Magic in every stitch
In Kilden’s costume workshop, Jessica Romberg is knee-deep in tulle and taffeta, silk and sketches—and right now—military uniforms flown in from all over the Northern Hemisphere.
Well over 100 costumes must be completed for the major production of *Tosca* in September. But that’s not all: the workshop is responsible for the costumes for the lead roles, supporting roles, chorus, and all other performers for no fewer than three premieres—all in September alone.
“We’ve got everything under control. It’s all about being able to multitask,” says costume coordinator Jessica Romberg, who is responsible for ensuring that Tosca ’s costumes fit like a glove. She graduated from the prestigious Beckmans College of Design in Stockholm and knew from an early age that she wanted to be a fashion designer.
At the costume workshop at Kilden in her element. Challenges come one after another every day, and no request is impossible. The chorus in *Tosca* will be wearing military uniforms, among other things, and everything has to fit like a glove. Some costumes are sewn from scratch, while others are altered. Made to measure. One of the biggest challenges is precisely this: matching the measurements of every single actor on stage.
“Some measurements are sent to us—collected quite accurately and meticulously—simply because many of the participants aren’t in Kristiansand until the trials begin in the fall. But you know, some people gain a little weight, and others say they plan to lose a few pounds, so we have to take that into account,” Jessica explains.
She receives sketches and mood boards for *Tosca* from costume designer Anette Werenskiold, and creates each individual outfit based on the drawings and instructions. Then the designer comes to Kilden, everything is reviewed again, and ultimately, the costume must, of course, feel comfortable and right for the actor.
– After all, they need to be able to move around and do what they’re supposed to do on stage without the costume restricting their movements.
At the same time, the choice of materials must work well with the play’s lighting and harmonize with the overall visual aesthetic. No two projects are alike, and each new production requires its own unique strategy to achieve the desired result.
It may look simple, but when the curtain rises on opening night, hundreds of hours of work and trial and error have gone into every single pant leg and every single waistband.
“There’s magic in every stitch. But by then, everything is in place—we’ve helped out with costume and makeup rehearsals, dress rehearsals, and the final run-through—and it’s all in the hands of the stagehands. That evening, we sit back and enjoy the show,” she assures us.
Text and photo by Amund Hestsveen