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♪♪

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(NOVA DOBREV) The designer comes 
in with their beautiful renderings,

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and then it's my job to 
take their designs and figure out

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how to actually create them on time
and within budget.

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This is the most crucial time

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of the whole build, in my opinion,
because I do manage the money.

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So this is telling me who's in what scene
and what they're wearing.

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And if somebody has quite a lot of
looks like our main character, Jo,

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has lots and lots of looks,
all of these are a different dollar amount

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that my eyeballs go cha-ching cha-ching,
and that's how I don't go over my budget

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magically through this paperwork.

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Since we don't have the time
or the resources to build everything,

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we find pieces
that other theaters already have that

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we can borrow for the show
that fits within the world of the design.

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(ISABELLA HARRIS) We have big pieces 
that we just simply don't

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have the time to make in the show,
but we can use our local resources.

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This all came from Milwaukee.

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We had another person
go down and pull all of these items

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and this is what happens to the stuff
that we make.

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It goes into stock and then we can
share it with other theatres as well.

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(NOVA DOBREV) Once we have the designs
and we know what we're going to actually

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build, swatching is the next 
key piece of that.

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We have a freelance assistant
that lives in L.A.

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and we sent her the designs
because Seattle really doesn't have

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the fabric stock
that L.A. and New York do.

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So she physically
cut these swatches in the store,

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put it on these pieces of paper,
and sent those to us.

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It's old school. Yeah, it's an old school.

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Hands on the ground. Feet on the ground
kind of kind of thing.

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I can't really do this online.

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Once we have those individual pieces
approved of what we're going to build,

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then the actual shop
staff begins their work.

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We have usually just four very short weeks
before a tech begins.

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There is a vast community of people
that have to come together

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to bring a big show to life,
especially a period show

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like Little Women, in which there's
a lot of detail in historical context.

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The drapers
mock up the pattern on paper and translate

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the designer's drawings into something
that's actually going to go on the body

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drawn out in 2D to become 3D.

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The first hands cut out these
mock ups in the early building stages

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of how we might want to start
putting things together.

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It's just this kind of a nice

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thin muslin material to sort of start
looking at shape and design.

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Then we have our first fits

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with those muslin mockup
garments on the actors’ bodies.

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We get big overview notes from
the designer about shapes, style lines.

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Then we have a week
to do all of those notes.

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That's when we

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start getting into the actual real fabric
the garments are going to be.

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Then there's more notes
that come out of second fittings.

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We have to make sure the final pieces

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are ready to hit the stage
within one more week before tech begins.

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It takes so many people
to put a big show like this together,

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not just the hands in the room

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that are sewing clothes,
but the folks building wigs, mustaches,

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beards, you name it, and the crafts master
who does hats and shoes, dyeing fabrics.

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There's many hands that touch every single
piece of any look, complete head to toe.

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When we're done building the show
we hand everything over to the wardrobe

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and wig teams
and they care for the clothes and the hair

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throughout the entire run,

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it's a really big job

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to keep track of all the moving parts
and pieces of a show like this.

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In just a few short weeks,
we put together a huge, huge show.

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Period pieces are so much fun
because they're challenging

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and it's not your everyday build.

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And I think the shop has accomplished
a lot in a short amount of time.

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♪♪

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♪♪

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Catch Art Zone Friday nights at eight and anytime online
at seattlechannel.org/artzone.