at Utah Shakes and I’ve never been without a job since.
Q. The CBT is in residence at the University of Tennessee-Knoxville, where they offer an MFA program in costume design. As lead draper, how do you interface with those graduate students?
I love working with our students here at the University of Tennessee, both graduate and undergraduate. I’m not a faculty member, and don’t teach classes, but all of us in the Costume Shop teach in practicum how a professional shop works and how designers work with a professional staff. Our design students work in the shop as well and I work with Melissa to give them assignments that are going to challenge them and keep them interested. At present we have a grad student, Miwa Ishi, who is interested in draping. We’re prepping a big production of Tartuffe and I’ve given her a full character to pattern and taught her my tailor drafting system. When I am working with a student designer I try to ask them very pointed questions to help them consider what a Draper needs to know from a designer and what they need to plan for. I help them with fabric choices and yardage estimation. Then in fittings I try to explain what I am doing as I work so they know where to look and how to communicate more effectively when they are out in the real world as a working designer.
Q. What is your educational background in the areas of costume design and production?
A. I have a BA in Theatre Arts from Truman State University. We weren’t allowed to specialize so I acted, I built and designed sets, I focused lights and took every class offered in costuming – Tech and Design. I even created classes so I could do more period draping.
My MFA is from the University of Arizona and is in Costume Design. The U of A has a design program and a tech program, but the designers take almost all of the tech classes and the tech students take a few design classes. I took all the tech classed that I could and created a few for myself as well.
Q. What advice would you give to readers who aspire to a career in costume design and/or production?
A. First, I would tell both designers and technicians that they should act at least once, stage fright or not. We work so closely with actors and even one time on stage, in front of an audience, will tell you so much about what an actor needs from us. It is invaluable.
Second, I would advise designers to get as much technical experience as they can. There are two schools of thought here – one says that designers should know tech, the other says that designers should stay away from tech. I agree with the former. A designer that knows tech will have a better understanding of the properties of fabric and the workings of a shop, better fitting skills and a greater ability to communicate with the technicians working on their production. I’m not saying that designers need to be a pro in all areas, but some general knowledge and experience will help greatly. Also – many designers are finding jobs where there is no technical support – you have to be your own shop. If you can do for yourself you may be much more marketable as a designer.
Third, take a public speaking class. Designers have to give presentations frequently and the confidence that a public speaking class can give you will really show. For technicians, it can help you to organize your ideas more effectively before you have to share them.
Lastly, don’t try to rush your career forward. Be aware that you’re going to have to start at the bottom, but with hard work you will move up eventually. Set goals and don’t be afraid to ask the people around you for help and advice.
Q. You also are a working costume designer and freelance draper for other theatres. What are some of your tips for balancing those responsibilities with your CBT-staff workload?
A. That can get a bit tricky and overwhelming at times! The CBT is my full time job, meaning I have to work at least 40 hours a week. Everyone at the CBT knows, however, that I am interested in moving forward in my career so they are very willing to work with me when it comes to outside projects.
Most of the design work I’ve done recently has been at the CBT, so I do the design part in the evenings or weekends and the draping part during the day. I’ve been doing some outside tech work as well which I try to keep to the weekends and evenings. I love what I do, so I don’t mind the hours.
The economy is in a tough place right now for freelancers. Most theatres are hiring locally or designers that they have worked with before. It is hard to get your foot in the door, but you just need to keep looking forward! I’m very lucky to have my job at the CBT!
Q. Can you talk about some of the projects you have worked on recently?
A. This past summer I returned to Utah Shakespeare Festival to drape Romeo and Juliet, designed by Bill Black, who is a professor here at UT and one of my favorite designers to work with. It was a beautifully simple production, with Italian Renaissance silhouettes but with a modern edge. We used zipper tape as cording on doublets!
At present, I’m designing a production of Moonlight and Magnolias, directed by Kate Buckley, here at the Clarence Brown Theatre. We go into tech this week and I can’t wait to see the show in full costume and light! It is hysterical! I built a replica of a dress from Gone with the Wind as a prop, and we’ve been having fun with Scarlett O’Hara in the shop.
I’m also draping a large production of Tartuffe, designed by Marianne Custer. It is set in period (17th century) and we are building almost the entire production. I love building period garments and this is one I’ve not really had the chance to do. Tomorrow I get to finish patterning a Mantua and then get to move on to building a fat pad.
We never really have down time at the CBT. I’ll be starting to drape Christmas Carol after a small 25th Annual Putnam County Spelling Bee, then on to Fuddy Meers, Black Pearl Sings, then rounding things out with Kiss Me Kate! I may be designing a show away in spring, but nothing has been finalized.
I am so lucky to do what I do. I never really know what to expect from day to day – and that is exciting and what keeps me coming back for more!
Replica of Scarlett O'Hara picnic dress, draped by Kyle Schellinger
And, that concludes the interview, thanks Kyle!
One thing of note in the way Kyle talks about his work: in the basic language that he uses, he talks about his job as a series of opportunities, rather than a series of obligations. "I get to do this," instead of "i have to do this." This is fairly universal--when you go to a national conference and talk to your peers, when you see as many portfolio presentations as I do, that kind of outlook and attitude is present with every truly successful person I meet in this field.
I hope you are enjoying the new interview component to the blog. I've got a couple more in the works!
