Kristine Berg became a crafts artisan, which led her to a career of travel and living around the world to create costumes and props for movies, theatre, and film. Now, she enjoys creating all of the projects and ideas she had when she was too busy to do them.
How did you find yourself on an artist’s path? Always there? Lightbulb moment? Dragged kicking and screaming? Evolving?
I’ve always been creative, more interested in theatre and music and art than in math and science.
Originally I studied acting but discovered that my hands held my profitable talent. I was asked to create a prop version of Magritte’s bowler hat with an apple below it, and I just knew what to do. So I became a crafts artisan.
I only began to refer to myself as an Artist a few years ago, when I was invited to be an Artist In Residency at Haystack Mountain School of Craft in 2017. I challenged myself to create from my own vision, instead of interpreting a designer’s or director’s vision. It was a humbling experience but I received encouragement and the confidence to continue.
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Made as part of the Haystack Residency
You’ve traveled a lot for work. Where have you been, and what took you there?
I’ve been fortunate to have fulfilled a life goal of living and working in other countries. I’m a US citizen, and married a UK citizen from Cape Town, South Africa.
We moved there from Seattle in 2006 and spent 16 years working in the film industry while there.
From Cape Town, I worked on films in Morocco, Nigeria, Hungary, Qatar, and Canada. In the US, I’ve worked in Los Angeles, Seattle, Spokane, New Haven, New York, Austin, Ashland, Berkeley, San Francisco, and Portland.
My skill set is highly specialised; there are few people that have the combined theatre and film experience that I have along with my knowledge of materials and techniques. I was lucky to be able to be employed in so many places and paid to be creative.
You work across a broad variety of media. Do you have a favorite?
I try to incorporate sewing or stitching into what I make. It has truly been a continuous thread in my life, and I tend to be most comfortable using textiles and fiber. I think that comes from an innate knowledge of knowing what to do with it, and its limitations.
How has your work changed now that you are no longer designing costumes and props? Or are you still?
I stopped making costumes and props primarily because I became unable to be as precise and patient as I used to be: my hands have become arthritic, my eyes don’t focus as well, and I just can’t manage the long 10-hour days required by the film industry. Plus, there are materials and substances that can be unhealthy, and after 50 years of toxins, I just don’t need that anymore.
I make what is comfortable for me. I allow imprecision, I simplify, I create pieces that are calming, portable, and soothing to me. And I work from my own inspiration now.
Your textile origami pieces transform flat fabric into sculptural surfaces. How do you think about the relationship between two-dimensional cloth and three-dimensional form?
I was initially drawn to this technique by the complicated looking mystery of how it could be created. Initially I simply couldn’t fathom how to create these three dimensional patterns out of something as innately flat as fabric.
While studying sculptural paper origami, I learned how to coax and manipulate fabric into structures and realised that there was a coalition between the techniques. By experimenting with different pattern designs, I began to imagine fabric as capable of structural reinterpretation and even more tactile than it already is.
What keeps drawing you back to this technique, and what are you still discovering through it?
It felt like I was discovering a lost art. There is a deep well of instructional materials, but a seemingly limited reference of use. I’m always thinking of alternative ways to utilize it in functional and non-functional work.
Textile origami relies on repetition, precision, and patience. Have you found the process affects the way you think, observe, or engage with the world outside the studio?
Stonework takes my attention. The patterns that waves create on sand remind me of the patterns when I use fluid fabrics. I observe patterns I might not notice otherwise, and think about how to replicate them in fabric..
When I’m actually working on a piece, it becomes a meditative practice, rhythmic, and instinctive. I’m following rules I don’t usually confine myself with, and it is deeply relaxing. Until my arthritis flares up.
After decades of working in theatre, film, and costume production, what lessons from those industries continue to influence your textile origami work today?
My work in the performing arts has always been based in research, rapid interpretation and experimentation. It’s been a challenge to slow down, to shorten my work hours and expand my restful thinking hours.
Sometimes I miss the collaboration with coworkers, which could lead to wonderful solutions and discoveries, which is why I really enjoy teaching much in the way I used to mentor coworkers.
I love the ideas and inspiration that will emerge from a workshop, much in the same way that it would during my career. Collaboration and open expression of ideas has always been of utmost importance to me in my work, and I continue to welcome it as I teach and in my own explorations.
I have begun to realise that I am extremely goal-driven, which is a hangover from opening night deadlines and immovable film schedules. Hence, I find it difficult to begin and finish my own projects unless I have an application deadline. I create due dates for myself, which I often ignore.
You teach textile origami to students with a wide range of experience. What surprises you most when people encounter the technique for the first time? You work with a simple vocabulary of grids, folds, stitches, and fabric. How do you keep finding new possibilities within such a constrained set of elements?
Teaching this technique is indeed a simple vocabulary, but I have found that the biggest challenge is in coming up with the right language to use. The technique is basic, there is a common set of steps in order to complete a fold. Yet many folks struggle with the steps, and I have to find ways to explain them differently each time.
Some folks are very linear, they want definite rules to follow. Others look at the instruction sheet and understand it immediately. Others are thinking up alternative ways to explain it and utilize it while I’m teaching them.
In a room of 8 participants, there will be 8 different ways of learning, and I find myself in awe of teachers with classes of 30 schoolchildren, with 30 different ways to learn. So the teaching itself is the biggest challenge for me, and there are always new possibilities emerging from each workshop.
Is your work more content-driven or process-driven? Does an idea inspire a work of art, or do the materials launch an idea?
Generally an idea will come to me from exposure to a process.
For example: the textile manipulation I now teach came from a reference which a designer presented to me. She wanted a “fish-like” effect and when I explored the reference I discovered Canadian smocking. I am now in a process of experimentation with that technique, often inspired by visual ideas.
When it comes to creating, are you more of a planner or an improviser?
A bit of both.
If there are definite steps involved like waiting for glue to dry or how to attach pieces together, then I will plan. But my plans are generally improvised and come out of my years of experience.
I instinctively know what to do and when. I don’t make sketches, I don’t have notebooks full of ideas. I have a few lists here and there.
Describe your creative space.
I have an 8’ x 12’ room, basically a bedroom, in our home.
I used to have a larger, messier, dustier space as part of my husbands workshop where I could use stinkier materials and the air brush, and could store a vast variety of paints, dyes, metal bits, found materials, tools, adhesives, and just loads of STUFF.
When we moved I had to condense and decide what sort of work I wanted to do. I emptied the closet and created storage for fabric and supplies. I have drawers of tools, and craft supplies for my grandson, buttons and beads and patterns and felting materials and yarn and a design wall which is a first for me.
My dearly beloved 50 year old Bernina sewing machine and 30 year old Bernette serger are my constant companions who have traveled around the world with me.
I also have a day bed which is my nest. Our dog spends most of her time in this room with me too.
Working across many different media, how do you organize all of your creative supplies?
Besides the drawers and bins and shelves in my studio, I also have a basket full of totes which hold my ongoing projects. It’s a mess but keeps things organised. In addition, my hand tools, leather tools, dye pots, air compressor, and various other essentials take up a portion of our garage.
I have a tall rolling stack of DeWalt storage bins that clip together, enabling me to take what I need to a job if necessary.
Scraps. Saver? Or be done with them?
Oh god. I’ve become a very careful and considered scrap saver. I save what I have room for. Garage sales create space when desired.
How often do you start a new project? Do you work actively on more than one project at a time?
My ongoing project basket is full of tote bags with garments cut out, or items in progress, or materials waiting in anticipation.
While I will get ideas from a spark of inspiration, I am generally goal-driven. I need a call-to-artists or a deadline of some sort to become organised enough to get things done.
I have some ideas that have been knocking around for many years, but I need a deadline, especially since they will take up room. So I keep applying to galleries, and I will make room if I need it.
Can you tell us about the inspiration and process of one of your works? How does a new work come about?
My series of dye swatch pieces came about when I was working on a film. There was a lot of specific color dyeing involved, with very subtle differences in the colors desired by the designer. I just kept making options, with small pieces of fabric about 2” x 3” long, and one day I had them all spread out and admired the beautiful delicate differences. There was a lot of time spent waiting for fabric to dye and dry, so I began to sew the swatches together. It became one of my favorites: “Dark Tower, 2017”.
Much of my work now was inspired by projects I made while employed in the film and theatre industry, and are coming to fruition now that I have time.
Which part of the design process is your favorite? Which part is a challenge for you?
When I was employed, I loved the moment when the designer would ask, Can you make something like this? My creative brain would immediately whirl into action, coming up with materials and techniques. I loved the collaboration, and I also deeply appreciated the trust that the designer would give to me.
My strongest skill was in the interpretation of a vision, if I listened carefully I could intuit exactly what they were hoping for.
It’s a challenge now to trust my own vision. I’m used to being able to share and discuss with co-workers, and now I’m working pretty much solo. That’s why I treasure being part of a Fiber Arts Guild.
Do you prefer the kind of project that is challenging and requires attention, or the kind where you get in your meditative zone and enjoy the process?
Well that’s sort of the same thing. The process requires attention. I do like when I can stitch and listen to a baseball game at the same time. But I can’t listen to a book while I’m creating.
What advice would you give someone who wants to start out in costume and prop design?
You need luck and talent. You need innate skill. You need to begin with knowing how to do something well, like sewing, painting, sculpture, leatherwork, and nowadays it’s critical to know how 3 D printers work. You need to be where the work is, and get to know the people who do the work.
Seattle Community College has a terrific course in backstage certification which enables students to finish with union cards. That’s HUGE. But you’ve got to start with talent and luck.
What is your favorite accomplishment?
I’ve actually been able to travel for work. That was a life goal.
I am proudest of the people I mentored in South Africa. I had two assistants: a petite young woman, and a gentle man from Senegal. The two of them were eager and enthusiastic, and endlessly loyal. They backed me up and we laughed together through some very rough moments.
They eventually became heads of their own jobs. She now works consistently in the UK, and he has returned to his home and family in Senegal. We still text and talk, and my next travel goal is to get to Senegal.
Have you had a “never again” moment, then gone and done it again?
I swore I was done with doing “ breakdown “ work. It’s backbreaking, dirty, demanding work making clothing look lived in to various degrees. I only wanted to create and make things. But there was always more employment doing breakdown. Or, as it’s also known: distressing, ageing, dyeing. The descriptions say it all.
Another “never again” moment is I will never again work on a job dealing with zombie costumes. They nearly killed me, literally. The cottage I was living in caught on fire, and my blood pressure shot up so high I quit the job. Not to mention the co-workers. No more zombies.
Do you lecture or teach workshops? How can students/organizers get in touch with you to schedule an event?
I’ve been teaching Textile Origami, Shibori techniques, and a fun little craft called Festive Pom Pom mobiles for the last two years, and am always looking for organisations, craft schools, and guilds to teach at. I have a deep commitment to sharing the skills I’ve learned and inspiring others to explore.
In 2025 I participated in the Selvedge magazine London Textile Month which was a great honor.
Folks can check my Workshops and Classes on my website: kristineberg.weekly.com
What are your current goals and deadlines?
2026 has been a packed year already: I’ve traveled to Seattle, WA; two locations in Connecticut; Albuquerque, NM; and a number of locations in Oregon. I’ll be offering my first online presentation to the Smocking Arts Guild of America (SAGA) and hope to create more online teaching opportunities.
In 2027 I’m looking forward to teaching a five-day intensive at The Ghost Ranch in New Mexico, and am hoping to be accepted to a residency where I can focus and expand my work.
My most urgent goal for 2026 is to create a book of 30 design patterns to share with my followers. I’m a raw beginner at self-publishing and am trying to pull up the fearless research and exploration I used to call upon with my career work. It’s a bit daunting; and I’d welcome any advice from your members!
People can contact me via my website: kristineberg.weebly.com
That’s a great place to see my film and theatre portfolio, personal work, artwork, find out about workshops, and read my musings on travel and work.
Interview posted July 2025, updated June 2026
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