Behind the Seams
For the scores of tourists who visit it each year, the city of Doha represents much of the colour and mystique associated with life in the Middle East. Still dependant on glistening oil fields to drive its booming economy, the Qatar capital is specked with traditional Arabic architecture and a sultry climate that soars to over 40 degrees Celcius in the summertime.
But for Australian costumier, Janet Hines, this city and its people represent more than a few token sites and sounds for the world traveller. In a mere matter of months, Doha will host the second largest sporting event in the world and with her needle and thread at the ready, Hines is heading the fashion charge. Commissioned as a costume designer and supervisor for the 2006 Doha Asian Games, she is responsible for dressing 8500 opening ceremony delegates and coordinating a team of 300 costumiers and embroiderers. A tough job, she admits, but one with great opportunities for learning and growth.
"In Australia, we don't really know much about the Middle East or about Middle Eastern dress sense so it's been fascinating to learn about the politics of dress and costuming in this region. Like, for example, the white Arabic robes that a lot of men wear look exactly the same on the outside but if you look closely, you'll see differences in the height of the collar, in the style of the collar and in how they wear it. Also the colours and styles of the ghutra, which is the cloth that men wear on their head, reflects which region they're from. Strangely enough, just like young people in Australia, the boys here adapt it to suit different fashions."
To mention that Hines already has a long history in grand-scale costuming is akin to saying that Collette Dinnigan is a talented Australian designer. Both don't even begin to describe the breadth of experience and technical knowledge that both women possess. Having worked across the US, UK, Canada, Australia, New Zealand and Asia, Hines has etched a formidable path for herself with career highlights including the Sydney Paralym"When I started out, agents were always telling me to specialise in one thing. I became really disillusioned with it all and I kept asking myself, "why don't they want the whole package?" It took a good 10 years before I changed my way of thinking. Now producers and agents value my broader knowledge. They want a costume designer to know hair, makeup; all of the backstage elements that make up the event's creative direction. I love having a hand in everything, because when you've got so many ideas and are charged creatively, you find it difficult to just focus on one project."
Which is probably a good thing, she admits, considering her current role with the Asian Games. Often having to wear three hats at once - the designer, the head of costume and "the psychologist" - Hines is also charged with co-ordinating a throng of 60 costumiers at a workshop in Sydney and 30 contractors around the world. If that wasn't difficult enough to start with, more challenges hit the designer when she landed in Doha.
"You just don't realise how much you rely on good, established contacts. Because my work has taken me all over the world, I have great sources that I can contact in the UK or America or Australia. When I came to Doha, I felt like I lost a lot of control because I had no established contacts and had to spend a lot of time following up on things.
I had to form good relationships with local tailors and embroiderers because Arabs like to meet you, they like for you to tell them about your life and history so that they know you. It's an ongoing thing but it's great because it's such an eye-opening experience."
Only time will tell whether all stitches will be tied for the big December event, but in the meantime, Hines is busy musing about her next foray into theatre, fashion or even digital design printing.
"Because I'm a freelancer, I always used to worry about what my next job was but I'm not anymore. I just want to keep going ahead, wherever that may be."