SPILLING THE TEA

A Q&A WITH TINA HUTCHISON-THOMAS, COSTUME DESIGNER

What led you into costume design?

After high school, I went to Ara and studied Clothing, Fashion and Design. During that course, there was a tiny section about the history of fashion that I really enjoyed. By the end of the diploma, I decided fashion wasn’t for me, and history of fashion and costume interested me more. As a kid I always used to draw ladies with pointed bodices, puffed sleeves and full skirts, so maybe I subconsciously already knew what my path was going to be. In high school my strength was in sewing, and I also studied history and art, so I think it was a natural step.

How do you usually start your design process?

It all starts with the script and the director’s vision. The connection with set, props, lighting and sound are all aspects that influence how I design a show. This collaboration, which starts months in advance, is followed by loads of research including books, Pinterest, art, media and looking at colours and textures. All of this combined becomes my inspiration for the design.

Was this production different?

This production was slightly different, because the designs were already there from the initial planned programming of the show (for the 2022 season) before COVID hit us. I wanted to be respectful of the work that had already been put into place by my colleagues and therefore continued the process with that in mind.

A big difference with this production is that all 22 characters are played by only six female actors. The outfits of the male characters need to be tailored to a female body and they must be able to make extremely quick changes on stage. At one point in the performance an actor is on stage as two personas; it’s a fun creative challenge to combine two looks into one moment!

How do you come up with designs to fit each character?

The starting point is the script and the overall creative vision. When I get to understand the characteristics of each role, I can start thinking of colours, fabric choices and all the accessories that make the character come to life.

For instance, for some less favourable characters in the play this translates into darker tones, such as blacks and purples, in their costumes. The pattern we created for a coat even hints of reptile skin. We also need to remember that sewing machines hadn’t been invented in the era we’re presenting, so we try and be as authentic as we can in that regard as well.

Do you have to think about costumes differently than street fashion?

While researching the Georgian era I noticed that there were no front closings on many fashions of that time. For our actors, clothing needs to be practical to enable a rapid change of character, so many of the costumes do have front closings, but they are built in such a way that it doesn’t appear that way in the detailing. Everything is attached together so the actor can change it in one go. Belly paddings etc. are integrated into the costumes; even the wigs are stitched into a bonnet or hat for the exact same reason. Poppers, magnets, and ties are our friends!

In general, the main difference is the fabric type, the thread and how we stitch the costumes. A much stronger thread is used for costuming because of the demand put on costumes during a performance. Some fabrics we use are drapery and upholstery fabrics and costumes need to be made in a certain way as well, so they can be resized for future productions. Luckily, for this play, I was able to source a lot of material from The Court Theatre’s fabric supply, so we didn’t have to buy as much.

How big is the team creating the

costumes?

We have our permanent team, Daniella and Findlay, working on it full-time. In addition, we also have three casual costume technicians because of the volume and complexity of this build. And before Christmas we had a fantastic pattern maker creating all of the patterns, so we were ready to get into it from day one of rehearsals. Normally I am less involved in the practical part of the costume creation, but because of the amount of work that needs to be done, and the technical challenges, it’s all hands on deck.

What is the funniest thing that ever happened while working on costume designs?

There is one moment that comes to mind straight away, but I’d rather keep that one off the record. What I can say is that there is great joy when you see an actor during the fittings slipping straight into character. An instant transformation appears in front of you, which can lead to hilarious situations.

What is your favourite part of bringing the Georgian era to life?

I love doing the research as I have a natural interest in history and fashion. The fabric choices, colour palettes for the characters and seeing the collaboration come to life on stage. The delicate nature of the era, empire lines, flowing fabrics and precise tailoring are just a few wonderful aspects from the period. It is the collective vision that shines through in the end; that would probably be my favourite part.