Film has long had a way of bridging communities across the world, bringing people together through the art of storytelling.
It’s an art that connected Yozabeth to both her family and a new culture.
“We watched a lot of movies to learn the language because I came from the Philippines,” Yozabeth said. “Movies were always a prominent thing in our lives, and it was also a way for my family to bond.”
But it also gave her a glimpse into the world of filmmaking.
Yozabeth is a set costumer — a job that thrives on continuity.
Her role is to make sure clothing is maintained in each shot and sequence.
“If someone cries and they get tears on their shirt, I have to be the one to dry it up so that for the next take, it looks like he or she never cried,” Yozabeth explained. “So, it’s very chill. But after lunch, if they wear their costume and get stuff on it, that’s super stressful.”
From finding a love for YouTube in her teenage years to becoming obsessed with the newest technology, Yozabeth knew a job in film production was something she wanted to pursue.
But it wasn’t the easiest shift, especially coming from a traditional Filipino household.
“The automatic thing is either you do teaching, nursing, or tech,” Yozabeth said.
With her mom’s blessing, she switched from a degree in bio to one in marketing.
“She said she prayed to God, and then she was like, ‘All right, God, wherever my daughter goes, bless her in this field,’” Yozabeth recounted.
Fast forward to the COVID pandemic of 2020.
It was a time when different job industries pivoted under new restraints.
The film industry was no exception.
“(Richmond) was really popping at the time, but over the years, the whole industry switched,” Yozabeth said. “Thankfully, I had met a designer who was willing to vouch for me and asked me to join in different states.”
Now, she’s worked on shows such as Dopesick, Swagger, and P Valley.
Her love of costuming is rooted in how a set of clothes can tell a story over time.
“Watching all the behind-the-scenes of the old movies that I love, specifically Cinderella’s story,” Yozabeth added. “She wears blue most of the story, but her blue gets vibrant when she gets more confident.”
“It’s little sprinkles of costuming that I always appreciated.”
Working in production can come with its own set of feelings of imposter syndrome.
But what outshines the struggles for Yozabeth is getting to be a representation of her culture on set, bridging a gap she didn’t know existed.
“I take a lot of pride in that,” Yozabeth said. “And I always thank God. Thank you for letting me be in the room, and thank you for letting me meet people that will put my name out on the table.”
The art of tending to clothes and a specific attention to detail translates into how Yozabeth makes the people around her feel — loved, seen, and heard.
It’s a characteristic she thinks every aspiring costumer should carry into the workplace.
“If you eat, I eat, we all eat,” Yozabeth said. “God’s going to bless everyone. If it’s your season, it’s your season.”