How did you get into costume work for theatre? 

My mum always loved theatre and became an actress later in life, so I grew up around theatres. I actually wanted to be a Lighting Designer, but I was put off by my guidance councillor at school telling me that it was a ‘boys’ job’ and setting me a test about electrical circuits which I couldn’t answer.

When I was about 15 or 16, I bought an old sewing machine from a charity shop and taught myself to sew. I started making Christmas presents for friends and family and cutting up my dad’s old vests and shirts to make clothes for myself.

My home economics teacher at school once wrote in my report card that I should never be allowed to use a sewing machine again, after one class!

Can you describe your role as Head of Costume and what a typical production period looks like for you?

A lot of people think that the Head of Costume is a Costume Designer, but that’s not right. I have designed in the past, but that’s not my day to day. Costume Designers are freelancers who are employed for each show, as with Set, Lighting, Sound or AV Designers.

My job as Head of Costume is to translate the designs and references from the Costume Designer and recreate them on the stage. This could mean finding them in our Costume Store, or hiring or buying them, or making them from scratch, it just depends on what is needed.

I’d start with conversations with the Designer and then look through the store to see what we have. I’d work out a plan of what’s to be made or found and then start pulling together lots of options or start cutting patterns and buying fabrics.

Then we’d do fittings where we try things on the actors and make decisions about what’s working or not. Changes sometimes come out of rehearsals, so it’s an ongoing process.

I also book Dressers if required and sort out wigs, hair and make-up.

Once the show is up and running, the costumes get checked over and cleaned every day, so they look just as good for the last audience as they did for the first.

I also maintain the department and machinery and organise the Costume Store and keep it tidy so it’s easy to find things we need.

What’s been the strangest thing / design you’ve had to make?

I had to make a Dragon costume for a man to run a marathon in – I’ve made loads of large prop costumes and headwear. I love making things like that.

For a dance show for Scottish Dance Theatre, I made lots of huge headdresses from unwoven wool and full body suits from old crochet tablecloths.

I made a skirt for a production of the Snow Queen that had 50 metres of fabric in it – she had to grow to about 10 foot tall – so she needed a very long skirt!

How does sustainability factor into your costume work?

I keep everything because you never know when you’ll need it!

In my own life I never buy brand new clothes, so I try to do that at work too. There are already enough clothes in circulation to dress the next seven generations of people, so I try to buy second hand as much as possible.

For a show, I start with looking in our Costume Store, then I try local charity and vintage shops, then online ones. I only buy new as a last resort. Even when I’m making costumes, I try to reuse preloved fabrics when I can or buy from sustainable companies.

What skills are essential if someone wants to work in costume?

You need to be hard working and friendly and able to deal with sweaty garments! Obviously, you need to be able to sew, but you can learn that. If you are able to work hard and get on with people that’s a good start, but there’s also the washing to do and quick changes to organise, so you need lots of skills.

What’s your favourite thing about working in costume for theatre?

I get to be a secret storyteller. The costumes (alongside the set, lights, sound, etc) are clues to the characters and story. They put you into the world the characters live in. They don’t always live in the same world as you, so you need these clues to help with the story.

I love how collaborative theatre is – we are all working towards the same goal of telling a story to an audience, so everyone involved is just as important as the next.