Letters from our Colleagues:
Michelle Carr, Costume Supervisor
My role is that of Costume Supervisor for film and television. I am very interested in what we can learn from this research initiative. For too long, costume departments seem to have been left behind, while other disciplines and crafts have made great advances embracing new technologies. Think only of the camera department. There is an industry wide expectation that all the latest innovations be implemented; using out of date camera equipment and technologies certainly won't produce top quality content. This should be no different for costumes. Innovations that can enhance our craft, create efficiency and cost saving measures, need to be explored. Now, more than ever, any technology that would aid in limiting human to human contact-for example numerous fittings and alterations- is worth examining. The implementation of technology is long overdue in the costuming world and I fully support any development in aid of it.
Carol Case, Costume Designer
I work as a costume designer in film and television. I am very interested in this research as I believe it could help streamline the work in the costume shop and introduce efficiencies that would be beneficial to all of us in the costuming world . A technology that limits how much direct interaction required with performers will be extremely useful at this time and I love the idea of talking with cutters over a 3D model rather than in a fitting with an actor. It seems to me there are many possible benefits from this research across a wide swath of costuming.
Patricia Livingstone, Designer, Stitcher, Dresser
Costume design, stitcher and dresser. This technology is the future of both theatre and film productions. The ability to design patterns digitally allows for meaningful discussion to happen during the design process. It allows for easier archival storage which means that remounting a show several years later is cheaper as patterns do not need to be redesigned and in fact could be scaled to fit an alternative actor. The ability to print fabric is very valuable and useful. This can reduce costs by allowing theatres to reproduce expensive, rare or period looking fabrics. Other bonuses that could be realized from this technology are alternative avenues for revenue. Often people watch movies and want to recreate a certain costume or look. By having a digital copy of a pattern a Theatre or Film Production could sell copies of the patterns they have developed both to other theatre companies or the general public. Overall digital design is the way of the future and theatres should be moving forward toward this technology.
Kayla Fulton, Assistant Head of Wardrobe Citadel Theatre
This technology has the potential to have a significant environmental, financial, health, and educational benefit that would move Canadian wardrobes to the forefront of sustainable and inclusive innovation in the industry. During my 10 years as the Assistant Head of Wardrobe at the Citadel Theatre in Edmonton I saw production teams begin to embrace technology while still honouring the creativity and craft of skilled professionals. I very much hope that this evolution will continue, maintaining Canada’s ability to create rich, collaborative theatre of a quality on par with the best in the world.
Digitizing pattern drafting and reducing the need for the creation of mock-ups would not only save time for cutters and designers (saving money as well), but it would also reduce materials needed and waste. Less storage space, and paper waste from reams of paper patterns would also reduce costs and ecological footprints. As the public becomes increasingly concerned with environmental issues, this benefit could draw funding and support from a wider audience.
The physical toll on cutters spending long hours standing at a drafting table or in a fitting room would be lessened, giving their careers more energy and longevity, and allowing them time to enhance and fine tune their skill.
The potential for sharing knowledge at a distance would reduce the cost and impact of travel and provide mentorship and education opportunities that are not yet possible.
Supporting this research would make the very best use of the current pandemic shut down, and rather than putting Canadian theatre on pause, placing it at the forefront of what will be the future of costuming.
I support this initiative wholeheartedly, and look forward to seeing the results.
Michelle Latta, Head of Wardrobe Theatre Calgary
Theatre wardrobe has a long history of practicing old world skills of hand producing garments for the rigors of performance on stage. I am very interested in seeing how this fantastic new Technology could expand on our creative endeavors and evolve it from both the design and production side of costume creation.
Also there is an increasing pressure on producing excellence on a shortened schedule and I as the Head of Wardrobe for Theatre Calgary am always happy to explore any new approach that could expand our ability as a wardrobe team to create whatever our designers imagine on reduced timelines.
To that end I do indeed look forward to the results of this research initiative.
Anne Nguyen, Alberta Ballet
I am a costume ,fashion designer who works as a cutter for dance, theater and film. As well as running my own design business through Assemble Work/Shop at CSpace King Edward, Calgary's foremost arts hub.
As a designer and cutter a local digital service such as this would be an immense asset to our industry.
I am cutter for Alberta ballet here in Calgary and as such I have personally needed a service such as this on numerous occasions.
As we see a decrease in funding to educate and hire skilled labour in our industry and tighter deadlines for production this is a warranted and needed service that could benefit the design and arts going forward.
I would definitely be interested in using this service.
Sincerely,
Anne Kirsten Nguyen
Judith Darough, Senior Cutter
I am a cutter in theatre and have also worked in movie’s. This would definitely make the process more accurate and possibly quicker. The idea of having a lot of information stored as well would be a big bonus.
Barbara Markert, Stitcher
This would be a great time saver!
Rebecca Toon, Designer, Cutter
I am a costume designer for theatre and historical costume researcher, I pattern and recreate historical garments for film and theatre. This would be an invaluable resource to me as we can take historical patterns and alter them to suit a specific design or size in less than half the time it would take to manually draw out the pattern, calculate sizing and yardage requirements. Having the ability to share designs easily with cutters digitally also helps us communicate in our Post Covid world, where working in separate locations will become the norm. Discussing fit on a 3D model will raise the level of communication with directors and colleagues, reducing misinterpretations of 2D drawings. It will also reduce stress and pressure in the ever present time limitations we work under In film and theatre.
Stephanie Martin, Cutter
I am a film costume cutter and senior stitcher. As well as a professional tutu maker. This would be beneficial to store patterns for reuse, grading quickly for multiple cast/dancers/background performers etc. Not to mention reinventing the wheel. How many shows have frock coats, or men’s trousers? No sense redrafting the same thing over and over and over.
Kim Lennox, Breakdown artist
I am an ager/dyer for TV and film And co-founder of Costume Alchemy. I love the idea of having the freedom of design with the precision of technology. It would be a game changer in the costume shop.
Kathryn Neuman, Stitcher/Cutter
I am a Stitcher, occasional Cutter and a Boots and Shoes Technician. Drafting and cutting are a big part of my job. In a costume capacity, there is a huge potential here to save time drafting, as well as to save time storing and accessing measurement data, and previous pattern alterations for a given performer. Storing this data will also allow us, over time, to gain a more clear and precise picture of a performer's specific fitting needs.
Furthermore, I would be deeply interested in exploring the possibilities this technology could open up for footwear-specific drafting.
This research provides an incredibly exciting opportunity to our theatre community.
Myra Sloan, Stitcher/Cutter
I am trained as a seamstress and pattern cutter through Dalhousie University. I've been working in theatre/film/fashion for the past 10 years.
I think being able to start this kind of research in theatre would be incredibly invaluable. Across the board whether it's in film or theatre the consistent chatter among our workers is that budgets are shrinking and less sewers/cutters are being hired to do each job. This often leads to a lot of stress put on those who are hired, and an expectation that we will work very long days to get a job done.
One example that comes to mind in film is that (because of shrinking budgets) actors are often flown in the day before they appear on camera to try on a costume for the first time. In period costuming this is a huge problem! So much stress lands on the costumers to get the job of multiple days done in one afternoon. Using this type of drafting software would give the costume team a huge advantage to move along a lot quicker on a costume without the actor being present. Too often when we are given measurement charts from actors they are old measurements or they were incorrectly taken, this makes our job very hard as we often don't have much physical time with an actor to do the necessary costume fittings.
There really are so many huge benefits this software could have to the theatre and film industries.
Please Please give my friends a chance to try out this software! An incredibly talented team has been assembled to try it out and they will not disappoint! This would be so much good for our costumers.
Thank you for your time.
Theresa Grant, Costumer
I'm a costumer in Edmonton. From an administrative and planning perspective, this program could really help streamline our workflow, and save time, which we can put towards building more, and building better costumes.
From a garment construction perspective, this program can help us to streamline the drafting process. This can help other areas of wardrobe as well, for accessories, headwear, and shoes. Hopefully this research can help us to learn how to design and draft plans for wardrobe accessories in 3d modelling software. This would save so much time and money, as these items are very hard to mock up, and being able to turn a digital model into pattern pieces would be invaluable. We could much more easily custom fabricate pieces, saving us money on prototyping and shopping.
Heather Bloxham, Educator
Bringing theatre departments into the 21st century would make teams more efficient. As well, it would increase the number of items that could be constructed with drafting times reduced.
Ava Siemens, Stitcher, First Hand, Dresser
I've worked in wardrobe over 10 years mainly as a stitcher, sometimes a first hand or dresser. Prior to entering time currently as a stay-at-home parent I was beginning to gain more experience cutting and very interested in learning the art. The opportunities for learning theatre cutting are limited in Canada, much more so in Edmonton. Using digital pattern software would open up a whole new way of learning pattern drafting and cutting without having to travel abroad at great expense.
Michelle Warren, Costumer
I’m a costumer working primarily in wardrobe shops and backstage for Canadian theatre.
I see this technology benefiting in both these arenas. In the shop I see that these technologies will streamline our drafting process for both returning actors and for understudy drafting. I also see this benefiting the cutter/designer dynamic by having a 3D rendering to manipulate outside of fittings. Backstage I see the advantages of being able to reprinting fabric for repair and maintenance.
My hesitation lies in the lifespan of any technology. This system would have to be affordable enough to be maintained by the theatre companies. Parts and servicing is also a concern because we cannot have the shop in a standstill while waiting for the system to be repaired.
Kalie Johnston, Designer
I am a costume designer who has worked with the Alberta Ballet and Calgary Philharmonic Orchestra.
I believe this software would help the wardrobe departments to help with budgetary constraints (especially in a post-Covid-19 world)
Many costume designers do not have the technical skills that their pattern cutter peers have and I think this would help bridge the gap between the teams - Costume designer could then understand what is possible in real life from a sketch they have provided.
From a sustainability/cost savings standpoint it would help reduce waste of paper for patterns as well as fabric
Carolyn Devins, Milliner, Seamstress, Educator
As a long time seamstress and current milliner I find this project quite exciting! Previous iterations of computer-aided cutting have been too cumbersome to make them useful for the bespoke production which is common in theatrical costuming. This project might be the solution; finding and assessing software that serves our niche. If so, it will be a boon! The accuracy and flexibility will certainly make the process more streamlined, cutting costs while opening up the imaginative possibilities for costume design.
I'm looking forward to learning about your results!
Genevieve Savard, Cutter, Stitcher
I am a Junior Cutter at the Citadel Theatre and a Stitcher at the Edmonton Opera.
I believe it is important to move forward with technology and any tools that can help our wardrobe work more efficiently. Budgets have been dwindling for years and will be slashed again after the pandemic. This training will bring Canadian costume shops in the 21 century by integrating computers into the wardrobe studio. This will speed up pattern drafting time, allow us to create custom printed fabric and save costs on fabric and supplies.
Jennifer Crighton, Design Assistant, Costumer
I work primarily in film and television as a truck Costumer and Designers Assistant. I have also worked with costumes in theatre and dance, and visual art.
I see the way this initiative could benefit the costume community as having multiple positive applications.
Firstly it would allow us as costumers to create things more quickly, and more efficiently with less waste, as well as giving us better tools to share our concept ideas with people outside of our department. I also see its potential of these tools to better support diversity within the industry for performers, by removing the barriers that exist in accessing and creating patterns for a variety of different body types and abilities.
I would love to see this initiative pioneered here!
Tara Gerritsen, Head of Wardrobe Grandstand
As Head of Wardrobe for the Calgary Stampede Grandstand Show, I am interested to see the results of this research, particularly as an application we could apply to costume design and construction for the Young Canadians. The made to measure grading functions could increase efficiency when building designs for the diversity of youth in our cast. 3D modelling could help us troubleshoot fit issues prior to the arrival of international performers.
My role is that of Costume Supervisor for film and television. I am very interested in what we can learn from this research initiative. For too long, costume departments seem to have been left behind, while other disciplines and crafts have made great advances embracing new technologies. Think only of the camera department. There is an industry wide expectation that all the latest innovations be implemented; using out of date camera equipment and technologies certainly won't produce top quality content. This should be no different for costumes. Innovations that can enhance our craft, create efficiency and cost saving measures, need to be explored. Now, more than ever, any technology that would aid in limiting human to human contact-for example numerous fittings and alterations- is worth examining. The implementation of technology is long overdue in the costuming world and I fully support any development in aid of it.
Carol Case, Costume Designer
I work as a costume designer in film and television. I am very interested in this research as I believe it could help streamline the work in the costume shop and introduce efficiencies that would be beneficial to all of us in the costuming world . A technology that limits how much direct interaction required with performers will be extremely useful at this time and I love the idea of talking with cutters over a 3D model rather than in a fitting with an actor. It seems to me there are many possible benefits from this research across a wide swath of costuming.
Patricia Livingstone, Designer, Stitcher, Dresser
Costume design, stitcher and dresser. This technology is the future of both theatre and film productions. The ability to design patterns digitally allows for meaningful discussion to happen during the design process. It allows for easier archival storage which means that remounting a show several years later is cheaper as patterns do not need to be redesigned and in fact could be scaled to fit an alternative actor. The ability to print fabric is very valuable and useful. This can reduce costs by allowing theatres to reproduce expensive, rare or period looking fabrics. Other bonuses that could be realized from this technology are alternative avenues for revenue. Often people watch movies and want to recreate a certain costume or look. By having a digital copy of a pattern a Theatre or Film Production could sell copies of the patterns they have developed both to other theatre companies or the general public. Overall digital design is the way of the future and theatres should be moving forward toward this technology.
Kayla Fulton, Assistant Head of Wardrobe Citadel Theatre
This technology has the potential to have a significant environmental, financial, health, and educational benefit that would move Canadian wardrobes to the forefront of sustainable and inclusive innovation in the industry. During my 10 years as the Assistant Head of Wardrobe at the Citadel Theatre in Edmonton I saw production teams begin to embrace technology while still honouring the creativity and craft of skilled professionals. I very much hope that this evolution will continue, maintaining Canada’s ability to create rich, collaborative theatre of a quality on par with the best in the world.
Digitizing pattern drafting and reducing the need for the creation of mock-ups would not only save time for cutters and designers (saving money as well), but it would also reduce materials needed and waste. Less storage space, and paper waste from reams of paper patterns would also reduce costs and ecological footprints. As the public becomes increasingly concerned with environmental issues, this benefit could draw funding and support from a wider audience.
The physical toll on cutters spending long hours standing at a drafting table or in a fitting room would be lessened, giving their careers more energy and longevity, and allowing them time to enhance and fine tune their skill.
The potential for sharing knowledge at a distance would reduce the cost and impact of travel and provide mentorship and education opportunities that are not yet possible.
Supporting this research would make the very best use of the current pandemic shut down, and rather than putting Canadian theatre on pause, placing it at the forefront of what will be the future of costuming.
I support this initiative wholeheartedly, and look forward to seeing the results.
Michelle Latta, Head of Wardrobe Theatre Calgary
Theatre wardrobe has a long history of practicing old world skills of hand producing garments for the rigors of performance on stage. I am very interested in seeing how this fantastic new Technology could expand on our creative endeavors and evolve it from both the design and production side of costume creation.
Also there is an increasing pressure on producing excellence on a shortened schedule and I as the Head of Wardrobe for Theatre Calgary am always happy to explore any new approach that could expand our ability as a wardrobe team to create whatever our designers imagine on reduced timelines.
To that end I do indeed look forward to the results of this research initiative.
Anne Nguyen, Alberta Ballet
I am a costume ,fashion designer who works as a cutter for dance, theater and film. As well as running my own design business through Assemble Work/Shop at CSpace King Edward, Calgary's foremost arts hub.
As a designer and cutter a local digital service such as this would be an immense asset to our industry.
I am cutter for Alberta ballet here in Calgary and as such I have personally needed a service such as this on numerous occasions.
As we see a decrease in funding to educate and hire skilled labour in our industry and tighter deadlines for production this is a warranted and needed service that could benefit the design and arts going forward.
I would definitely be interested in using this service.
Sincerely,
Anne Kirsten Nguyen
Judith Darough, Senior Cutter
I am a cutter in theatre and have also worked in movie’s. This would definitely make the process more accurate and possibly quicker. The idea of having a lot of information stored as well would be a big bonus.
Barbara Markert, Stitcher
This would be a great time saver!
Rebecca Toon, Designer, Cutter
I am a costume designer for theatre and historical costume researcher, I pattern and recreate historical garments for film and theatre. This would be an invaluable resource to me as we can take historical patterns and alter them to suit a specific design or size in less than half the time it would take to manually draw out the pattern, calculate sizing and yardage requirements. Having the ability to share designs easily with cutters digitally also helps us communicate in our Post Covid world, where working in separate locations will become the norm. Discussing fit on a 3D model will raise the level of communication with directors and colleagues, reducing misinterpretations of 2D drawings. It will also reduce stress and pressure in the ever present time limitations we work under In film and theatre.
Stephanie Martin, Cutter
I am a film costume cutter and senior stitcher. As well as a professional tutu maker. This would be beneficial to store patterns for reuse, grading quickly for multiple cast/dancers/background performers etc. Not to mention reinventing the wheel. How many shows have frock coats, or men’s trousers? No sense redrafting the same thing over and over and over.
Kim Lennox, Breakdown artist
I am an ager/dyer for TV and film And co-founder of Costume Alchemy. I love the idea of having the freedom of design with the precision of technology. It would be a game changer in the costume shop.
Kathryn Neuman, Stitcher/Cutter
I am a Stitcher, occasional Cutter and a Boots and Shoes Technician. Drafting and cutting are a big part of my job. In a costume capacity, there is a huge potential here to save time drafting, as well as to save time storing and accessing measurement data, and previous pattern alterations for a given performer. Storing this data will also allow us, over time, to gain a more clear and precise picture of a performer's specific fitting needs.
Furthermore, I would be deeply interested in exploring the possibilities this technology could open up for footwear-specific drafting.
This research provides an incredibly exciting opportunity to our theatre community.
Myra Sloan, Stitcher/Cutter
I am trained as a seamstress and pattern cutter through Dalhousie University. I've been working in theatre/film/fashion for the past 10 years.
I think being able to start this kind of research in theatre would be incredibly invaluable. Across the board whether it's in film or theatre the consistent chatter among our workers is that budgets are shrinking and less sewers/cutters are being hired to do each job. This often leads to a lot of stress put on those who are hired, and an expectation that we will work very long days to get a job done.
One example that comes to mind in film is that (because of shrinking budgets) actors are often flown in the day before they appear on camera to try on a costume for the first time. In period costuming this is a huge problem! So much stress lands on the costumers to get the job of multiple days done in one afternoon. Using this type of drafting software would give the costume team a huge advantage to move along a lot quicker on a costume without the actor being present. Too often when we are given measurement charts from actors they are old measurements or they were incorrectly taken, this makes our job very hard as we often don't have much physical time with an actor to do the necessary costume fittings.
There really are so many huge benefits this software could have to the theatre and film industries.
Please Please give my friends a chance to try out this software! An incredibly talented team has been assembled to try it out and they will not disappoint! This would be so much good for our costumers.
Thank you for your time.
Theresa Grant, Costumer
I'm a costumer in Edmonton. From an administrative and planning perspective, this program could really help streamline our workflow, and save time, which we can put towards building more, and building better costumes.
From a garment construction perspective, this program can help us to streamline the drafting process. This can help other areas of wardrobe as well, for accessories, headwear, and shoes. Hopefully this research can help us to learn how to design and draft plans for wardrobe accessories in 3d modelling software. This would save so much time and money, as these items are very hard to mock up, and being able to turn a digital model into pattern pieces would be invaluable. We could much more easily custom fabricate pieces, saving us money on prototyping and shopping.
Heather Bloxham, Educator
Bringing theatre departments into the 21st century would make teams more efficient. As well, it would increase the number of items that could be constructed with drafting times reduced.
Ava Siemens, Stitcher, First Hand, Dresser
I've worked in wardrobe over 10 years mainly as a stitcher, sometimes a first hand or dresser. Prior to entering time currently as a stay-at-home parent I was beginning to gain more experience cutting and very interested in learning the art. The opportunities for learning theatre cutting are limited in Canada, much more so in Edmonton. Using digital pattern software would open up a whole new way of learning pattern drafting and cutting without having to travel abroad at great expense.
Michelle Warren, Costumer
I’m a costumer working primarily in wardrobe shops and backstage for Canadian theatre.
I see this technology benefiting in both these arenas. In the shop I see that these technologies will streamline our drafting process for both returning actors and for understudy drafting. I also see this benefiting the cutter/designer dynamic by having a 3D rendering to manipulate outside of fittings. Backstage I see the advantages of being able to reprinting fabric for repair and maintenance.
My hesitation lies in the lifespan of any technology. This system would have to be affordable enough to be maintained by the theatre companies. Parts and servicing is also a concern because we cannot have the shop in a standstill while waiting for the system to be repaired.
Kalie Johnston, Designer
I am a costume designer who has worked with the Alberta Ballet and Calgary Philharmonic Orchestra.
I believe this software would help the wardrobe departments to help with budgetary constraints (especially in a post-Covid-19 world)
Many costume designers do not have the technical skills that their pattern cutter peers have and I think this would help bridge the gap between the teams - Costume designer could then understand what is possible in real life from a sketch they have provided.
From a sustainability/cost savings standpoint it would help reduce waste of paper for patterns as well as fabric
Carolyn Devins, Milliner, Seamstress, Educator
As a long time seamstress and current milliner I find this project quite exciting! Previous iterations of computer-aided cutting have been too cumbersome to make them useful for the bespoke production which is common in theatrical costuming. This project might be the solution; finding and assessing software that serves our niche. If so, it will be a boon! The accuracy and flexibility will certainly make the process more streamlined, cutting costs while opening up the imaginative possibilities for costume design.
I'm looking forward to learning about your results!
Genevieve Savard, Cutter, Stitcher
I am a Junior Cutter at the Citadel Theatre and a Stitcher at the Edmonton Opera.
I believe it is important to move forward with technology and any tools that can help our wardrobe work more efficiently. Budgets have been dwindling for years and will be slashed again after the pandemic. This training will bring Canadian costume shops in the 21 century by integrating computers into the wardrobe studio. This will speed up pattern drafting time, allow us to create custom printed fabric and save costs on fabric and supplies.
Jennifer Crighton, Design Assistant, Costumer
I work primarily in film and television as a truck Costumer and Designers Assistant. I have also worked with costumes in theatre and dance, and visual art.
I see the way this initiative could benefit the costume community as having multiple positive applications.
Firstly it would allow us as costumers to create things more quickly, and more efficiently with less waste, as well as giving us better tools to share our concept ideas with people outside of our department. I also see its potential of these tools to better support diversity within the industry for performers, by removing the barriers that exist in accessing and creating patterns for a variety of different body types and abilities.
I would love to see this initiative pioneered here!
Tara Gerritsen, Head of Wardrobe Grandstand
As Head of Wardrobe for the Calgary Stampede Grandstand Show, I am interested to see the results of this research, particularly as an application we could apply to costume design and construction for the Young Canadians. The made to measure grading functions could increase efficiency when building designs for the diversity of youth in our cast. 3D modelling could help us troubleshoot fit issues prior to the arrival of international performers.