Issue link: https://digital.copcomm.com/i/1542297
MOTIONPICTUREC O S T U M E R S .O R G 37 crew, and I was on that from the start all the way to the end and wrapped. It was a tough one, because we had so many difficult situations. We had to stop and then we started back up. When we came back to do additional photography, our number two passed away, Lance Reddick, so we had to stop. They did rewrites and so it was such an emotional push to get it to the end. I'm just a Shopper, but I wasn't. I went all the way, like I said I was one of the people all the way from beginning to the end who felt the emotion of it. I was vested. We were here in LA, and then they went to Cincinnati. The Key and I stayed here, then they came back and we finished filming here. I did fiings. Then it was a year later that we had to do the additional photography, and we did that with everybody here. TR: I would have to say First Ladies for me, because it was the first time that I had done a packing and shipping show where there was an actual department here, and everyone started off as being a day player. AE: We joke about that we were day players for seven months. TR: We would get hired for two weeks at a time, and then these two weeks just kept going and going. The first time I'd been hired on, it was right aer we'd come back from COVID. It was shot in Atlanta. Everything got shipped out there, and we did this in blocks, which was nice, but I got hired to shop for two weeks because the ACD was virtually by herself. The Designer wasn't really here, she was out in Atlanta, and so there was nobody. So, I came in. Audrey was doing background. Two weeks turned into a year and a half for me, and it was like every two weeks, 'Okay, well, I'm gonna book you for the next two weeks, and then we'll discuss aer that.' Aer the first block, I say, 'I feel like you just need me here the whole time.' It's spanned across 150 years of American history. I have a minor in history so I loved it. We were dealing with historic people. I not only got to shop it and then wrap it, but we also pulled for the promotion, for the premiere. We did suites, and so I got to pull all the pieces back out of storage and help set up all of the suites for Netflix. I also got to set up for the premiere of it, which was seeing the stylist's side of it. I had never put a mannequin together. It was trying to figure out these pieces that we had put on people, then to turn around and put them on mannequins. The show was just one of the most well put-together crews, and we just got along so well. It was my dream job. As the world of retail changes with the closures of brick and mortar stores and the influx of online retailers becoming the only options outside of our fragile costume house ecosystem, the role of Shoppers, Costume, and Fabric Buyers becomes more complicated by the day. These Costumers have come together to find ways to create a communicative network for Shoppers, to address the issues that they face day to day, and field questions on how to navigate this changing industry landscape by forming the Shopper Support Commiee. If you work as an IATSE Local 705 Costume Shopper and want to join, please email shopperscommiee@gmail.com Left to right: Audrey trying on a bodice and laughing at Warner Bros. Costumes; fabric swatches for Dark Winds S4; lingerie room at Palace Costume.