Mary Stirling is the long-time wardrobe manager at the West Australian Ballet.
How long have you been working in the WA Ballet wardrobe department?
Twenty-two years. It certainly doesn’t seem that long. I guess time flies when you enjoy your work. I’m reorganising the costume store at the moment and entering the costumes into a database – it is amazing to look at costumes made such a long time ago.
What training did you have for the job?
My background is in (bespoke) tailoring (very few people have these skills today). I did three years apprenticeship and two years improving. I use these techniques in everything I make, from a tutu to a period frock coat and even the simplest costume – everything has to be precise. Also, I’ve learned a lot just from listening to the dancers; they have special requirements because of what they do.
What does a wardrobe manager actually do?
On a daily basis I supply the dancers with everything they require for class or rehearsals: shoes, fabrics, wigs, millinery accessories and anything required for a production. I also manage and supervise wardrobe staff, liaise with designers and assist with costume development. Forward planning is crucial to the smooth running of the wardrobe or any production.
What was the most difficult production you’ve worked on and why?
I haven’t found any production particularly difficult to work on. Wouldn’t life be boring if you didn’t have challenges?
How long does it normally take to make the costumes for a new, full-length ballet?
Three months in full production mode with additional staff help, but I always like to have the pre-production period to draft patterns, make toiles and buy and preshrink fabrics. The concept for a production should start 12 months in advance.
Where do you source your materials?
Perth doesn’t have many fabric shops, but we do have access to wholesale outlets in the eastern states.
What is the most unusual costume you have had to make?
A half man, half woman costume in Barry Moreland’s Ragtime, designed by Anna French.
What is the hardest thing about your job?
Trying to get a choreographer to release a dancer for fittings.
What is the most rewarding?
Seeing the finished product on stage under the lighting with the set. There is a lot of teamwork behind the scenes.
Have you had any disasters?
The first that springs to mind involves a set of silk jersey dresses. After a dress rehearsal we washed and left the dresses hanging to dry overnight. When the dancers put the dresses on before curtain up we found that because of the weight and fullness of the skirt they had stretched six inches in length. I had each dancer stand on a chair while I cut the excess fabric off. Phew! Only just made it.
Do you have a costume of which you are particularly proud?
All of the tutus and period tailcoats designed by Anna French.
What sort of personality do you need for your job?
Definitely a wicked sense of humour. You need to be calm, organised, down to earth, practical, flexible and quietly confident. There’s nothing worse than a loud, noisy person in the wardrobe.
How would you describe the relationship between the designer and the costumer?
Designers each have their own style and personality. Most are very organised, some not so! This is the reason why the costumer has to be subtle, practical and confident to point out any technical problems a dancer may have with the design, including safety, quick changes and fabric suitability – at this point you use your wicked sense of humour.
What do you notice when you first see your efforts on stage?
You tend to look for faults and where you can improve the fit and visual look of the costumes. At this stage the creative team – costume, set, and lighting designers and choreographer – would be fine-tuning their work also.
Do you take your work home with you?
Not unless I have to. There is a life after the ballet and it includes six grandchildren.
What occupation would be furthest from your true nature?
Aerobics instructor – I like to be calm and quiet at work.
