Canadian Costumer's Digital Research Initiative Results

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– Cathleen Sbrizzi (CS): In the ideal situation, where you have all the resources you needed to use digital pattering (skilled digital cutter, printing access etc) how often would you utilize digital tools on a build? Kate Klingvall (KK): I would try to use it wherever my cutter would feel comfortable with it. If they felt confident they could draft a whole show on it, great, let’s go for it. If they still wanted to do a couple “old school”, whatever works. Part of my job is to trust and support the team however they need. CS: What was your experience like working on Steel Magnolia’s with KaeLeah using CLO? Katie Klingvall (KK): It was interesting, and I can see how this can greatly change the way we pattern draft in the future. There is still some kinks to work out like the cutter learning the program and getting better at using the program. But can see how this could help in so many ways. CS: How essential is the backing of your producers to successfully executing costumes using digital patterning? Katie Klingvall (KK): It will be very essential, especially in the first few years of using the program. As it will take time to adjust our way of thinking of how we pattern draft, having the support will makes things easier. The first few years it will take a bit more time which means a bit more in the labor budget and money to refigure a shop like how we print the patterns either in a plotter or using a projector. Expenses that upfront are more but long term can save time and material waste. CS: How can Heads of Wardrobe’s help facilitate the use of digital cutting? What challenges do you foresee? Katie Klingvall (KK): I think by supporting whatever the cutter needs. If that is more prep time in learning the programs. Or letting them have the time to work with the program without feeling stress. I foresee challenges of people wanting to stick to the “old school” ways, which I understand but I can see this interesting more younger generations who already have more computer skills than any other generation. CS: How would you choose organize show patterns? And how do you currently organize your size sheets? Katie Klingvall (KK): We currently just have them filed as hard copies, which I have always wanted to do a digital database, and this sounds like we would have it that way! And as performers bodies change, it sounds easier to update their avatar to reflect these changes. As for organizing show patterns, I’m not sure if filing by show or by period would be better for ease of future use. Either way it would have to be a discussion with the cutter CS: When you’re looking at the scope of what you need to accomplish to execute a design does it make you nervous to look at incorporating new technology? (KK): I think until our cutters get more comfortable and confident with the software I would start with smaller shows. Ones that maybe don’t have a big build but some smaller builds on a show. I don’t think it matters if it’s period or modern, but more how much we build on the whole show. 78
is a formally trained Cutter, Designer and Technician. In addition to a decade of industry experience she brings with her credentials which include a BA from Dalhousie Universities Costume Studies program, Auxillery fashion classes from NSCAD University, and the 'Innovative Pattern Cutting' certificate from Central Saint Martins (London Uk) Website: Cathleen.Design is one of Alberta’s most talented cutters. She has worked as a Tailor, and Cutter for stage and film for over 20 years and taught costuming in the Theatre Studies Program at Mount Royal College, Calgary for 7 years. She has been Lead Costume Cutter at Theatre Calgary for the past 15 years. Liz enjoys the wealth of creativity found in a wardrobe team and the challenge of interpreting costume design for the stage. has been working steadily in Theatre since graduating from the University of Lethbridge with a BFA (technical theatre) in 2005. Since then she has worked in almost all areas of wardrobe such as stitching, breakdown and dressing for various theatre companies in Calgary and overseas in Macau. Currently you can find her as the Assistant Head of Wardrobe at Theatre Calgary where she believes in the power of hot stones always 79
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2 Dior Suit Toiles Marlee Bygate
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Cathleen Sbrizzi - Author, Research
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The established and ideal method fo
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8 The majority of testing focused o
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2D patterning provides efficient me
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To pattern effectively in a digital
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“All About Grading.” youtu.be/i
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17 Cole, Dana. “Cutting Fabric Pi
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Insert video fitting adjustments 21
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Improving studio spaces with digita
Page 27 and 28: These designs were patterned using
Page 29 and 30: Work Scenario 6 Designer Collaborat
Page 31 and 32: Basic body blocks are the starting
Page 33 and 34: Some functions that were more acces
Page 35 and 36: Work Scenario 2 : Historical Womens
Page 37 and 38: Genevieve Marlee KaeLeah 37
Page 39 and 40: Work Scenario 3 : Men’s Historica
Page 41 and 42: KaeLeah Spallin 41
Page 43 and 44: Marlee Bygate 43
Page 45 and 46: Work Scenario 4 : Grading For Choru
Page 47 and 48: KaeLeah Spallin 47
Page 49 and 50: Marlee Bygate 49
Page 51 and 52: In this work scenario we assessed t
Page 53 and 54: Genevieve Savard - Cory Sincennes D
Page 55 and 56: A huge thank you to these talented
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Page 59 and 60: Pattern placement on Gerber’s Eas
Page 61 and 62: The resulting costume is a testamen
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Page 69 and 70: Marlee emailed me her CLO project f
Page 71 and 72: Cathleen Sbrizzi (CS): Thank you so
Page 73 and 74: Post Research Interviews 73
Page 75 and 76: CS: What is your perspective on the
Page 77: KS: Yeah, I struggled less in CLO 3
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Canadian Costumer's Digital Research Initiative Results

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