Fall 2014 alumni spotlight series alexandracrone

alumni spotlight series fall 2014

let’s get

creative

How one grad moved across the world to pursue her passion for costume design at the University of the Arts London in England.

From Fame and Little Women to The Laramie Project and Cyberlife, Alexandra Crone played essential roles in making things happen behind-the-scenes of many Mulgrave productions.

From working as a technician to taking on the responsibility of being Stage Manager, Alexandra, Mulgrave Class of 2012, learned a lot about the magic of theatre during her Mulgrave years. She continues her passion for all-thing-theatre as a resident of London, England, where she is studying costume design at the University of the Arts London. Alexandra shares with us her reflections on her time spent backstage in the Linda Hamer Theatre and fills us in on what costume design is all about in this week’s Alumni Spotlight.

Q&A

Alexandra Crone What motivated you to attend University of the Arts London to puruse your degree in costume design?

When I initially applied to UAL it was because of the notability of the Costume course offered at Wimbledon College. The location itself was appealing because it gave me an opportunity to immerse myself in a different culture, which is something that I’ve always found highly interesting. London is such a massive place with so many things to discover that it seemed like the chance of a lifetime. Along with the number of theatres and studios, it is a brilliant place to see many things come to life first-hand.

Did you have any mentors throughout your high school years who helped you in finding this path?

I had many mentors throughout my high school

career, both at Mulgrave and within the wider community. I wouldn’t necessarily say that these mentors helped me to find the path I’m currently on, but rather presented a framework that allowed me to discover my strengths and weaknesses. Within the school, the Fine & Performing Arts department had the biggest impact. I spent quite literally hundreds of hours in the theatre working from the time I was in Grade 7 up until I graduated, and Mr. Pope was a constant fixture during my time there. He taught me a great deal about patience, organisation, leadership and the importance of gaffers tape. Also, Ms. Morgan, who will always inspire students to think outside the box and keep a quick wit about them.

What type of work does your programme entail?

First off, to answer that I should say that unlike most other degree programmes I know of, there are no flexible modules or classes. The timetable I have is set by the college and includes myriad topics, ranging from fashion history lectures to

corset making. There are two components that make up my course: Critical and Contextual Studies (which is a bit like ToK but directed more towards the arts) and Practical Skills, which consists of design work and sewing. We collaborate with others throughout our course and, occasionally, with industry professionals to create designs for prospective plays, films, television series, dance or other types of performance.

If you could design the costumes for any play or performance?

I grew up reading and watching a lot of science fiction and fantasy stories, and it’s something that has stayed with me. These are genres that allow for a lot of creativity and historical research being used in new and innovated ways, which I find really exciting. Shows like Doctor Who, Firefly and Game of Thrones blend historical or contemporary styles into something more to create a visual aesthetic of their own. I would love to work on something along that sort of line.

What is the biggest misconception you hear about costume design?

A lot of people I have talked to assume that costume design is the same as fashion design.

While both create clothing, fashion, ultimately, is created to be sold to a consumer. Whereas, costume is the creation of a believable character through the visualization of their clothes, hair and make up. The latter requires a huge collaborative effort between many departments of a production or show. It has a lot to do with understanding others and how individuals present themselves in different facets of their lives.

As a Mulgrave student, you were a key member of the technical crew for much of your high school career.

What skills did you acquire backstage that you have been able to carry with you into your post-secondary career?

In my time on the tech crew, I had a chance to work in many different roles from technician to Stage Manager. Each of these roles taught me a new skill set from time management and organisation to the importance of a community you can rely on. Working as a part of a team and understanding how to navigate team dynamics are probably the two most important skills that I have been able to use in the past two years of my course. Considering the collaborative nature of my course, these skills have been key.

Did you experience any ‘culture shock’ upon your move to London?

The sheer size of London was a massive shock when I first moved here, along with the labyrinth that is public transport. In general, it takes an hour to get anywhere within the city. This took some getting used to, but I realized quickly that as long as you have a decent book, it’s perfectly manageable. The lexicon is another thing that has taken some getting used to and is something that I’m still working on. This is the difference between saying metro versus tube or band-aid and plaster.

The size of the city also means that it is very much a cultural crucible that is in constant flux.

Other major culture shocks have included the price of living, how much the UK loves curry, and that about 90% of museums and galleries are free.

What advice would you give to students interested in pursuing costume design?

There are a few things that I’ve found to be very important for costume design. Firstly, learn how to sew. It is absolutely crucial and although as a designer you may not have to do much actual sewing, it’s important to understand the continued on next page...

The first group project we were given was based on Malory’s Le Morte d’Arthur and had a minuscule budget.We were also given an element which we had to incorporate - in our case this was grass- and any language our group members could speak which included Icelandic, Swedish, Dutch, French and English.

construction of garments. Secondly, observe those around you. Beginning to understand what type of impression a person makes by what they wear can be extremely useful. Thirdly, sketch anything and everything. This goes for just about anything in fine arts and is a wonderful skill to have. Lastly, have fun!

Front cover photo: Our first major sewing projects were to make a corset and petticoat with bum roll both of which work well together to create the underpinnings of an outfit.

Inside photo: One of the final projects from last year was millinery. We had the opportunity to work with milliner Sara Grundy to create and realize our own Alexandra Crone, October 2014 hat designs. Mine was inspired by the weather of both As interviewed by Chloe Scott London and Vancouver, which of course includes quite a bit of rain.

Know an amazing Mulgrave grad you would like to see featured? Contact alumni@mulgrave.com.