Issue link: https://digital.copcomm.com/i/1529398
Having studied dance and being a part of the San Francisco Ballet during her youth has strengthened her work when craing specific dance materials. "It's really more about understanding the fabric and the way the fabric moves and what direction it stretches, whether it's a four-way or a two-way, or exactly how to get it over the hips without the seams busting open. It's about how to keep the garment intact through rigorous dancing. I know it sounds a lile wishy-washy when I say it to new people that come into the shop, but sewing these garments is a feeling, it's not a measurement. It's knowing when to pull at the right point. All these garments are instinctual. You get to a point where you stop thinking about the math and just feel it." With Kendall's previous experience as a ballet dancer, she has personal insight into how these garments will fit and what works for movement with dancers and stunts. "I know what I like in a dance costume and I know where I don't want it pinching or pulling or digging into myself. I do try to keep all of that in mind, even when I've worked on Star Wars for so many years, and I've done a lot of the stunt people's work and even working on their garments. I know where things will bust open. I know that this crotch is gonna blow and we're gonna have to reinforce this. I'm a stunt performer myself too, so knowing what's a good fabric to put on these people and knowing where things need to be reinforced is a huge asset that I personally have from my stunt Disney 100 Night with Charity Lawson. (Insets) creating the look. 36 WINTER 2025