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Photos by Kevin Titus Photo

Film industry costume designer MARCELLA CAUDILL got her start in Wilmington, has paid her dues, and now wants to pay it forward.

The Sparta, North Carolina, native double majored in film studies and theater, design, and technology at the University of North Carolina Wilmington. After her adviser told her to close her eyes and think about who she would like to work for one day, she envisioned Academy Award-winning costume designer COLLEEN ATWOOD. From that point forward, Caudill’s path was set.

It was not until Caudill had worked in the costume department on the set of two Nicholas Sparks-adapted movies in 2014, including her “first real professional job,” working on The Longest Ride, followed by The Choice, that she was confident in that decision.

“I knew then that I had truly found my pathway. I knew I wanted to be a designer,” Caudill says. “I loved the challenges and the responsibility of it all. I wanted to be a leader.”

While Caudill started in the entry-level position of a costume production assistant, she quickly moved up the ranks and was soon a background costumer, dressing all the extras on the major motion picture Hidden Figures.

Caudill explains that getting to work on those initial productions were “amazing films to be my first films.” She says that those experiences were invaluable for her.

Unfortunately, the chance to stay in her home state and new home of Wilmington came to a screeching halt once the state’s film incentive program changed in 2015 to a grant-based program and North Carolina’s film industry took a while to adjust and see production activity rebound.

After much debate over where to move to follow the films, Toronto and Los Angeles were possibilities, Caudill and a few of her UNCW friends decided to make the move to Atlanta.

But after ten years, a lot of projects have returned to Wilmington, which Caudill is happy to see.

“Honestly, Wilmington feels like home. I choose films and movies that allow me to work here. It is an amazing place to work with passionate artisans. The talent here is incomparable. It is like family here,” Caudill says.

Currently, Caudill is working on lining up commercials, independent films, and studio projects that fit her current goals. Over the past decade, she has put in the time to build her resume and her skills, so she is confident choosing projects that share her vision for herself.

“Every project I am on, I have had to turn one down, say no, so I can transition to the next one,” Caudill says.

She knows her worth, so she feels comfortable being selective. Caudill explains that there are “multiple forks in costume design and it’s been a long path to my goal.” She has worked in a variety of roles in the costume department, preparing her well to take on more senior roles.

As an assistant costume designer, Caudill explains, she “always executes someone else’s vision.” As a costume designer, she “creates looks, but it’s important to know what you’re asking of your team.” A key costumer “is a hands-on logistical position that knows everything about everyone.”

Caudill has worked in all of these roles, so she now knows where she is willing to put her time and energy. Her latest goal is about balancing it all.

“My recent goal has been finding that work-life balance. I want to be able to shut things down, leave the office, and feel comfortable and confident about what I have done,” she says.

Her latest project was a recreation of the first nighttime baseball game in 1935 in a commercial for General Electric.

“It took me seven days to figure it out. It was chaotic, but it was inspiring to have an effect on people, and I enjoyed that challenge of problem solving and the opportunity to be creative” Caudill says. “I want to say yes to more that takes me out of my comfort zone.”

While the initial look and feel of characters come through the producers, writers, and directors, Caudill says it is her job to find the balance between all of those ideas to make that transformation into the character by way of the costume.

“When I get to share the space with the actors and collaborate with them in the fitting room and see all that come together, it’s kind of magic,” she says.

Getting to that point of magic has not been easy. To help others interested in costume design, Caudill wrote a publication downloadable from her website (marcellacostumes.com) called How to Succeed as a Costume Production Assistant for career advice for others interested in the industry.

“The advice someone gave me when I started was ‘Try not to drown,’” Caudill says. “This is a life jacket of sorts.”

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