Alumni Careers: At Guildhall there is an electric atmosphere of something being made from nothing but talent and determination

Katie Jenkinson completed a degree in Stage and Costume Management in 2014 and has since become a member of the International Alliance of Theatrical Stage Employees (IATSE), Local 705-Motion Picture Costumers and has worked as a principal set costumer, background set costumer and costume coordinator on some of the biggest films and TV shows of the past decade. Credits include: Griselda, For All Mankind, Falcon and the Winter Soldier, Lady and the Tramp, Guardians of the Galaxy Vol 2 and Captain America Civil War.

Why did you choose to study at Guildhall School? 

 I was fortunate enough to know from a young age I wanted to study costuming and knew that to get the best practical experience I needed to head either to Broadway or the West End. I chose Guildhall for its unique course in Costume Management that focused on the lesser-known side of costuming; the managerial, financial and organising side of the department. My strong suit has always been supporting creatives to make their visions come to life, so this course suited both my strengths and interests.  

How would you describe the atmosphere and culture at Guildhall School during your time there? What did it feel like to walk into the building? 

Stepping into Guildhall was a fully immersive creative experience. The first thing that engulfed me was the sound of music. No matter when, no matter where, there was always music playing at Guildhall and I found that comforting, inspiring and an incredible privilege and luxury. Next are the people surrounding you, bustling about, heading to a class, to a rehearsal, a fitting, a lighting session, or taking a moment to enjoy each other’s company in a communal space. People make Guildhall, connection makes the Guildhall experience, and the electric atmosphere of something being made from nothing but talent and determination was hugely motivating during my time there. 

Are there specific memories or experiences at Guildhall School that had a lasting impact on you? And how did the School prepare you for your career?

I remember someone saying early on that you will get as much out of Guildhall as you put into it. As I had taken a three-year break from education to get my residency in the UK, I was ready to give the course everything I had! I took advantage of all the opportunities I was given and made for myself, I got a part time job at the school as an usher which gave me plenty of time to find work experience in costuming on my term breaks and weekends. I was determined to graduate from Guildhall with enough professional work experience to go straight into paid work. Guildhall prepared me for my career by giving me the hands-on experience, putting on full scale productions with working designers and other freelance professionals who really guided me with the expectations of the professional world. Guildhall also hosted interviews for positions working at the London 2012 Olympic and Paralympic ceremonies, connected us to outside theatres looking for student apprentices and encouraged us to go big and go far with our work experience in our third year. In my case, I went to New York to work as a costumer for a summer production of Shakespeare in the Parking-lot, a slightly less prestigious version of Shakespeare in the Park. Ha!

What is a typical day in the life like for you?

Honestly, life hasn’t felt very typical since February 2020. The same week the Covid-19 restrictions were completely lifted for the LA film industry, the Writers Guild of America (WGA) started their strike, followed by SAG-AFTRA, which brought filming to a standstill. I consider myself very lucky to have been a working crew member on one of the last shows running before the strike and first back to work once the strikes were over. 

Perhaps what can be taken from all of this is that work typically isn’t typical! I think that’s what I love most about it, I’ll never get bored with a day at work costuming for the film and television industry. 

When I work as a set costumer, I am taken to the most amazing locations all over the LA area that aren’t typically open to the public. I have worked every position from the ‘towel girl’ for overnight swimming scenes in December, to a personal costumer for a knighted, Oscar winning actor. Every day is different, every job is different, every team is different. Being adaptable, positive, kind and enthusiastic is what will keep these exciting opportunities coming your way. 

Where can people find out more about your work?

My union’s website has a great resource explaining all the different member classifications and what their jobs entail. I am a Finished Costumer, Journeyman classification. You can read about the classifications here. 

What has been your career highlight since leaving Guildhall School? 

I was incredibly lucky to have emailed the right person at the right time and landed a job as a Costume Production Assistant for Captain America Civil War upon graduating. I was fully immersed in the golden age of Marvel Cinematic Universe for two years supporting some of the most talented costumers in the industry as they created new looks for our beloved heroes and introduced two new hugely popular characters to the world. 

Working for Marvel fast tracked my career and I was able to join Local 705 Motion Picture Costumers Union very quickly. Since then, I jump at any opportunity that brings me back to the Marvel family, whether it be a week or a years’ worth of work. 

What are your hopes for the future?

My main hopes for the future revolve around career sustainability. As of now it is extremely challenging to balance my personal life with a career in film and television. There seem to be two demographics in the industry: those who have had a family and joined the industry later on in life and those who started early and have either no interest in starting a family or have had to give up on that aspiration. 

There are no childcare options that cater to production hours. My call time two Mondays ago, was 5am with a wrap time of around 8pm. This Monday, my call time was 10:30am with a wrap time of 3:15am. Off production hours are also longer than traditional workdays, with around 10 hours being the expectation. 

My hope is that producers and unions can come to a fair deal to address employee welfare that will enable the industry to continue to produce quality products while allowing their employees to thrive. Shorter workdays for a longer stretch of time? Sounds great to me! 

What piece of advice would you give to our students/recent graduates who are starting out in your profession? 

Imposter syndrome comes with the territory! Every project, every crew, every actor brings a different and new learning experience. A positive attitude and willingness to learn will help you adapt to each new job, but ultimately there will be days that are harder than others, and we all experience them! You’re not alone! 

Also, keep a note of your freelance work as you do it, for tax season. You’ll thank me later! 

How has the industry evolved since you graduated, and how have you adapted to these changes?

The industry has made a huge shift out of cinemas and onto mobile devices via streaming services. We are still trying to figure out what this means for us as film makers. 

Another huge and alarming trend is the use of Artificial Intelligence (AI) in the film industry. Writers and actors took to strike action to protect their jobs from AI and IATSE (my parent union) is currently in negotiations with AI being a large topic of discussion. 

If we can scan actors and use AI to place them in a scene, what need do we have for costumes to dress them, hair and make up to enhance their looks, transportation to shuttle us, locations to house us, catering to feed us, and so on.  

I am hopeful that my union will secure us a contract that protects the membership and ensures sustainable careers for us all!