Today we’d like to introduce you to Renee Garcia
Hi Renee, thanks for sharing your story with us. To start, maybe you can tell our readers some of your backstory.
I am an artist, an award-winning Costume Designer, and Educator. I’m originally from Tallahassee Florida and in 2022 I made Saint Louis my home. Growing up, I loved reading, drawing, making up stories, fashion, and the movies. I liked imagining characters and I loved the fabulous costumes I saw in cartoons and films. When I was 10 a friend told me the local community theatre was looking for kids to be in the children’s choir in their production of Evita. I thought it was the coolest thing—Show Business! —and was really excited to be in it. That’s where my relationship with theatre began. At the same time, I started drawing regularly, I drew illustrations from comic books and spent hours listening to music and practicing my drawing.
These interests came together, and I realized Costume Designers use all those skills when imagining a character. I received a full scholarship to a small art school, Florida School of the Arts, to pursue costume design. I went to grad school at the University of Missouri-Kansas City, so although I am a Saint Louis transplant, I’m not new to Missouri! I landed my dream job of teaching costume design at the Sargent Conservatory of Theatre Arts at Webster University. I love teaching because I’m able to take what I’ve learned as a Costume Designer and pass on that knowledge to the next generation of theatre makers. I’m lucky to work with such talented colleagues and students.
We all face challenges, but looking back would you describe it as a relatively smooth road?
Theatre is a difficult field. The pay is often low, there’s little job security, and the hours are very long. You must be dedicated and have a lot of support to thrive in my field and it’s important to practice self-care to combat burnout. When combining a group of people with big personalities, collaboration isn’t always easy. There is also the legacy of lesser pay for Costume Designers and Constructionists—historically a woman’s field—when compared to Scenic Designers, Technical Directors and Lighting Designers—historically a man’s field. You must also go where the jobs are, which means traveling for a design gig or moving. I’ve hit some bumps along the way, times when I’ve felt discouraged and even left theatre and academia for a time. But I couldn’t stay away for long and my path led me here to Saint Louis.
Alright, so let’s switch gears a bit and talk business. What should we know about your work?
I am a professional Costume Designer and Assistant Professor of Costume Design at Webster University. One thing I love about Saint Louis is that there is so much theatre being made here, I’ve loved working with the local Saint Louis theatre companies Moonstone Theatre and Metro Theatre Company. As a Costume Designer my job is to tell the story and manifest the director’s vision through focused collaboration. The Director and the rest of the design team meet to discuss concepts, show research, preliminary sketches, and the final designs.
I love reading a script and finding clues about the character’s personality and intentions. Part of my job is to help the audience better understand the character as soon as they step on-stage or on-screen. I love the design process, sitting down to draw and paint each costume design is perhaps my favorite part. Although I also love working with the talented constructionists and artisans who create the actual costumes I imagined; there’s something magical about holding the finished costume I saw in my head. During the build process I can usually be found in the costume shop in fittings, pulling clothing from costume storage, and shopping for the show.
Do you have any advice for those looking to network or find a mentor?
Theatre is all about networking. Most of the design jobs I’ve taken have come from recommendations through friends and colleagues. My advice for those starting out in their career as a theatre artist is to go see theatre, make friends in the community, and market yourself to the theatre companies you want to work with. It’s easy to let self-doubt prevent self-promotion, imposter syndrome is real. But sometimes you just need to send that blind email to the Production Manager saying how much you’d love to work with their theatre company. Mentorship in academia is also important, and my advice is mostly the same for academia as it is for theatre: get involved in the university, attend university functions, get to know colleagues from other departments. Seek out senior faculty you admire, who you want to be one day, and ask their opinion. Create a mentorship relationship and learn from their experiences.
Contact Info:
- Website: https://www.reneecgarcia.com/
- Instagram: @reneegarciadesigns
