Creatives: Train Yourself to Be A Project Manager — Not A Project In Itself.

I have worked within the realms of fashion, film, television, & most recently theater for the past 8 years. I have been blessed to see the fabric of the industry from the inside out, the good, the bad, & the ugly. Yes, the ugly. You cannot fully appreciate the beauty of something without some resistance. The ugly serves as a reminder that there is still more room for growth — to never grow too comfortable. The focus is not to aim for perfection but purpose. It has catapulted me to a space where I now want to pursue my own platform as an artist after so many years supporting the goals, dreams, and….egos of others.

I’ve have worked with an array of phenomenal creatives within various degrees of excellence— some many would deem “crazy” or “mad” due to their genius but as I’ve worked with them closely, I realized it was actually something else.

They operate within a bubble.

The bubble can be great; an artist creates a specific world for themselves to thrive in. However, you encounter danger when ego or even fear prevents you from stepping outside of it. You cannot be the only one thriving. One must have balance. Your team shouldn’t be waiting outside with their arms crossed. We often forget geniuses are humans too. In all fairness we all have a genius per se. This unwillingness to step outside the bubble or comfort zone nurtures green pastures where the “crazy” lives. People often excuse this behavior due to their brilliance but there is a breaking point when an artist becomes the distraction or obstacle because they want so much attention or even control. You spend more time pulling them outside the bubble than utilizing those resources towards the vision.

Ego. Exhausting. Ego.

Ego can be healthy. The bubble can be healthy too. Just not for a long period of time. The importance of your team is to ground you, but as an artist you have to permit this exchange. You have to not only listen but possess emotional intelligence to see oneself. At the end of the day you need to determine if you are running a high school (ego based) or a startup (purpose based)? Do you want your team to exhaust their resources coddling your ego or nurturing the fruition of an amazing concept or idea?

It’s your call.

Sucks right?

Being in the front seat is also hot seat. You can only lead as clearly as you see yourself.

Working in a supportive capacity for creatives has enabled me to not only witness firsthand the pros & cons of certain behaviors but forced me to exam my own weaknesses and strengths. If I am not fully carrying my own baggage — I will be forcing my team to carry it, ultimately minimizing my impact as a leader and my overall impact as an artist. We are one and the same. As leader, my job is to empower not exploit resources (your team is a resource) in an effort to sustain myself. Wearing as many hats as I have over the course of my career has taught me how to communicate my vision through various channels. I’ve been the outsider, arms crossed, suffering from the lack of support from creatives unwilling to step outside their bubble. Being forced to play badly is not a great feeling whatsoever and very difficult to recover from.

During one such harrowing experience created a lasting bond between a colleague and I. We both walked away with tremendous knowledge and have been great friends ever since. Molly Walz is a fellow phenomenal empress, costume designer, wardrobe supervisor, and wardrobe ninja supreme. There is pretty much nothing she can’t handle. Before she embarked on tour for Rent she kindly granted me an interview:

1. How many hats have you worn in a supportive capacity to make you excel as a designer?

Woof. I have done everything. I have patterned and built garments, done alterations, dying, and craftwork. I learned how to style wigs so I wouldn’t be limited by being without a wig designer (and then I started creating wig designs for other shows- who would’ve thought!). I was a shop manager for several years before going on the road and that will force anyone to be organized and clear with a vision. Being a wardrobe supervisor on the road has made me really pay attention on how to communicate with people well. You name it, I’ve done it. The important thing for me as a designer is always the final product. It doesn’t matter how good your initial concepts are if the end product isn’t quality. And to get the kind of quality I want, I have to be incredibly clear with my vision and I have to be willing to pitch in. In order for me to continue to grow as a designer, I have to use all aspects of the craft to make it happen. And I am constantly learning. If I meet another artist who is willing to teach me a skill, I will be an attentive student. You never know when those skills might come in handy. Plus, then I have an expert to call when I can hire someone! I’m all about the collaboration.

2. What attributes as a designer has made you fully equipped within a supportive role?

Whenever I’m designing I say I’m a designer with the background of a technician. I’m always trying to figure out how I would build something, whether or not I actually have to build it. As a technician, I still have a designer’s brain. The two aren’t as separate as people want to make them. I’m a better technician because I can see the whole aesthetic picture the way a designer does. I can make all those small decisions that will get the designer what they need. As a wardrobe supervisor on tour it’s been huge since I’m in charge maintaining of the overall look of the costumes. I have to make daily decisions about what keeps the show looking as the creatives intended. It’s pretty impossible to do that well if you can’t see things from the creative point of view. I put new people into the show, find replacement items when things fall apart, and keep things looking like they did when we started 9 months ago. All of this requires an understanding of the full design.

3. What beneficial tidbits would you suggest for the next generation of creatives?

1. Learn everything you can and never stop asking questions. Every thing you learn can be useful someday. And cultivate skill that you can use to help you make a living! It’s going to be really difficult to make a living doing only those magical projects that are everything you dreamed. I have never had a “day job” that was out of my field. Even when I wasn’t designing, I was stitching in a shop or working as a dresser and I was still growing as an artist by being around other creatives. In the process of trying to survive, I found other passions in my field that I never thought I would love. It makes you a much more well-rounded artist.

2. Collaborate with other artists. Find people that you like collaborating with and that you trust and lift each other up. Hire them to work on your projects or pass their name along when you can’t take a gig. All that good energy will come back to you.

3. Don’t be afraid to teach. You have to be willing to give away knowledge in order to accept the new from other people.

My website: MollyWalz.com

Currently I’m finishing the RENT: 20th Anniversary Tour as wardrobe supervisor and I’m excited to get back to designing more original work when I get back to the city at the end of June. Stay tuned!

Lead in legacy with everything you do. To maximize your vision as an artist operate with gratitude towards all of the forces that enable you to excel as a creative.

It takes a village to nurture a vision.

Treat your vision like a child — It might not be wise to take food from a baby.

Just saying.

Stay Fashion Conscious.

Move Fashion Forward.©