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Meara Hamlin and Kat Goodall | Costumiers

Left: Meara Hamlin. Right: Kat Goodall in the Cosprop millinery room. © Cosprop

At Cosprop—founded by the Academy Award–winning costume designer, John Bright—maker Meara Hamlin and milliner Kat Goodall bring history to life through skilled craftsmanship and period precision. From principal costumes for stage and screen, to meticulously blocked hats shaped by hand, their work draws on archival garments, technical expertise, and years of experience, celebrated in Costume Couture: Sixty Years of Cosprop.

How did you begin?

MH: I learned how to sew when I was eight. I went to a summer camp and learned how to sew on a sewing machine. And I absolutely loved it. I was super creative kid. Film and television also inspired me to do this.

KG: I studied fashion at London College of Fashion and I sort of fell into doing millinery. I did a little bit of millinery at college, and then they thought it'd be good idea if I pursued theatrical costume. So I applied to all the costume houses and ended up with a job at Angels in the millinery department.

How did you learn?

MH: I went to the Royal Welsh College of Music and Drama in Cardiff, the course was called Design for performance, but I knew that I wanted to be a costume maker, so I specialized in making, as opposed to really doing any design.

KG: I didn’t really have any millinery skills to speak of at the time but I learned on the job. I did 10 years at Angels and then came to Cosprop and I've been here for over 20 years.

Who or what most influences your work?

MH: Things that I watch, historical inspiration, books, magazines, fashion plates, looking at pictures online, going to exhibitions, but really all the beautiful historical items that exists. Cosprop has a huge collection of original garments that we as makers are very lucky to get to look at.

KG: I suppose, because it's not something I design myself, any makes are influenced by the designer, and of course John (Bright, founder of Cosprop).

Sometimes, if I'm just doing something from making something for stock, it'll be because I've just been inspired by something that's come through the room, and then I think, Oh, I might make one of those. But really, it's whatever the designer wants, and based on the production needs and the time period that its supposed to be set in.

How do you plan, prepare, and create your works?

MH: I think if I know what kind of costume I'm going to be making in advance, I'll have a look at the stock that we have here at Cosprop or if I had a lot of time, do a bit of research. If it's something I haven't ever done before, i talk to other makers I'm working for advise.

I work closely with John (Bright, founder of Cosprop) and Nancy, our workroom manager. I would talk to the designer or supervisor, whoever is giving me the pieces that I'm making to understand what they want.

KG: I do slightly make it up as a go along. I have been doing this for a long time and you get a feel for the periods and the way things should look and the techniques you need to use to achieve that. You do have to have a good eye for it, to be able to judge if the style feels right, and to be able to suggest trimmings and materials to the designers.

The Cosprop Workroom © Paul Bulley

What does a typical day look like?

MH: I work as a dress maker at Cosprop in their main workroom. We do makes for principals for stage and screen. A typical day would be, Come in to the workroom, have a cup of tea, then if it's something I've been working on for a while, I'll get straight into it, whether it's hand sewing or machine sewing. Or if I'm starting something new, talk to either John or Nancy to find out what they want me to do, and go from there.

For fittings I would make sure I have a page in my notebook ready to go for notes. I have a little thing that I hook onto my belt loop with pins and my scissors and everything. And if there's any questions I specifically want to make sure I get answered in the fitting, I'll write those down ahead of time so I don't forget anything.

KG: I have a very nice room at Cosprop with some natural light, where I have all my blocks and equipment and materials. I suppose this typical day would be coming in on a Monday morning, and then, to my horror, seeing a box of hats that needs mending or steaming outside my room. It really depends on the day and on whats needed at the time, but for the stock hats, I would check them all, do any repairs. Make sure they've all got hair fixings, that's quite important. And if im doing a make from scratch I would either liaise with the designer or John, and get on with making.

The Millinery Room

One more thing… An object you’ll never part with?

MH: My Kai scissors; because they're so nice.

KG: This might sound odd, but; cling film! Because you should always cling film the block before you block anything, that’s rule number one of making a hat. I am also quite fond of my thimble, even though its just a normal one, nothing fancy.

Interviews by Lucrezia Lucas

Images from Paul Bulley and courtesy Julia Buckmiller and Jon Stokes