Welcome back to How I Made It, a weekly career series looking at how people landed their jobs.
This week we’re looking at all things design, as Shoni Wilkinson works in costume creation for a mix of TV and theatre.
Now 36 years old, she’s been in this industry for a decade, having worked her way up.
Though now she’d say this is her dream job, it wasn’t always. First she thought being in front of the camera was the goal – but at 26 she realised it’s all about the work behind it.
She tells Metro.co.uk: ‘When you’re designing, it feels amazing, but there’s so much pressure you don’t always get to enjoy it until it’s done.
‘But there are fun moments – there’s usually such a sense of camaraderie in wardrobe and I’ve made friends for life on shows where I once washed their pants.’
It’s an exciting industry with plenty of ways to work in it, and Shoni has been a part of projects for the BBC, Channel 4, Museum of London and shows on the West End.
This is how she made it happen.
Hey, Shoni. What made you get into costume design?
I came to London to attend drama school as my ambition was always to become an actor.
But by the end of the course, I realised that my passion lay firmly with costume design.
The art of storytelling is part of my psyche and is what I love most – I realised that I preferred telling a story through costume.
Wow, so once you made this switch, what confirmed it was for you?
It just felt natural to me.
I spent a lot of my formative years trying to conform – doing and being what I thought I ought to, but costume was different – it enabled me to express myself in a way that I felt comfortable with.
I had an audition for a short film not long after I graduated.
Instead of preparing for the audition, I spent the whole week leading up to it designing and making a cosplay costume for a friend – a replica from Assassin’s Creed with a lot of great detailing and fun shapes.
It got to the night before my audition and I thought ‘I really should have done some prep’ but instead I realised I’d spent the week doing what I was actually passionate about.
That was my lightbulb moment. I never feel more natural than when I’m designing and making.
Did you then do any design training?
I didn’t have any formal design training. But my acting training has played a fundamental role in enabling me to dissect and create a character and to understand performers and their needs, because I’ve been there and had firsthand experience.
I completed a few short courses at Central Saint Martins including draping on the stand (a form of pattern cutting) to build up some hard skills, but other than that I’m self-trained.
This has its good and not so good points!
Good because I learned so much on the job, probably far more than I would have done in education, and built up my experience rapidly.
But on the downside, you can make a lot of connections in this industry during training which can sometimes give you a leg-up in the early days.
It doesn’t hurt that I love to learn new skills and I’m a born problem-solver, so I can usually turn my hand to most things.
How did you establish yourself in this industry – was there a lot of networking?
This industry is largely powered by word of mouth – directors, designers and producers prefer to work with recommended people so reputation is crucial.
I’m very gregarious so I don’t find it difficult to network and I’m also ambitious, so if there’s someone I’m keen to work with I don’t hesitate to introduce myself.
The majority of my day-to-day work comes from colleagues recommending me.
If people are impressed with your work, they will return year after year.
What’s been your favourite project to date?
I’m most proud of my first ever collection – The Art Of Queening. It combines historical fashion with contemporary haute-couture to highlight women and women’s issues from across the centuries.
But my all time favourite project has to be a production of The Libertine directed by Martin Berry. The concept was historical meets contemporary which is my speciality.
The play is all about hedonism and the costumes featured 18th century looks inspired by Russell Brand, Amy Winehouse and Liberace. It was so dark and dirty and the design was pure indulgence – I loved it.
Did you have to support yourself financially through other work at the start of your career?
Sort of. My ‘other job’ was a role at Madworld Costume Hire in Old Street.
I started out on the shop floor and ended up being the costume maker, creating their period costumes from Tudor to Victorian and even the odd pantomime horse.
The staff were incredible and hugely supportive of my ambitions so allowed me to take small jobs in film or TV.
It meant that I was able to make contacts and build my career while bringing in a wage doing something I loved.
That job was one of the most fun periods of my life and the team are still like family to me.
I was invariably juggling one or two projects alongside my full time job though – which was exhausting – but I know a lot of colleagues who did the same whilst doing bar or retail work to make ends meet so I feel very privileged.
An average working day in the life of Shoni Wilkinson
10am: The workday begins if Shoni is designing a collection, as she is ‘not a morning person’. She starts by researching.
11am: She begins sketching, which is something she can do quickly.
12pm: Once Shoni has a piece in mind, she’ll start draping fabric on the stand. ‘I prefer to work this way as I’m very visual – I like to see designs come to life in front of me,’ she says.
3pm: She’ll work with trying different materials and colours, looking at prints and textures.
9pm: She’ll stop using a sewing machine at this time to prevent annoying neighbours with the sound.
12am: Shoni will finally switch off for the day.
How do you work with actors and designers for shows?
It largely depends on my role within the team – there’s lots of different jobs I can take on in costume design.
If I’m supervising a show, I will work closely with my designer and the team including anyone in the costume workroom, freelance makers and buyers overseeing everything required to take the costumes from 2D designs to actual garments.
As a supervisor you don’t get much time with the actors – you’re like a wizard who turns up, makes sure everything gets done correctly and then leaves on opening night.
If I’m in wardrobe, I get to build a relationship with the cast as you work very closely with them especially if you’re dressing, but also just because you’re in and out of dressing rooms, and you share a very intimate space.
As a head of wardrobe, I’d be responsible for managing a team of dressers and ensuring everything is clean, maintained well and looks visually correct for every show.
What do you love about the job?
Almost everything. I love the diversity, the challenge, the problem solving, the creativity, the freedom, the thrill and the people.
I was recently with a colleague at a West End theatre collecting costumes. There was a family waiting outside the stage door, and as we carried out bags of costumes, sweating and swearing, this family looked at us with wide eyes.
I turned to my colleague and I said: ‘Does it make me insane that even after all these years I still get excited that I’m allowed to go backstage?’
These people are here to see the magic. But we get to be part of it, we get to make it, and I love that feeling.
What do you dislike about it?
It truly frustrates and saddens me how undervalued and underpaid we are.
Costume is largely female-led, so there still remains a huge disparity within the performance industry when it comes to wages and the respect we receive.
I don’t think anyone truly appreciates how hard the costume department works.
Our hours are ridiculous – we usually arrive before everyone else and we’re the last to leave.
I recently had a male director say to me on a busy set: ‘I’ve seen The Great British Sewing Bee, so I know how long it takes to make something like this.’
Do you have an interesting job or career journey?
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