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Re: [TheCostumersManifesto] Digest Number 902

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  • Curtis Kidd
    ... Which one? I could see either Damen, Titchener, or Jones doing something like that...although since you specified he it wasn t Titchener. ... That is
    Message 1 of 1 , Mar 2 9:29 PM
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      > From: "brattboy.rm" <brattboy@...>
      > Subject: Historic clothing in the classroom
      >
      > Doesn't matter what type of classroom you're in!! There
      > was a history
      > professor at USU that would actually dress the part of
      > whatever period
      > he was teaching.

      Which one? I could see either Damen, Titchener, or Jones
      doing something like that...although since you specified
      'he' it wasn't Titchener.

      > From: sylvia@...
      > Subject: Resumes
      >

      > Anyhow, my question for you concerns the goal of one
      > woman in the house to
      > move out of the projects and become self-sufficient. To
      > that end she is
      > getting coaching on job hunting skills, which brings up
      > for me the resume
      > format question again. She has been advised to create
      > skills-based
      > resumes with descriptions of what she has accomplished on
      > previous jobs.
      > It seems that whenever I see anyone discuss resumes, they
      > advise doing it
      > this way. I have nver seen it done this way in the
      > theatrical world,
      > although I admit I haven't seen anyone's costume design
      > resume recently.

      That is the format I have used (though I don't list every
      job, just the ones that I really want someone to know
      about). It is also the format I am most accustomed to
      seeing. However, where you are going into design,
      specifically, the resume is only a stepping stone to get an
      interview. The thing that is going to get their attention
      will be your portfolio.

      > I only state the play designed or draped or
      > whatever, the location,
      > sometimes the director, and sometimes the date. I never
      > add any
      > descriptions because I thinbk that everyone who works in
      > the theatre
      > understands what the designers do and that would be
      > unneccessary.

      Ummm, once again, that's where the portfolio comes in.
      There are VERY different approaches to costuming, even
      within the same genre and period (or even for the same
      show!) Your portfolio shows them EXACTLY what you designed
      (and, in many cases, the designer only does renderings of
      the costumes, it becomes the province of the wardrobe staff
      to translate the renderings into finished
      designs...although, typically, most designers are
      particular enough that they want to oversee the process and
      have final approval on how their renderings are being
      interpreted).

      If you are specifically looking for design jobs, you're
      looking at a very tough path to follow. Most people aren't
      willing to hire a designer until they know what they can
      design. My first design job came about because I'd had to
      substitute some costumes due to changes made in our shows
      over the summer, combined with aging costumes for our
      Halloween shows and a very limited budget (it was cheaper
      to gamble on my assistant and I designing the show than it
      was to pay another designer to come in and re-design the
      show... and since we would have been doing pretty much all
      of the sewing anyway, it saved a step or two). Once I had
      one job, I had something to show, and people were more
      willing to consider me for other jobs.

      Put together a portfolio of your best work...renderings,
      finished photos, and even fabric swatches. Some people
      include process shots (the actual assembly of items)--I'd
      only recommend this for particularly intriguing items, and
      make sure that you actually have finished shots as well as
      process shots (I saw several portfolios this year that only
      had process shots...it was nice to see that they could all
      sew, but I had no real idea of how well they could sew
      because I never saw the finished product!) List your best
      jobs on your resume (I'd cap it at no more than fifteen,
      focusing on recent work), with a summary of the skills in
      which you are proficient and how long, overall, you've been
      involved in this field of work. Also on your resume, note
      that you have a portfolio available for review.

      Someone mentioned graduation dates: personally, I don't
      care when someone graduated (or graduates, some of our
      employees are still very young). In the last three years,
      I have had assistants who were much more adept at sewing
      than I was; both of them were ten or more years younger
      than I am (one of them was half my age!!!). Age and
      maturity are not necessarily synonymous; I just want to see
      that an applicant has actually done enough work in this
      field (or related fields) to be able to deal with the
      demands of the job. I'd rather have an
      eager-and-experienced high school grad getting ready to
      soak up every lesson that came his or her way than I would
      a four-year college grad who thinks they've learned it all
      and this is just going to be a coasting job for the summer
      (the most important thing I've learned over the years;
      doesn't matter how much you think you know, you still don't
      know enough!) The trick is, in my opinion and experience,
      to make it look like you have enough experience to hold
      your own on the job without looking like you're going to be
      bored with what they give you. Don't know exactly what to
      tell you on where the line is drawn...everyone interprets
      that point in their own way.


      =====
      Curtis Kidd
      "Remember, the light at the end of the tunnel could be you!"

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