Interview with Soule Golden
How did you get started working in costume design?
My best friend’s mom taught us how to sew on patterns like Butterick and McCall’s when I was 11. She refused to be paid for the lessons and my mom brought her a bag of groceries instead. We soon found out with our skills we could dress however we wanted with our new sewing skills—for me it was like Claire Danes from My So Called Life, lol. I didn’t know that costume design was a job until I broke my foot running track at Cornell and then started working in the costume shop. There was so much talent there and the Costume Shop Manager at Cornell, Richard MacPike, encouraged me to apply to the Santa Fe Opera, where I met other folks in the theater production and design discipline.
How do you start a design project?
I like to ground myself in whatever the “world” of the piece is. For example 1960s New Orleans, 18th century France, or the zombie apocalypse. I collect images and read articles and books related to the images. If a piece is musical, I let the music guide the mood of the visuals.
What has been your biggest influence thus far in how you work?
I read a lot and widely. I also love being in nature and working collaboratively.
What is the difference between making work for a comedy vs drama? Do you have a preference?
When you’re making comedy you’re trying to elicit laughter. In drama it’s a mixed bag. I suppose I prefer comedy because comedians make me laugh (the good ones).
What is the most challenging part of putting a costume/wardrobe collection together for a play?
The most challenging part is that often non-profit producers don’t realize the complexity of the work. With a more supported large production, costume designers are managing a crew, sourcing material, and working with directors, managers, producers, performers, other designers, etc. they are often having intimate conversations with performers about the width of their feet or their wool allergy. A director is often incredibly busy and keeping in touch is essential to a fruitful collaboration.
Do you think a costume can stand on its own or, since you are always working with a play- is the story really essential to the success of the costume and vice versa?
A costume can be appreciated in its own right. The craftsmanship on some Broadway and Ballet costumes, sometimes engaging dozens of artists, can be breathtaking. From embroidery, beading, hand painting, draping, patter making and beyond, life-long, dedicated artisans produce work for performers in which to dance, sweat, sing, cry, fight, and wail. In a successful production, all collaborators care about elements and hope for the best success of the entire production.
What has been the biggest shift, if any, in costume design you have seen since you started? Personally or as an industry.
Covid, parenthood, and Black Lives Matter.
Do you ever find yourself in awe of how outfits are made or do you just see things differently now because you know the world of pattern construction so well?
I still really appreciate the work of other artisans.
Do you ever notice that your costumes complete the plays you work on? For example, I am sure that you see the performers rehearse, are privy to their struggles with scenes etc. But with costumes, do you find that it just helps them with their final ‘click’ into character?
Yes.
What would your dream project be?
I have a lot of dream projects and dream collaborators, but I’ll name three: A completely post consumer outdoor production-with all my favorite musicians and performers, outside in spring. A big budget period film or streaming series like Bridgerton. An experimental film/performance piece in the vein of what Robin Wall Kimmerer does with her students in Braiding Sweetgrass, where everyone goes into the forest and crafts their own clothes.
A sample of Soule Golden’s work.