Senior cutting consultant p.o.v.

In the fall of 2021, I took Gerber courses AccuMark Core Training and 3D Training via Zoom. I was fortunate to have alongside me Cathleen, who facilitated the process, and the Gerber instructors who were endlessly patient.
I wanted to gain an understanding of the Gerber product and how digital patterning works for the Fashion Industry. I understand that Target, Walmart, Lululemon and Brazeau all use Gerber. It has been around for a long time, with updates, and older versions being supported.
 
With the volume production in the fashion industry, comes the distribution of the work process, so that different segments are taken on by different people, allowing focus on a particular function. One person doesn’t have to become proficient on the entire system. I found from the start that the layers of tables and charts to be filled out and the boxes to be ticked to be a steep climb- especially when you don’t discover the un-ticked box or chart until the end. Another challenge that became immediately apparent was the language used in the program- seemingly foreign to me. I got lost in the rules tables, naming protocols, point-drill, numeric vs alpha-numeric, model vs piece, grade rules, marker making, buffering, lay limits, annotations, blenders, avatars, and bundles.
Give me pantaloons, frock coats and Spensers any day.

All that being said- our test cutters did also try out a newer digital program- CLO, and have enjoyed working on it. The cost is more affordable for smaller companies, and unlike Gerber, it is possible to have a months’ subscription.
 
The advantages of the digital patterning capability are real. Storage of information and pattern work, long distance communication- i.e. designer consultations, sharing of files, the savings in time and resources just to begin. Large period film productions would benefit from having these capabilities for multiples, grading and outsourcing work. After conversations with our test cutters and coordinator, I can see the possible start of the integration of digital technology into active regional theatre costume shops. It may take patient persistence to put into practice, but those interested in pursuing this area may well find themselves in demand, and of valuable support to our senior cutters, stitchers, and shop managers, as well as seasoned costume crews on film.
I can see that there will some hiccups- cost of the programs, and computers, copyright discussions on pattern work, customizing avatars to work in the world of real bodies, to name but a few. But I am delighted to have been a part of this exploration into digital pattern work and 3D imaging.

​Elizabeth Sutherland
Senior Cutting Consultant

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