Today we’d like to introduce you to Pamela Workman.
Hi Pamela, so excited to have you with us today. What can you tell us about your story?
I’m from a line of female stitchers and cake decorators. Not because they wanted a creative or artistic outlet but out of necessity. All of my family were Appalachian farmers. They worked the land, in the nearby industrial plants, or a combination. Stitching and baking were a necessity for my great-grandmother and grandmother. My great-grandmother stitched in bridal shops, decorated cakes, sewed for all of her children, quilted, and remained a constant encouraging voice in my career path right up until her passing in 2021. My grandmother made my church & pageant dresses, taught me to enjoy baking, and loved to host. My mother created my regalia for our travels to PowWows as she was also a Native American jeweler and I was a dancer. My mom insisted on raising us with Native sensibilities; she is a gypsy soul. My stepdad and grandmother were more traditional Christians in their ways. At 15, I started working for The Castle of Muskogee, Oklahoma. That’s where Elspeth The Milkmaid was created and where she thrived as a character. I like to think all of the variety developed my thirst for learning and my curiosity about the diversity of humans and cultures in our world.
Growing up in Appalachia and with a lower income, college wasn’t so much promoted for women. And college for the arts, for costumes, basically laughable and unheard of. But I knew in 4th grade that I wanted to be an educator. I thought it would be for math or history until my Freshman year of college. I took an Intro to Theatre course and fell in love. I started volunteering in the costume shop where I met my first mentor, Kozy Hamilton. This energetic, little ball of compassionate chaos pushed me and encouraged me to succeed no matter the obstacles. In graduate school, I met my second mentor, Patricia Mason. Realistically blunt and extremely talented, she showed me that we learn through all parts of life including the difficult moments. In my final year of grad school, Lloyd Cracknell became my professor and was the entire reason I could finish grad school with my head held high.
After graduate school, I started teaching for various universities in the Eastern US. I found my home with Brenau University. I also work as a freelance costume designer and costume technician. I am hired by theatre companies to design and by locals to build custom clothing & costumes. Currently, I am working on a custom wedding dress and with two Santas. Gainesville Theatre Alliance recently opened “1984” in our Ed Cabell Theatre (4/14/23). This past year I designed for theatre productions such as “Urinetown The Musical”, “Rapunzel” a children’s TYA tour, and “The Secret Garden”.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
The main challenge is networking and finding clients. It isn’t my strong area; thankfully, friends and family spread the word. I am hoping to grow my clientele in theatre and local commissions.
I would also like to gain relationships in the film industry’s costuming departments to have contacts and internships for my students as they earn their degrees.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
I am primarily a theatrical costume designer. I am also hired for bridal, clothing, and personal costume commissions. I really enjoy building corsets and Renaissance Faire costumes. My favorite part about my job is the research and being able to collaborate with a team. I have worked with a variety of shows from fanciful and sparkly children’s productions to dystopian social science fiction.
As an educator, I am serious and sincere in pushing the students to succeed and grow their skills. The costuming students are taught to create paperwork, lists, organization skills, collaboration and communication skills, machine sew, hand sew, patterning and draping, dye, thermoplastics, and various other needed skills for the industry.
Alright, so to wrap up, is there anything else you’d like to share with us?
Pricing is based on the job.
For commissions:
A basic chemise with a collar made out of cotton will cost about $85.00.
However, a full-character look can cost $750.00 or more.
Wedding dresses can cost $3,000.00 or more.
There is a retainer fee for commissions of $250.00, though this is then rolled into the final payment amount.
For Theatre:
Designing a production depends on size and timeline.
Being the Technician for a show I’m also designing is a separate contract and pricing depends on the number of pieces.
Sometimes travel and board is needed.
Contact Info:
- Website: www.originallypamela.com
- Facebook: https://www.facebook.com/pamela.workman2006/
- Other: Brenau University @ https://www.brenau.edu/ and Elspeth The Milkmaid @ https://www.facebook.com/profile.php?id=100067667951937 and Gainesville Theatre Alliance @ https://gainesvilletheatrealliance.org/
Image Credits
Personal Photo: selfie in a Belle CosPlay Other images: 1. Photo as Elspeth The Milkmaid at The Georgia Renaissance Festival. I designed and built the costume. The photographer was Chris Dill. 2. Dye work as an option for a wig in Rapunzel. Silk dye with folding and clamps. This was also a test for color, fabric, and time. I tested multiple types of silks in different Shibori methods. 3. Gainesville Theatre Alliance production of “Pippin” in 2020 (pre-COVID). The photographer was Dave Simpson Photography. The Lighting Designer was D. Connor McVey. The Scenic Designer was Dennis Mauldin. I was the Costume Designer. The Wig and Makeup Designer was Nathan Dingess. The costume Shop Supervisor was Aimee Johnson. Director was Jim Hammond. 4 – 6. Renderings and production photo (AJ Reynolds) of The Gainesville Theatre Alliance “Legally Blonde The Musical. The Lighting Designer was D. Connor McVey. The Scenic Designer was Larry Cook. I am the Costume Designer. The wig and Makeup Designer was Hannah Humphrey. The costume Shop Supervisor was Aimee Johnson. Director was David Rossetti. 7. Rendering for a wedding dress commission. The build is still in process. Design and build by me. 8. Masks built from thermoplastics for a Commedia del Arte’s children’s production of “Androcles and The Lion”. The Director is Octavia Biggs. 9. Gypsy costume commission. Design and build by me. 10. Production shot by AJ Reynolds of “Urinetown The Musical. The director was Michael Jablonski. The Costume Designer was me. The Costume Shop Supervisor was Nathan Dingess. The Assistant Costume Designer in charge of wigs/makeup was Lucius Gardener. The Lighting Designer was Terri Becker.
