Job Lot: The pattern maker

By VIENNA RICHARDS

Selena Grant, aged 35, has worked as a pattern-maker and cutter for seven years. She lives in Henderson with partner Martyn, and is on con-
tract work for Pacific Renaissance in West Auckland. She estimates that her average earnings are $32,000 annually.

Who are Pacific Renaissance?

They're the American production company that produces Zena and Cleopatra 2525. Mainly this year, I've been working on Cleopatra 2525.


What sort of things did you make for Zena?

I had to make leather coats and covering bras for Zena and Gabrielle. A lot of their costumes centre around their bras. There's a lot of cleavage there. I was doing drapery on the bras and building dresses around the bras.


Do you sew your own clothes?

I try to. The only thing I buy are secondhand clothes, vintage clothes and clothes made out of stretch fabric.


What's it like working for a large production company like PR?

I enjoy Pacific Renaissance. It's almost like going to art class every day. Everyone's doing something different and it's inspiring. Even though I'm a pattern-maker, I find myself doing all kinds of things, like leatherwork and that.


Describe the job of a pattern-maker and cutter.

If you're working on a production you'll go with a designer to pick the fabric. When I was working on the millennium show I'd go with Tracey Collins to pick the fabrics. We would talk about it and I was able to suggest ideas. You get to know which fabrics go with certain pieces of clothing. And you get the actors' measurements, then find and make up a pattern for them. If you're working in a huge workplace and there's not enough staff, I'll lend a hand sewing and that.


How did you get your start?

When I got back from overseas — I was in England for two years — I was unemployed but I knew I wanted to do something creative. I helped at the Watershed, doing props and a bit of sewing, just helping out. Then in 1992 I did a course in creative apparel at tech for 36 weeks.


What's the most complicated garment to make?

Probably when I was working with Lesley Burkes-Harding, making patterns for bridalwear. Some of her designs were complicated. You worked out how to keep it on the body, making subtle fastenings rather than zip fastenings. It was mainly for the really fitted garments where you had corsets.


Who looks good in a corset?

They look good on anyone. It doesn't matter what size you are, any woman can look gorgeous in one.


What's the most common problem?

Whether a garment fits or not. I guess because time is money, your first pattern has to be as close a fit to the person as you can. The hardest thing is when you have to make clothes for a certain person and there's no time to do a fitting. At PR we get the measurements months in advance, and sometimes the person may have put on weight since then.


What do you love most?

You're learning all the time, whether it's the art of pattern-making, different fabrics or putting something together. You get your basic guidance from a course. But you really learn on the job as you try to figure out how to solve certain problems with a garment. I first learned a lot under Lesley Burkes-Harding. That's how you learn the best — under the masters.


How long does it take to finish a garment?

That depends what it is. With wedding dresses you can spend 10 hours just pattern-making to get it just right, just to get the corset right. But if it's a skirt or shirt you can whip up a pattern in four hours.