Find out a bit about Deborah from this interview she did for the book “Larger than Vogue, the business of being a Fashion Stylist” by Anna Katsansis

“In this book I will explore not only what it means to be a stylist but everything that goes along with it. I will provide you with a brutally honest view on styling, how to get started and how to work full time as a stylist. This book is not for the timid or the unmotivated if you truly want something you have to work hard for it. In a world of immediate gratification, I will show you the tools (the tools I have them all in my kit) to have a long and lasting career. There is a lot that goes into styling that is not obvious on the surface. First you need a place a to start, and a proper foundation to get you there. I hope this book will serve as a guide for those even slightly interested in wanting to get into the industry as a fashion stylist. It’s imperative to note that not everyone’s path to styling is not the same. There is no wrong or right way to approach the fashion industry and not everyone’s experience will be the same. I am providing you with personal insight from my experience as a stylist who has been working in the industry for 13 years. Webster’s dictionary defines a stylist as a person who develops, designs, or advises on styles. A stylist is not defined by one role but many roles and responsibilities. I believe a stylist to also be a professional shlepper, a bag lady, a hoarder, an avid collector, a dreamer, an interpreter of fashion, but overall an artist who puts their own spin or signature on fashion, one who is ready to make a statement using any articles of wardrobe. Another important idea to understand is that fashion is also a business, and that creativity alone is not enough. I find myself being asked to offer advice to aspiring stylists. Artists wanting to know more about how the industry works, the different parts, and the approach. Where do they start? The purpose of the book is to provide as much information to get you started, as well as maintain your career and learn about bridging the gap between the business side and the creative.”

What is your name?
Deborah Cantor

What is your job title?
Costume Designer/Wardrobe Stylist

How long have you been styling?
I have been in the industry 25 years (nearly 26)

How did you get your start in the industry?
I started my career by doing a fashion and textiles degree at Manchester Metropolitan University (UK). I produced a final collection that was showcased at Graduate Fashion Week, in front of fashion professionals. I received some high profile press on my work. I then went into the high-end fashion world, working for top glossies such as British Vogue, Harpers and Queen (London) and Harpers Bazaar (New York), I now predominantly work within on-screen wardrobe, for all the major UK television channels such as BBC, ITV, Channel 4 and Sky. Having started my costume career at the BBC Costume Department, where I put stock away from various productions for over a year and indexed all items, which consisted of describing costume/accessories etc, where I really learnt my periods and how to know the fabric, texture, makeup of a garment, measure and colour code as well as date it. There is nothing like having a garment in your hand and knowing its history and understanding how it fits on a body.

I then became a Costumier, where I was running different departments from the uniform, contemporary to Light Entertainment sections, putting different characters together and lining up for many productions in various genres. Designers would call me with requests or come in and would require help to put a look together for the programme, commercial, pop video, film etc, anything from a police drama to a game show. I had to have an overall knowledge of everything from safe numbers for police uniforms or army rankings for national and international sectors, to 50s costumes for Hairspray, or Victorian costume for Jane Eyre. When I was a costumier we also had high profile fashion designers come in to the department for inspiration on there following seasons collection. Costume really does influence the fashion industry. As a Costume Designer we also set new trends. I was fully BBC trained in every area of costume learning how to dress period costume to measure garments, to accessorise with the right jewellery, hats, bags, shoes etc. Working for the BBC and under the umbrella of an institution like that has been invaluable. I gained a huge amount over my six years there. British television at its best producing great drama and entertainment, the production values were always high. I then went on to become an Assistant Costume Designer/Co Designer and finally onto my role as Costume Designer/Wardrobe Stylist.

Best/biggest lesson you have learned in the industry to date?
The biggest lesson I have learnt is you are only as good as your last job. I have to be diverse and adapt from Drama to Comedy and from Period to Modern day. I can be shopping one day to fabric buying in the London districts, to pulling costumes at world wide Costume Houses, to lining up the characters/models and there costume changes/fashion changes, to on set and everything in between. From 3D in television to 2 D in print. You have to tell a visual story as a Costume Designer and it has to be immediately recognisable when creating a character, you often discuss this with the producer, director and artist. In my case, I can receive information (sides) very late and have to interpret the look which can combine different genres sometimes and bring it to life. “You have to take the viewer on a believable journey”. (My original quote).

I have had the privilege of working on a variety of different programmes for all the UK networks as a Costume Designer. Every day is varied, depending on the brief. I work in many different areas from TV and film to print/commercials and theatre. I thrive in the Entertainment side of the industry, as I enjoy the challenge of speed and creativity.

What advice would you give to up and coming stylists wanting to join the industry?
The advice I would always give someone who wants to come into this industry is to learn your trade. Work with as many different designers from drama filming to studio entertainment as you can. Watch everything that is going on around you and learn from the Costume Assistants, Costume Maker, Costume Supervisor and Assistant Costume Designer to differentiate the roles.

Serial dramas help you learn continuity and script breakdowns and it’s a great way to understand direct and indirect continuity, working different units, double banking, story days and being vigilant by a monitor.

Live TV is always a great insight and reveals if you can take the pace as anything can happen, from costume fittings on the day and alterations, enhancing costumes, studio dress rehearsals (these are important as they are often filmed and inserted into the show) full costume quick changes (which vary from 50 seconds to 2 minutes) and often pre-recorded shows can be filmed as live, continuity is important and sometimes things are filmed in or out of sequence, sometimes costumes are changed between the dress rehearsal and recording the show to the productions new requirements.

Things change all the time in entertainment, it keeps you on your toes. These programmes are often filmed in front of a studio audience. All of this gives you the tools you need and a way to understand the craft. Don’t rush into the responsibility of designing too fast. As you have to have a background to be able to deal with any situation that is put on you at any given time. Always listen and learn from those around you, take it all in.

How important is assisting in this industry?
Assisting in this industry is vital, I did so for many years. I would assist as many stylists as you can, to learn every aspect of the job from etiquette on set, calling in looks, shopping, returns to meetings etc. I will never ask my assistant to do anything I wouldn’t do or haven’t done myself.

When I was an Assistant Costume Designer I learnt how to manage a budget, to working with different personalities and Costume Designers/stylists and being in the thick of it, learning more about a set and fitting artists, dressing, shopping, lining up, breaking down costume, script breakdown, location filming, studio filming etc. The hours are long, but when you see something you created on screen it’s very rewarding. Working freelance you find you have more freedom and confidence to work in a forever revolving world.

Teamwork is essential and working with other departments is a must, we work so closely with makeup, the art department, lighting, sound etc. There is often a crossover between our departments, for instance what is classed as a Costume? A headpiece, if it is worn is part of the costume, even though the makeup department would dress it. An umbrella is part of the costume look, but the props department would supply it. The lighting department need to see the colours of the costume or design, to make sure they compliment the light. The sound department need to see what a presenter is wearing to place the microphone. This is why we have such strong links with each area.

What is your current take on the styling/fashion industry as it stands today?
There has definitely been a change in the fashion industry in the last 25 years. Fashion month happens twice a year S/S and A/W. I have been attending the seasons since the early 90s (LFW) watching it move and evolve. Many years ago you would take a notebook and pen so you could draw and make notes as the models were walking the runway to make sure you had the headline of the trends, that would filter into the stores slowly. Now with social media and the use of smart phones one can show the world the upcoming trends instantly. The looks are almost immediately available through “fast fashion” Social media has had a dramatic influence on the fashion world as print is now available digitally and instant as well.

Sustainable (conscious) fashion has been very prominent recently. Bringing old clothes/accessories that have been stored in your closet or buying from vintage or charity stores and reinventing them in order to save the planet.

Fashion has always been an exciting industry to be involved with and will always be. The big fashion houses are still so relevant for showing the way, as are new upcoming designers. Some of which are recent graduates having showcased at the likes of “Graduate Fashion Week” a platform for the new generation, this is an event I attend yearly to be at the forefront of new talent. They produce interesting new designers. Creatives are able to open shops on the likes of Etsy. Online shopping has made fashion available for non shoppers at different price levels, making fashion easily accessible. This helps all fashionistas stay relevant with different price points from high to low. Sometimes online shopping showcases more than the stores have in stock, you can find some gems.

If you could go back in time, what advice would you give to your younger self just starting out in the industry?
I feel like I went through the right channels overall to get to where I am. I was BBC staff for six years where I got a full BBC training, before going freelance where I was an Assistant Costume Designer and Supervisor for fifteen years, so when it came to it and I was offered my first programme I was ready to take on the responsibility of a Designer and started small.

When I first went freelance all the things you think are natural like walking on a set and fitting an artist can also be overwhelming. I remember one particular show early on, Zero to Hero which was commissioned through Factual and mixed science with entertainment. On our first day of prep my Designer gave me this science pack to read through to get up-to-date with the nature of the show, I just gasped, thinking inside this isn’t for me as I started reading it, but actually, in true entertainment form, it was like any other show set up.

I had an early situation on a production “Strictly Dance Fever”. My designer generously gave me the judges on the panel to style and I had a budget and had to take them shopping, which as a young assistant can be daunting to appear confident and assured. So I would say to a younger me now, stay confident and have conviction in your design decisions, nothing is ever perfect, but always strive to push beyond the boundaries as nothing is impossible, to stay focused, dream big and always humble.

So the advice I would give myself going back in time, would be do it exactly the same way I did. I started from the bottom for years, I know every aspect of this industry from doing that.

What qualities do you think make a successful stylist?
Qualities for being a successful stylist is follow your brief. What the client wants is the most important part of the job.

The nature of the production or shoot is to go with the flow and not against it. I often get extra requests on the day of filming or changes to the original brief, you have to think on your feet and be versatile with the look. You very often don’t get to fit the artist till the day so have to make adjustments to the fit, often measurements that you’re given if you haven’t had the opportunity to measure someone in advance are not always accurate, so again you have to make the costume work. Things change all the time in entertainment. These programmes are often filmed in front of a studio audience. Sometimes costumes are changed between the dress rehearsal and recording the show to the productions new requirements. All of this gives you the tools you need and a way to understand the craft.

How do you think that styling as a career has changed over the last decade?
Styling seems to have changed over the last decade with social media having a big influence. Print and advertising were always the main source of the medium. Now with magazines going digital and Instagram and bloggers being so influential everything is instant. Publishers put print out weekly/fortnightly or monthly. Vloggers and influencers around the world show the campaigns or behind the scenes of the shoot immediately. PR companies can prioritise red carpet events as there designers are being showcased globally whereas magazines are more likely to be seen by country they originate. Celebrities are gracing front covers more than models. Runway shows have celebrity guest on the frow for more press coverage.

Do you think Instagram and other social media platforms hinder/benefit one’s career?
I think social media and Instagram is great platform for many starting out. You can showcase your work instantly and be seen by a wider audience around the world. Many can comment about your work and help with networking. You have to have to be tough and determined generally in fashion and television, but even more so with social media as anyone can have an opinion on your vision. You have an opportunity to share your creativity with the world, whereas many years ago that was not available. A worldwide medium can only be a good thing if used correctly.

What is the thing you hate most about this industry? Why/how would you change for the better?
There is nothing to dislike about this industry. We are privileged to work in a creative field that gives us the opportunity to express ourselves. If there is any downside, like any industry you have to be determined and focused enough to break through the barriers and make our voice heard. As a Stylist we show the world our thoughts and processes through glossy pages, the small screen and the big screen. Working with brilliants teams of photographers, directors, makeup teams, actors, models, set designers etc. We all come together to invent beauty.

Worst experience/story in the industry?
I can’t say I have had a terrible experience. Only interesting situations where a brief is changed or actor is replaced last minute. You have to have a lot of experience especially if filming live shows to cope with fast change.

I draw my influences from the personality of the artist and the nature of the show. I work so fast at times that I do as much research as possible, so I can then decide where to source what I am looking for.

Research and knowledge is as important as the filming, knowing the shops well and the areas to shop, from high end to high street, to markets, such as Portobello, Camden etc, to one off boutiques or vintage stores, or commissioning a new upcoming designer, it’s vital to know where to go for what is required. When it comes to the fabric buying it’s essential to understand a fabric and how it will make up as a garment. For example with dance shows, Lycra based fabrics work best as it has to have at least a two way stretch which gives the dancer movement. The cut of a garment is always important to understand as each period is different. Colour and texture brings all this together and also depicts a period. Some designers especially in film have to use bold colour so it reads as it’s on the big screen. Certain patterns don’t read very well on the small screen or can strobe especially now we work in HD these days.

The most recent show I designed the Bafta-nominated Big Narstie Show I was mixing different genres together, we did sketches to insert into the show and I had to give it a hip hop spin. One of these was “Grime and Prejudice” (combining grime music with Pride and Prejudice). On our second series I had to design a super hero costume in a rapper style, so made up a tracksuit with a reflective design on. Big Narstie wanted this made up in different colours to set up a fashion line. You have to be open to the diversity of the show and listen to what the artist, producers and director want.

Current thoughts on the industry and styling as a career. Anything you would change?
My thoughts of the industry are that is it ever changing and evolving and we should move with the change to stay current and relevant. Always taking inspiration from anything around you. It still excites me to create a look or vision for TV or print. Each day is different, meeting new people and working with other creatives, each department plays an important part in creating the look, you end up working very closely with Makeup, Set Design, Photographer, Art Department etc.

The inner workings of a what a Costume Designer does and the responsibility we have to put something visually identifiable on screen in front of millions of viewers, often making history with iconic characters. We make a strong statement with our art. It is a very important medium to visually represent an ideal for viewers/readers/consumers.

Any general thoughts on the industry?
My thoughts on the industry are to keep moving forward in an ever changing world. Sharing our creations and visuals with the masses. This is an industry that gives the people an ideal and dream that should always be something we aspire too, as well as a way to share that vision and prove that anyone can dress in something similar to there favourite celebrity, model, singer. We tell a visual story that brings magic to the screen or page of the magazine.