ERNEST CAMILLERI - MaltaRightNow.com

| INTERVIEW |right: LITTLE SHOP OF HORRORS - Ernest Camilleri with the assistance of Norman Hill)Left: period costumes for 'amadeus'.Travelling to thailandLeft: king and I; right: othello'hercules' pantomaking head pieces at age 12, and even had his owncarnival company by the time he was 16 years old.A steady job with Air Malta earned him cash to livea comfortable life and gave him wings – yet he alwaysdreamed of doing something else. His passion to designwas really sparked when he joined the drama schoolMTADA back in the 1990s. There he delved into scriptsand he saw how characters could come to life moreconvincingly if they donned the right trimmings – ‘Youcan’t dress people unless you know what they feel’.People like the late Lina Galea Cumbo, a master makeupartist at MTADA, also encouraged him to pursuehis talents. He finally decided to ditch the comfort zonethat was his steady job for a hands-on one, when hejoined the team at Hot Couture/Morgan. Here he gotto work with designers and travelled abroad to supplythe shops’ clothes. The stint at MTADA also triggeredhis love for the theatre – a love which still burns brightly.By chance he was offered to design the costumes forMADC’s annual pantomime ‘Little Red Riding Hood’ in1990 and asked to present something new – ‘and therest is history’. To date, he has designed around ten ofthe pantomimes. I remember watching and holding mybreath at the final walk-down, when Ernest’s creationswould have to be wheeled-in or jacked-up to take theirdue position centre-stage. These costumes have beena spectacle in themselves. Ernest’s love for the theatrehas also given him an opportunity to design and makecostumes for all the major dance schools, as well asenable him to work on film.We chatted about the highs and lows of working in thefilm world and the new work opportunities being createdfor the ever-busy designer. His work on the major film‘Agora’, recently shot in Malta, proved to be an amazingexperience as he was Set Cast Dresser for the mainactors and daily players. He described learning about thepainstaking work carried out on costumes which need tobe aged – ‘a process which takes weeks’. He has lovedevery minute of it – and the long hours he put in translateinto a lot of minutes – learning about a different aspect tohis trade. Besides Agora, he has worked on the BBC’s‘Roman Mysteries’, a Danish film called ‘The Treasure ofthe Knights Templar III’, Largo Winch (Costumier) and ona beer commercial, this last being what clinched his newlove for the world of film.However, Ernest feels happiest when he gets theopportunity to design musicals – especially if ‘there’sspace for some sexy designs’. To date he’s designed LaCage Aux Folles, Company, The King & I, The Little ofShop of Horrors, Cabaret and The Rocky Horror Showamongst others. Ernest however feels equally challengeddesigning period costumes – like he did for the stageversion of ‘Amadeus’ for Masquerade or ‘Othello’ forMADC. But then Ernest is happy in many shoes.When I asked who the designers he admires are, Iwas not surprised that he loves the theatricality of thelikes of Galliano, but is also fascinated by the lines ofVersace – particularly those of Gianni Versace himself.Ernest also claims he would have been a happy bunnyin the ‘swinging sixties’, when design really took adifferent direction – and everybody was out to break withconvention, with Paco Rabanne and Vivienne Westwooda couple of the ones who did just that.How does he work with his clients? Ernest feels he’scomfortable working after he sees their shape, gets togauge their ideas and find a happy medium. He’s boldenough to pull away from initial concepts if he thinks hecan’t pull it off. When I asked who he would dream of‘dressing’, in his whimsical impish way he was quick toretort how he would love to dress ‘or half dress’ AngelinaJolie. He feels that she is the epitome of the hour-glassfigure and would befit his penchant for the sexy andglamorous look.Inspiration comes in many forms. Besides the manybooks he fervently buys, and the magazines which keephim up to date with various designers’ latest work, Ernestis content finding stimulation through travel. We spoke atlength about the colours in different cultures and gettinglost in markets, the texture of fabrics and the scentsaround him on his many journeys. Working freelancethese days gives him the opportunity to up and go, orstay and sew.Dreamlike I made my own way back – for a couple ofhours Ernest had filled my morning with exuberance forlife and colour. ‘Everything happens for a reason,’ stillrings in my head.L&s | august ’08 21