Hidden away in the basement of the Lenfest Center for the Arts lie hundreds of costumes and fabrics—and years of expertise.
For the last three years, Elizabeth Wislar has worked as Washington and Lee’s costume director for the theater and dance department.
Wislar attended Washington University in St. Louis and worked at the costume shop for the university’s theater department. She originally planned on majoring in fashion but realized that this path was not for her.
“I wanted to make clothes for a variety of bodies and identities, and the fashion industry at that time had such a narrow focus on what should be on the runway,” said Wislar. “That just wasn’t for me.”
When she learned that designing clothes for theater was funded by the department, she immediately pivoted to costume design.
“I learned about that and was like, ‘Say no more, where do I sign up?’” said Wislar.
After graduating college, she took some time off to go hitchhiking around Europe and then ended up pursuing her career in costume design in Chicago. Initially, she worked as a full-time freelancer for 15 years. Then she ran a private build shop called Chicago Custom Costumes for four years.
Chicago Custom Costumes was the only private build shop in the city, Wislar said. From mascots to pharmaceutical companies to textile installations the size of football fields, she said there was never a dull moment.
“My reputation became, ‘If everybody tells you no, go to Elizabeth,’ because I believe hard projects are actually very possible,” said Wislar.
It’s now been 10 years since she left Chicago and returned to the East Coast.
At the university, she designs and creates the costumes for four shows a year: two theater productions (one play and one musical) and two dance productions. Wislar said the costumes help contribute to the production by setting the scene.
“Costumes are a part of the visual storytelling in a production. They let the audience know who, when, where and how the character is,” said Wislar.
Wislar makes it her mission for the performers to be comfortable in whatever they are wearing. She asks each student when measuring them if they have any fabric, metal or detergent allergies, as well as any other aversions.
“My design isn’t important if they’re not comfortable,” said Wislar. “I’m making a piece for both the character and the performer.”
She also ensures that the costume department sticks to sustainability when sourcing their materials. The department rarely has to buy new materials, and when something vital is missing from their collection, they thrift it, said Wislar.
Wislar employs seven work-study students to help her around the costume shop. Students come in with all different levels of experience and get the opportunity to grow and learn in their costume design.
“I have them sewing and making garments on their first day,” said Wislar. “I try to give everybody something that they see through [to] completion so they can point to it and say, ‘I did that.’”
Wislar said her students often hear the advice “slow down to hurry up,” since if they make careless mistakes from their speed, it will take more time.
Although she has years of experience, Wislar said she believes everyone has the ability to pick up the craft.
“I think it’s possible for anyone to learn how to sew, to mend or to repair clothes,” she said.
