Costume Designer Nic Smillie
Nic Smillie talks about her first opera costume design project, The Italian Girl in Algiers, and answers The Big Idea member questions about the difference between designing for opera compared to film or TV.
“The design process itself is reasonably similar in that you are creating a look for each character, and need to be sensitive to the storyline or script but the designs themselves are very different.”
She says opera costume designs need to be a bold statement so they can be seen from the back of the theatre.
Smillie worked with Director Colin McColl and Set and Lighting Designer, Tony Rabbit, to develop the costume design concepts for The NBR New Zealand Opera’s new production.
“There is usually a lot of sketching, research, finding images, ripping pages from magazines and sourcing fabric swatches to build a picture of what we want to achieve with the general look, colour and feel and with the look of the costumes.”
“It is not uncommon for us to come up with more than several concepts before we settle on our final idea, it is a long (and fabulous) process.”
During what hours of the day do you feel most inspired?
Mornings usually, unfortunately though sometimes that can be 4.00am. I find I do some of my best work in my pyjamas.
How would a good friend describe your aesthetic or style?
"Being a textile designer by trade, Nic, you do like a good print"- says my dear friend Alison, I was hoping she would say something about my sophisticated sense of style and having an incredible eye for detail, but no.
What aspect of your creative practice gives you the biggest thrill?
Seeing all the hard work (from everyone involved) come together although often, on reflection, it is the process of getting there and the collaboration that can be the truly rewarding part.
How does your environment affect your work?
It can influence my designs, depending on what I am working on, if it is appropriate but mainly it does nothing at all - I think it is reasonably important to be able to zone out and not let your environment overly affect you.
Do you like to look at the big picture or focus on the details?
I generally always start with the big picture, then work on the details - both are so very important.
What's your number one business tip for surviving (and thriving) in the creative industries?
I have no idea - if there was an easy answer I guess us creative lot would all be rolling in it!
Which of your projects to date has given you the most satisfaction?
I don't think I could pinpoint one particular project. Often though it is the more challenging of them, the ones you hate the most to start with, end up being the most satisfying. I guess something to do with being pushed beyond your boundaries.
Do you find the process of costume designing an Opera is quite different from Film/TV work, or are they very similar disciplines? - Benedict Reid
The design process itself is reasonably similar in that you are creating a look for each character, and need to be sensitive to the storyline or script but the designs themselves are very different.
Costumes for opera need to be seen from a much greater distance than for film or television...
In television it is mainly the head and shoulders that need to have the detail as that is the general view on screen, with film the screen is so large that every detail must be perfect as it is like taking a magnifying glass to your work, and with opera, while detail is important, the costume must be a bold statement which is able to be seen from the back of the theatre.
Who do you work with to design the costumes - what is involved in the process of turning a concept/brief into a design?
I work with the Director, Colin McColl and the set and lighting designer, Tony Rabbit to come up with our concept. There is usually a lot of sketching, research, finding images, ripping pages from magazines and sourcing fabric swatches to build a picture of what we want to achieve with the general look, colour and feel and with the look of the costumes.
It is not uncommon for us to come up with more than several concepts before we settle on our final idea, it is a long (and fabulous) process.
What advice can you give to aspiring costume designers?
I think the most important things are to develop a good eye for detail and to be true to the script or story-line (unless the Director says otherwise).
Who or what has inspired you recently?
A trip to Louisville, Kentucky... the 21c Art Museum - amazing collection. Especially the eye videos that played in small squares inset in to the mirrors in the women's toilets.
If you could go back and choose a completely different career path to the one you've chosen, what would it be?
I did want to be an archaeologist when I was nine.
What place is always with you, wherever you go?
Palmerston North.
What's the best way to listen to music, and why?
60s vinyl on the stereo - quite loud - unadulterated, gritty sound - music as it should be.
You are given a piece of string, a stick and some fabric. What do you make?
A fabulous frock (would probably leave out the string and the stick).
What's the best stress relief advice you've ever been given?
I don't think you could publish that.
What's great about today?
Finally beginning to see the light at the end of the tunnel on my latest costume design project, the opera "The Italian Girl in Algiers" - very exciting, my first opera.
Everything is starting to come together, we have a few finished costumes (as well as quite a few unfinished) and it is only days before they are all up on the stage for the very first time.
What’s your big idea for 2009?
Oh crikey, it is the end of April already and I have not had one yet.
Costume Designer Nic Smillie – Background
Born in Palmerston North. Nic Smillie has a Bachelor of Design in Textiles from Victoria University and has worked in the television, film and theatre as a costume designer for the past 12 years. Costume design credits for television include Fish Skin Suit, The Insiders Guide to Happiness and The Insiders Guide to Love, for which she won the Air New Zealand Screen Award for Contribution to Design; films Stickmen and Turangawaewae; theatre: Where We Once Belonged, Cat on a Hot Tin Roof, Who Needs Sleep Anyway?, The Wife Who Spoke Japanese in Her Sleep (Auckland Theatre Company); King and Country, Top Girls, Cabaret, Sweeney Todd (Downstage Theatre, Wellington); Drawer of Knives, The Blue Room, This Train I’m On (Circa Theatre, Wellington).
The Italian Girl in Algiers - The NBR New Zealand Opera
Wellington – St James Theatre
Sat 9, Thu 14 and Sat 16 May (7:30pm), Tue 12 May (6:00pm)
Auckland – Aotea Centre, THE EDGE®
Thu 28, Sat 30 May, Thu 4 and Sat 6 June (7:30pm), Tue 2 June (6:30pm)
Single Tickets: $49.50 to $187.50. Concessions available. Service fees apply. Bookings: The NBR NZ Opera Box Office, Tel (09) 379 4068 or (04) 499 8343, or: Wellington: Ticketek outlets nationwide, Tel 0800 TICKETEK (0800 842 538) or www.ticketek.co.nz Auckland: The Edge Box office, Tel (09) 357 3355 or visit www.the-edge.co.nz
