As we approach the beginning of the 2024/25 Season, our Props, Wardrobe and Carpentry departments are already in full swing creating some of the magic that you'll see onstage this season!

Sabrina Stace is not only WCT's Head of Wardrobe, she is also the Costume Designer for the first show of the season, The Woman in Black. We caught up with Sabrina and got the details on how costumes are first envisioned and planned, the process of designing a show, and everything in between! If you've ever wondered how a costume gets designed or the process of designing costumes for a show, we have the inside scoop!

When you're designing a show, what are the top 3 things you keep in mind?

Top three things are the director's vision (notes from previous conversations and discussions) and how that responds/influences my design as it evolves, actors' physicality (we design to the modern body - this is a new wave in designing for theatre), and what textures/colour pallet makes sense in this world we are playing in

How do you come up with the designs? (Are they similar to what other productions do or is it all your own creation?)

Coming up with a design involves many steps but this process was pretty standard - read the script, jot some ideas down, initial conversations with the director, sourcing images for prelims based on conversations with director, a bit of back and forth to finalize the prelims, and then go into finals. For this show, our prelims were strong and clear so we were able to dive into finals with a concise and clear direction.

How long does it take to make a costume?
A costume that's a standard 1940s dress has an industry standard sewing, patterning, and fitting turnover of 24 hours. An elaborate Elizabethan costume can range around the 100s of hours depending on the detailing. And even then, we are working within the build timeline so that dictates how far to take the details on pieces.

What happens to costumes after a show?

Sometimes they have a life beyond the show and bide their time in our costume storage. Sometimes items can be purchased by the cast upon closing. And sometimes they've run their course and can't be reused so they get donated. It all depends on the time period that the show takes place.

What is the most difficult part of costume design?

I find the most difficult part of designing is starting - you have an empty slate with worlds of possibilities ahead of you, that's why it's lovely working with a director as they have the flashlight to guide the team in the right direction.

What is the process of designing costumes? (i.e. from getting the script to closing night).

Coming up with a design involves many steps but this process was pretty standard - read the script, jot some ideas down, initial conversations with the director, sourcing images for prelims based on conversations with director, a bit of back and forth to finalize the prelims, and then go into finals. For this show, our prelims were strong and clear so we were able to dive into finals with a concise and clear direction.

The design and costume build process is shared by the designer and the Head of Wardrobe (in this case, I have two brains as I am the Head her at WCT as well as the designer).

• Both parties read the script separately.
• The Designer works with the director to go through initial conversations, prelims, more conversations as needed, and finals.
• During this, the Head looks at how many actors are cast, works with the producer to acquire measurements, and costs both the prelims and finals submitted by the Designer to make sure everything is on budget. The prelims must be costed and approved by the Head and Production Manager before moving into finals. Then the finals must be costed and approved. All of this works within very specific deadlines
• Moving along, the Designer and Head work together to collect the materials and costume pieces and have them ready for first fittings. First fittings take place within the first few days of rehearsal. This involves local sourcing, online shopping, going through costume and fabric storage, and sometimes outsourcing projects to other makers within the local community or province (we are really lucky to work with some incredible folks out in Vancouver for our Wigs Department and are very fortunate to bring on freelance costumers from the community). During this phase the Head also builds a Volunteer schedule for immediate fitting notes and alterations, sometimes partial costume builds. The first fittings schedule is also agreed upon by the Stage Management Team who arrive a week before rehearsal starts.
• First fittings arrive and we meet the actors for the first time! Designers are in the room during the fittings which the Head takes the lead on. A fitting ensures that the prepared costume well, fits! The Head makes decisions regarding physical fit of the costume while the Designer takes the lead on design decisions (putting trim here, a neckline to be lowered there, that kind of thing). The two work together to make sure the actor feels confident and comfortable in their costume.
• After first fittings, the Head prepares the fit notes for the team of Volunteers to execute with support from the Head while the Head continues with logistics of the next steps of the builds (second fittings schedule, rehearsal notes, shopping notes from fittings, the plan for the remaining costumes, coordination of moving out of the rehearsal hall and costume shop into the main venue, a plan for those looking after the show laundry, all necessary paperwork, and essentially everything that needs to happen to complete the build and be ready for tech). The Designer supports the team with detail work (sometimes paint and breakdown, sometimes paintwork, the odd jobs that require a design decision essentially)
• Second Fittings ideally happen for all actors but that is not always the case due to shorter rehearsal timelines so that really depends on how intricate a costume is. Otherwise, the whole team continues along until the rehearsal process leaves the rehearsal space and moves to the main venue. The Head leads the wardrobe volunteers in moving to the venue as well (it's easier during tech to be close to the action vs going back and forth from venues all day long).
• Once in the space, we are finishing pieces up and sending them to dressing rooms. The Designer is in the house (audience) during Q2Q and tech as costume pieces are used (like for quick changes) to provide any visual help and guidance. They also make notes for the costume team as this is the first time they've seen the costumes under lights. The Head also communicates with Stage Management about the laundry schedule for the show laundry and supports the technicians backstage for costume changes.
• The Head leads the pack during tech from Q2Q through to Opening - this involves executing costume notes as they come up through the tech rehearsal process and design notes. Lots of late nights are had and many pumpkin spice lattes (or whatever the seasonal coffee is at the time, sometimes matchas or teas).
• This back and forth of notes and executing the notes continues until Opening Night where everything should be set. The Designer's job is done at this point unless anything drastic has come up. The Head clears out the mini costume shop they've created in the venue and does any little tasks during the rest of the workday as needed. 
• Opening Night happens! The Designer watches opening and then moves onto the next project. The Head supports the team as needed for major repairs during the run. Then the Head also focuses on the next production in the season!