If you’ve never had the distinct pleasure of having Angela Elter as your instructor for a pattern drafting class, then you might have seen her work on shows like The Umbrella Academy or Shadow Hunters: The Mortal Instruments. I ask Elter about her career as a cutter, as well as advice for those wanting to enter the costuming profession.
On the Set
Cutters like Angela draft the patterns for the costumes that the actors will wear, working closely with other members of the costume department like designers, sewers, and buyers. What it's like to work on set is largely project dependent, as different costume designers have myriad approaches— some might develop a design through reading a script, while others organize a design through a character breakdown.
Elter describes working with Christopher Hargadon on The Umbrella Academy as a highly creative process, for example, while other designers might lean towards a more methodical approach. Hargadon would create a sketch, and then collaborate with Elter to realize the costume. Shooting schedules are tight, and costume departments have to work around them; sometimes there simply isn’t enough time to realize a very complex design. When that was the case, Elter would suggest a different direction for Hargadon to take that would still fit the time frame. Elter and Hargadon would then discuss with the shopper about the different fabrics, fuse, and other materials to buy. Activity is non-stop in a costume department: while the shopper was out buying, Elter would create the pattern, completing it by the time the shopper returned. Sewers would then construct the costumes, ensuring an uninterrupted workflow.
The next step is the moment we've all been waiting for: the costume fittings for the actors!
Depending on the shooting schedule, an A-list actor might have multiple fittings. Other times, there might only be enough time for one fitting. Actors try on as many costumes as possible during a fitting, and not all costumes make it onto the screen. Elter tells me that she's asked what it’s like to work with actors “all the time.” She finds that actors are generally very lovely to work with: they want to look good in their costumes, after all, so they’re on their “best behaviour.” Of course, all actors have their individual personalities and personas, but actors who are particularly difficult are usually new and don’t last long in the industry. Producers don’t want to hire or work with difficult actors, especially when there are so many talented actors available.
Usually, the costume department is the first group of people the actors will meet on a set, so the costume department wants to make a good first impression. Most actors are Americans visiting Toronto for the first time, and costume departments are eager to treat them like guests and keep up a good relationship. For Elter, the best part of working is the creativity and the fast pace. A day in the costume department goes by quickly, which is vital because she might be working 11 or 12 hours a day, sometimes throughout weekends. Working in a costume department might be rewarding work, but only if you really like what you’re doing!
Making a Career in Costumes
Elter has been costuming for around 30 years, but her career trajectory took some detours along the way before arriving at film and television. When Elter first graduated from the Fashion Techniques and Design program from Sheridan College, the only fashion-related work available in Toronto at the time was in factories. Factory work didn’t appeal to Elter, so she worked in restaurants for the next decade. Elter was 30 years old when she decided she needed a change.
She started working in costuming by styling rock music videos in the early 90s, but she received her big change in 1995. She was walking along River Street, near her apartment at the time, when she turned the corner on King Street and saw the George Brown Theatre School. Elter entered to find a beautiful costume office, and asked their costume department to hire her — and they did.
Pursuing costuming wasn't easy: Elter left a lucrative position as an experienced restaurant worker to make $11 an hour starting out in theatre. Elter gained costuming experience by working for various theatre companies, when she eventually got a call in 1997 from someone who knew her in theatre to work as a sewer in a film. Elter was then the lead cutter for a production of Salome produced by the Canadian Opera Company, which propelled her career as a cutter in film. Elter describes her career trajectory as a “full circle”— starting her costuming career at George Brown, then returning to work once again at George Brown to teach others pattern drafting now that she's an experienced cutter.
Closing Credits: Advice for Working in Costume
Elter shared a few pieces of advice for prospective costumers. First, you have to be a hard worker— always be eager to take on tasks and learn, and don't just sit and wait for work. Working in a costume department is on a contractual basis: once a contract is over, you have to find a new contract. Adapting to different types of people and different ways of working is important, as is being proactive about finding new opportunities. Lastly, she suggests finding a niche— you’ll likely start out as an assistant, so figure out what specific position appeals to you and keep working towards it. Maybe one day you'll get to bring iconic characters to life on stage and on screen, just like Angela Elter.
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