Today, I am absolutely thrilled to share with you the first part of a very special interview. Over the next two weeks, we’ll delve into the enchanting world of Resa McConaghy, a remarkably talented dress designer whose creations are nothing short of magical. Resa recently designed and created a beautiful dress for me, which she named ‘Midnight Nightingale’. This exquisite piece not only captivated my heart but also inspired me to explore the story and the passion behind its creation.
In this exclusive interview, we’ll uncover the threads of creativity and dedication that Resa weaves into each of her designs. Her journey, filled with artistic flair and an unwavering commitment to beauty, is as inspiring as the dresses she crafts.
Join me in this two-part series as we step into Resa’s world, learning about her design philosophy and her sources of inspiration. It’s a conversation that celebrates artistry, craftsmanship, and the unspoken language of a dress that can transform a performance into an unforgettable experience.
Question 1: Resa, could you share a bit about your journey as a costume designer and what inspired you to pursue this creative path?
After graduating college with an honours degree in Fashion Design and Technology, I set out to become the world’s next Dior.
Naive, the reality of financial backing never entered my mind. With little savings, I opened a boutique, threw some fashion shows, turned my basement into a mini factory, hired a couple of sewers and soon found out rent and wages were beyond sales’ profits.
One day, a producer for commercials walked into my shop and asked if I could get men’s shirts to fit the busts of a male god neatly. No one else had been able to. I said yes and found myself working on a sound stage doing my first commercial.
The money I made was a game changer. Soon after, I closed my “Dior” operation and began styling commercials.
On the side, for no money, my boyfriend had a rock band, and I began designing their stage wear and looks for videos. This led to more bands and arty film shorts.
I joined a film union. Between commercials, film production experience was gained from the sewing room up.
My first reel was compiled using footage from the commercials and videos. Making a bit of a fool of myself, I promoted myself to high-end producers and directors. I guess one could say I had guts because I certainly did not have the credits for the positions I was aiming for.
Somewhere along the line, a producer hooked me up with a young director doing his first budget film.
One project led to another. The scripts, budgets, directors and stars climbed. One day, I found myself working for major American companies.
Question 2: Your designs are known for their unique, recycling and artistic qualities . Can you tell us about some of your most memorable projects or designs that you’re particularly proud of?
Well, for one, the Art Gown I designed and made for you. As we’ll talk more about that in the next question, let me choose some others.
Gee, It’s like picking a favorite child. I do love the Art Gowns I’ve done for the AGMs (Art Gowns Models) … blog pals who have become my defacto models for my “Gowntoon”drawings.
They each have an actual Art Gown dedicated to them: Velvet Tango, Mademoiselle Emily, Jade and Cecilia Lionheart.
There is a 5th Art Gown half done. It will be dedicated to Dale, the final AGM. Also, Belle Grâce dedicated to Tim. I’ll stop now, before I name all my children!
Question 3: I was thrilled when you designed a dress for me. Can you walk us through the creative process behind that dress? What were the key inspirations and challenges you faced while working on it?
The big inspiration was you and your wonderful soprano voice, which led me to appreciate opera. I was in heaven when you were keen on letting me design an Art Gown for you.
Your working wardrobe includes a need for gowns. Also, you appreciate the fact that I am repurposing fabrics and using up old stock, referred to as NOS (new old stock). You embrace the idea of sustainable glamour.
Creatively speaking, I had a piece of sequin fabric that was given to me by a tailor/builder. It was left over from a garment he had done for a TV show, and had been lounging in a pile of fabrics for about 5 years.
I thought that would be perfect for you, because sequins look great on stage. Once you liked the sequin fabric, I added a piece of pale plum satin (a partly cut leftover from another friend), a gift of rhinestones from the same friend
and yardage of black curtain sheers I had about at a liquidation sale for $2.00/ yd. several years before.
The challenge was huge. I was to make a gown for someone I was not going to be able to fit in person. You sent me professionally taken measurements, which I applied to my Judy.
Honestly, every step of the way it was: will this fit, what about alterations, is this comfortable enough to perform in, is the tail workable, have I finished the bodice well enough so that the sequins don’t rip Charlotte’s skin?
Making it in 3 pieces; skirt, bodice and tail was the answer. This created an opportunity for realistic alterations. Also, if one piece turned out to be a massive failure, the others could still be worn on their own.
No other gown has taken me as long as this gown to make.
Question 4: Your work often incorporates a blend of artistry, recycling and fashion. How do you strike a balance between creating functional costumes and making them visually stunning?
Instinct, practical experience and creatively draping my Judy in whatever is in my pile of available fabrics, clothes to cut up, etc. I am allowed only to buy notions.
It is notable that since Art Gowns has become appreciated, I receive gifts of goods in the mail.
Question 5: Many aspiring costume designers look up to you as a role model. What advice would you give to those who aspire to pursue a career in costume design, especially in the world of opera and performing arts?
Wow, I’d love to design an opera. This is a world very different, yet akin to film. In my early days I did do some theatre and live performances, but my career veered into film.
However, becoming a costume designer in any area of the performing arts areas requires any and/or all of the following: passion, product knowledge, education, connections, field experience, determination and luck.
Of all the above, connections is number one. Connections are gained through: family & friends in the performing arts area you are going into, working in the industry at any and all levels (builder/sewer, on set, dresser, buyer, continuity), working for free on low budget independent projects, being mentored by someone who has had some success.
I have mentored 2 people, and they are doing well in the industry!
Come back next week and join me for the second part of interview.