"The undertaker", "Tschugger": Ursina Schmid tells us all about her job as a costume designer

Laura Scholz

17.11.2023

Translation: machine translated

Ursina Schmid's mission? To dress people. We talked about the positive aspects of her profession. And she told me about her professional deformities.

It wasn't easy to make an appointment with Ursina Schmid. The 38-year-old costume designer is very busy designing clothes for films and series. Whether for the German-language TV series Tatort (2018, episode Das Vermächtnis), The Undertaker (2013-2019) or the Swiss-German TV film Jetzt erst rech (2019), Ursina Schmid has a theory: when her work is well done, you don't notice it. I completely disagree. In the first and second seasons of Tschugger, the costumes were so beautiful that I spotted them immediately. And I also wanted to know who created them. Spoiler: Ursina Schmid!

Her diary is probably as full as a costume warehouse. Despite this, we managed to meet up at Café Lang in Zurich. Over a hot drink, she revealed some fascinating things to me about her profession.

She's a very talented designer.

Ursina, how did you become a costume designer?
Ursina Schmid: All roads lead to Rome! The official route is to study costume design. This course of study doesn't yet exist in Switzerland at federal level. Initially, I did an apprenticeship as a dressmaker, followed by further training as a theatre costume designer. I worked in theatre for a long time, first as an assistant director and then as a costume designer. One day, I found myself on the set of a film as a dresser. That's how I became a costume designer for the cinema too.

What are the differences between theatre and film costumes?
In the theatre, everything happens live. On stage, the clothes give an entirely different impression. Opulence and volume are the order of the day. Costumes take a long time to design and sew. But from the evening of the premiere, I don't have to touch them again. On the set of a film, it's a different story! Because the shots are often close-up, every detail has to be perfect. The preparation time is just as long as for theatre, but I have to stay on the set until the last day of shooting. However, a dresser is in charge of dressing the actors or actresses.

In practical terms, you're the one who designs all the costumes for a feature film or series, and when shooting starts, someone else takes over?
Exactly. There's no other way of doing it from a logistical and workload point of view.

When you take on a new project, how do you go about it? Do they send you a script and you design the costumes on that basis?
It really depends on each project. I often receive requests several years before the funding is clear and filming begins. In other words, the first meetings even take place before the script is finished.

Do you have a clear idea for each main character from the start of the process?
Most of the time, yes. Ideally, it's when I know who's going to play the role, because that's an essential aspect. I like being able to design clothes in collaboration with the actress or actor. Being able to work as part of a team is the great advantage of my job. I don't think the costumes should be obvious. I don't want people wondering why an actor is wearing such strange trousers!

Interesting, because that's precisely why I discovered you. I thought the costumes in the Tschugger series were really good.
Thanks for the compliment! Tschugger was a special case. Even the police uniforms were fictional. I created them myself.

Where do you find clothes that aren't made-to-measure?
It's a question of budget. It's usually a mix between pieces found in our warehouses and purchased clothes. When you need several pieces of the same garment, the best solution is to buy them ready-to-wear. Over time, I've also built up an impressive stock of clothes.

In your spare time, do you enjoy shopping for yourself? I wonder how a costume designer approaches her own look. Do you have a specific idea that you try to follow?
In my spare time, it wouldn't occur to me to go shopping. My wardrobe consists mainly of second-hand pieces. Occasionally I see a garment I like and buy it. The quality of the cut and the fabrics are essential for me. It must be professional deformation!

I imagine you're still interested in fashion itself, though? If you weren't, you wouldn't be so successful professionally.
Of course I would! Fashion and its subcultures fascinate me. In my job, I have to follow trends. When I travel abroad, I like to observe what people are wearing.

Do you also work in countries other than Switzerland?
Yes. For example, I was recently hired to shoot a co-production in Latvia. To prepare for the shoot, I often travelled there at the beginning. Then I was able to work from Switzerland. It went well because I had an assistant in Latvia. The series Tschugger was shot entirely in Valais. Logistically speaking, it felt like shooting abroad.

What do you appreciate about your work?
Firstly, that it's really varied. Secondly, that I'm constantly on the move, which allows me to discover new places. Thirdly, that I often meet nice people. And finally, that I learn something new every day by doing my job.

Your working days are probably very different from each other.
True, but some phases are similar. For example, at the start of a project, there are always a lot of sessions. After that, I often work alone, doing research and designing costumes. During this phase, it's easy for me to structure my days. I generally start between 9am and 7pm. During shoots, it's a different story. Sometimes I have to get up at 4am! Other days I'm busy with preparations and fittings. These irregular hours are difficult to manage with children. But I enjoy the change of pace.

What has been the longest period you've been involved in a project?
Series are very demanding. You shoot a lot more minutes a day for a series than for a feature film. For some projects, I do a lot of work beforehand and, once filming starts, everything moves very quickly. I certainly worked the longest on the series Le Croque-mort. We shot for six months straight during the summer. Even though I didn't work on all seven seasons, the collaboration lasted seven years in all.

What do you prefer? Series that allow you to work over a long period with the same characters? Or more short-lived projects?
That's a good question. At the moment, I've been hired for a series. So I want to get back into films (laughs). On the set of a film, you shoot fewer hours a day. So it's less demanding. On the other hand, with series, there are often budgetary pressures. Everyone involved has to work very hard. In this constellation, I regret not having the time to prepare better to get a perfect result.

Do you watch the series and films and series you've worked on?
Of course I do! Sometimes I think "I should have done it differently..." or "Why didn't I...". Fortunately, I also often exclaim "Super, really cool!". No matter how enthusiastic I am, it's always fascinating to see the edited result, complete with colour grading and music.

When you watch series or films that you haven't worked on as a costume designer, do you also focus on the costumes?
Absolutely. I even have to force myself to concentrate on the story instead of looking at the costumes. But when a film is really exciting, I even forget about the characters' clothes!

A sort of professional deformation, in a way! What do you do with the costumes after filming?
Some go into our warehouse, others are donated. The clothes we buy generally belong to the production. They are therefore stored with a view to a new shoot. Sometimes actresses and actors want to keep a piece of clothing as a souvenir. Sometimes costumes are sold to crew members. One day, a lady was queuing in front of me at the Coop. She was wearing a jacket I'd sewn for an episode of Tatort. It was a great surprise!

When I interviewed her, Ursina Schmid was working on the Swiss German TV series "Mindblow", which will be broadcast in spring 2024. The film Jakobs Ross will hit Swiss big screens on 18 January 2024.

Laura Scholz

Senior Editor

Laura.Scholz@digitecgalaxus.ch

Always in the mood for good hits, great trips and clinking drinks.

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