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Ask LaBricoleuse is a sporadic series addressing meta-topics pertaining to professional costuming in the entertainment industry. Sometimes the posts are spawned from actual emails or comments left by readers, and sometimes they come from conversations with coworkers and students or discussions in the communities to which this journal subscribes. Previous Ask LaBricoleuse topics:
Assembling a Portfolio
Finding Work as a Crafts Artisan
Preparing to Apply to an MFA Program
In this post, i'd like to address the subject of getting accepted to MFA programs in Costume Production. Many schools offer secondary degrees in costume design, or a composite of design and production, but some offer a specialized degree in costume production--the artistry and science of interpreting design renderings and constructing costumes. The program for which i work is just such a school, among the best programs in the field. My comments here apply specifically to production programs, though if you are interested in design, or both design and construction, they may be of related interest.
- = -
First i should note what this post is NOT about: it's not about finding the program you want. That's probably the most frequently-asked question I and my colleagues get from undergraduates: essentially, "Where should I apply?"
The trouble with this question is that it presumes that there is one standard by which all secondary programs are judged, a "one size fits all" rubric by which MFA programs either measure up or fall short. In point of fact, that simply isn't true. Someone who wants to concentrate in shop management will have different educational priorities from someone who wants to focus on historical draping techniques. Someone who wants to work in university theatre will need a different set of skills and experience than someone who wants to work at the top level of opera or ballet, who themselves will face different professional challenges than someone who wants to work in film and television costuming. Someone who wants a program that works hand-in-hand with a LORT theatre/Equity house will not be satisfied at a school that produces student productions with student designers and actors.
I can't give you a post with the "top ten schools" or my personal recommendations, where you should aspire to study, because that's up to you to evaluate your needs, to better define what you want in a graduate school. Undergraduates who ask me, "What are good schools for studying graduate level crafts artisanship?" or "Where should i apply if i want to focus in textile arts?" are the ones who have already begun doing their homework, as it were. The question is, what do you want to do with your career? Ask around and find out where professionals recommend you study for your area of interest. And if you don't yet know, get out and work--that will help you narrow it down.
If you find yourself wondering, "Who do i ask?" ...then that in and of itself is evidence that you probably need to work more in the field before applying to graduate school. Most candidates in the more competitive, highly-reputable production programs don't come straight out of undergrad. They've worked in the field as stitchers, crafts assistants, wardrobe masters, set costumers, assistant milliners. They've asked their colleagues, their managers and coworkers about MFA programs. This sort of work has not only given them good fodder for their portfolios, but also resources and connections, professionals in the field who can write them recommendation letters and talk with them about where they might want to pursue graduate study.
Another resource, that can serve as a complement to professionals' feedback, is the USITT Survey of Costume Programs. It lists all the schools in the US and a few abroad that have costuming-oriented degree programs, both undergraduate and graduate. Each school's entry has the types of degrees offered, areas of focus (i.e., design, tailoring, history, etc), faculty/staff, contact info, and links to the programs' websites. My only criticism is that the programs are listed by region and alphabetically by school, but no search function by which one might, say, look for every school listed that offers an MFA in Costume Technology, or a BA with a costuming focus, etc. Still, it can give you a good idea about what's available at various schools, who the faculty are, etc. Be aware though that the onus of maintaining current information is on the programs' directors, and thus not all information may be current--double-check with the websites of the programs that interest you!
And, supposing you think you know already which programs you want to consider, contact the directors and other instructors and staff of those programs. Ask them directly for advice on what sort of background you need to have or develop to be seriously considered as a prospective candidate. Where did currently-enrolled candidates work before coming to the program? What sort of experience did they have? How many apply each year, and how many get in? Do all this legwork before you apply. You don't want to waste your time and money applying to a program that is a poor fit for you, or you for it.
- = -
So, you've decided where you want to apply. You've checked out the websites of the programs, written to their directors and received your packets of information and sent in your applications and all that hoop-jumping rigamarole. You've gotten people to write glowing letters of recommendation and you've spent hours and days and weeks tweaking your portfolio. Is that all there is to do but wait, fingers crossed and ants in the pants until notifications are sent?
Well, wait a minute. I've already devoted a post to my thoughts on portfolios, but what about recommendations? I do have a brief bit to say on that subject as well.
This may seem like stating the obvious, but make absolutely certain that you ask people for recommendations who will write enthusiastic, wonderful, unreservedly great ones. Choose people who will write letters so positive that metaphorical rays of sunshine burst from the very flap of the envelope upon breaking its seal. Again, if you don't know three people in the field who can do such a thing, keep working until you do. Grad school ain't going nowhere; you have time to build up the references. If you are a good worker, diligent, reliable, creative, motivated, etc., it won't take too many freelance jobs to really click with people who should be glad to write you a recommendation. Don't choose someone with a connection to a program that is barely familiar with your work over someone unrelated to the school who can go into detail about your skills and work ethic and knowledge and disposition. Be absolutely sure they will write you a good rec, without any reservations expressed or implied. Nothing's more sad than seeing the words "adequate" or "sufficient" in a recommendation letter.
But okay, you've got glowing recs and a lovely recently-updated portfolio and a finely-honed statement of purpose and OMG if you don't get in you'll be crushed, or something.
There's one more thing that you should do and I cannot stress this enough: visit the school. Even if you already dropped by the campus before you applied, visit the school again, this time as a known prospective candidate. Plan a trip and check out the program in-depth. Meet the professors, talk to the other students, walk around the campus and the city. Present your portfolio and take questions on your work. Have questions of your own. Talk to the instructors when the students aren't around, and talk to the students when the professors aren't around. Sit in on several classes. If you are accepted, you are going to spend at least the next three years living in this city working with these people, spending long hours with them day-in and day-out. Ideally, plan your visit over two days, so you can observe as many classes as is feasible, both the MWF ones and the T-Th ones, and if there are any shows running, see if they can arrange a ticket for you to see the fruits of their labor.
Telephone interviews and electronic portfolios are a poor substitute for walking through the facility, having lunch with the current students and faculty, observing some classes, checking out the shop space and equipment and safety priorities and the like. Besides, it will be just as useful to you as it is to them. Are they too busy to have time for you? Do they seem interested in your work and your candidacy? Do they speak freely and answer your questions frankly? Do the people in the program seem to get along with one another? What's the atmosphere in the department? I can tell you from my own experience visiting graduate schools, one school left me to wander the facilities on my own and no one was available to answer my questions, while another assigned a student to show me around who talked nonstop about how dissatisfied she was with the program. A third program's assistant director showed me around himself, answered all of my questions and allowed me to sit in on his class and speak with his students. It was clear to me which school cared most about potential incoming students.
Note that in this post i am only speaking for myself, that i do not make admissions decisions for any graduate program nor do i speak on the official behalf of any program. I have worked for LORT theatres in residence at a number of graduate programs, and have myself worked for several of those programs, so i speak only from that collective observation.
And as always, if you have any questions, feel free to ask them in the comments or email me (via the contact section of my site, linked on the Profile for this blog)!
Assembling a Portfolio
Finding Work as a Crafts Artisan
Preparing to Apply to an MFA Program
In this post, i'd like to address the subject of getting accepted to MFA programs in Costume Production. Many schools offer secondary degrees in costume design, or a composite of design and production, but some offer a specialized degree in costume production--the artistry and science of interpreting design renderings and constructing costumes. The program for which i work is just such a school, among the best programs in the field. My comments here apply specifically to production programs, though if you are interested in design, or both design and construction, they may be of related interest.
First i should note what this post is NOT about: it's not about finding the program you want. That's probably the most frequently-asked question I and my colleagues get from undergraduates: essentially, "Where should I apply?"
The trouble with this question is that it presumes that there is one standard by which all secondary programs are judged, a "one size fits all" rubric by which MFA programs either measure up or fall short. In point of fact, that simply isn't true. Someone who wants to concentrate in shop management will have different educational priorities from someone who wants to focus on historical draping techniques. Someone who wants to work in university theatre will need a different set of skills and experience than someone who wants to work at the top level of opera or ballet, who themselves will face different professional challenges than someone who wants to work in film and television costuming. Someone who wants a program that works hand-in-hand with a LORT theatre/Equity house will not be satisfied at a school that produces student productions with student designers and actors.
I can't give you a post with the "top ten schools" or my personal recommendations, where you should aspire to study, because that's up to you to evaluate your needs, to better define what you want in a graduate school. Undergraduates who ask me, "What are good schools for studying graduate level crafts artisanship?" or "Where should i apply if i want to focus in textile arts?" are the ones who have already begun doing their homework, as it were. The question is, what do you want to do with your career? Ask around and find out where professionals recommend you study for your area of interest. And if you don't yet know, get out and work--that will help you narrow it down.
If you find yourself wondering, "Who do i ask?" ...then that in and of itself is evidence that you probably need to work more in the field before applying to graduate school. Most candidates in the more competitive, highly-reputable production programs don't come straight out of undergrad. They've worked in the field as stitchers, crafts assistants, wardrobe masters, set costumers, assistant milliners. They've asked their colleagues, their managers and coworkers about MFA programs. This sort of work has not only given them good fodder for their portfolios, but also resources and connections, professionals in the field who can write them recommendation letters and talk with them about where they might want to pursue graduate study.
Another resource, that can serve as a complement to professionals' feedback, is the USITT Survey of Costume Programs. It lists all the schools in the US and a few abroad that have costuming-oriented degree programs, both undergraduate and graduate. Each school's entry has the types of degrees offered, areas of focus (i.e., design, tailoring, history, etc), faculty/staff, contact info, and links to the programs' websites. My only criticism is that the programs are listed by region and alphabetically by school, but no search function by which one might, say, look for every school listed that offers an MFA in Costume Technology, or a BA with a costuming focus, etc. Still, it can give you a good idea about what's available at various schools, who the faculty are, etc. Be aware though that the onus of maintaining current information is on the programs' directors, and thus not all information may be current--double-check with the websites of the programs that interest you!
And, supposing you think you know already which programs you want to consider, contact the directors and other instructors and staff of those programs. Ask them directly for advice on what sort of background you need to have or develop to be seriously considered as a prospective candidate. Where did currently-enrolled candidates work before coming to the program? What sort of experience did they have? How many apply each year, and how many get in? Do all this legwork before you apply. You don't want to waste your time and money applying to a program that is a poor fit for you, or you for it.
So, you've decided where you want to apply. You've checked out the websites of the programs, written to their directors and received your packets of information and sent in your applications and all that hoop-jumping rigamarole. You've gotten people to write glowing letters of recommendation and you've spent hours and days and weeks tweaking your portfolio. Is that all there is to do but wait, fingers crossed and ants in the pants until notifications are sent?
Well, wait a minute. I've already devoted a post to my thoughts on portfolios, but what about recommendations? I do have a brief bit to say on that subject as well.
This may seem like stating the obvious, but make absolutely certain that you ask people for recommendations who will write enthusiastic, wonderful, unreservedly great ones. Choose people who will write letters so positive that metaphorical rays of sunshine burst from the very flap of the envelope upon breaking its seal. Again, if you don't know three people in the field who can do such a thing, keep working until you do. Grad school ain't going nowhere; you have time to build up the references. If you are a good worker, diligent, reliable, creative, motivated, etc., it won't take too many freelance jobs to really click with people who should be glad to write you a recommendation. Don't choose someone with a connection to a program that is barely familiar with your work over someone unrelated to the school who can go into detail about your skills and work ethic and knowledge and disposition. Be absolutely sure they will write you a good rec, without any reservations expressed or implied. Nothing's more sad than seeing the words "adequate" or "sufficient" in a recommendation letter.
But okay, you've got glowing recs and a lovely recently-updated portfolio and a finely-honed statement of purpose and OMG if you don't get in you'll be crushed, or something.
There's one more thing that you should do and I cannot stress this enough: visit the school. Even if you already dropped by the campus before you applied, visit the school again, this time as a known prospective candidate. Plan a trip and check out the program in-depth. Meet the professors, talk to the other students, walk around the campus and the city. Present your portfolio and take questions on your work. Have questions of your own. Talk to the instructors when the students aren't around, and talk to the students when the professors aren't around. Sit in on several classes. If you are accepted, you are going to spend at least the next three years living in this city working with these people, spending long hours with them day-in and day-out. Ideally, plan your visit over two days, so you can observe as many classes as is feasible, both the MWF ones and the T-Th ones, and if there are any shows running, see if they can arrange a ticket for you to see the fruits of their labor.
Telephone interviews and electronic portfolios are a poor substitute for walking through the facility, having lunch with the current students and faculty, observing some classes, checking out the shop space and equipment and safety priorities and the like. Besides, it will be just as useful to you as it is to them. Are they too busy to have time for you? Do they seem interested in your work and your candidacy? Do they speak freely and answer your questions frankly? Do the people in the program seem to get along with one another? What's the atmosphere in the department? I can tell you from my own experience visiting graduate schools, one school left me to wander the facilities on my own and no one was available to answer my questions, while another assigned a student to show me around who talked nonstop about how dissatisfied she was with the program. A third program's assistant director showed me around himself, answered all of my questions and allowed me to sit in on his class and speak with his students. It was clear to me which school cared most about potential incoming students.
Note that in this post i am only speaking for myself, that i do not make admissions decisions for any graduate program nor do i speak on the official behalf of any program. I have worked for LORT theatres in residence at a number of graduate programs, and have myself worked for several of those programs, so i speak only from that collective observation.
And as always, if you have any questions, feel free to ask them in the comments or email me (via the contact section of my site, linked on the Profile for this blog)!
