«The coat is the final touch of the character»

All Giggle Doctors wear a colourful, whimsical, and personalized coat. However, behind each unique costume are the skilled hands and creative minds of Lydia Pfister and her team. For over 30 years, Lydia Pfister, a seamstress for the Theodora Foundation, has been transforming fabric into true works of art. Discover the secrets behind creating the beautiful coats for the Giggle Doctors in her words.

Lydia, how did you become a seamstress for the Foundation?

At the time, I was looking to volunteer or donate some money to a foundation. I saw an article in a newspaper about the Theodora Foundation, and I found the project fantastic. So, I tried to contact André Poulie and his Foundation. Since I was working as a stylist, André asked me to make a hat for one of the artists. And that’s how I made my first piece: a gavroche-style hat with a little puppet inside for Dr. Isidore.

What is the process of creating a Giggle Doctor’s coat?

The creation process starts with the delivery of trainee coats to the future Giggle Doctors. During the first training module, we bring these coats to the artists so they can take their first steps in the hospital. At that point, there’s already a brief introduction to the coat, especially in terms of hygiene. Then, during the second module, we do a full presentation of the coat so they can start imagining their character and incorporate a bit of their costume. I give them all the necessary information on the Theodora coat, which is the same for all countries: meaning the orange heart, orange buttons, and badges. The third step happens at the workshop, where we create together. Usually, the artist comes in with lots of ideas, and it’s up to me to offer possibilities to bring them to life. I create sketches, then we draft patterns for the designs that will go on the coats. After I finish the creative work, my seamstresses take over. Each coat takes at least 15 hours of work.

How many coats have you and your team created?

I’ve done a little calculation and I’ve come up with 420 different designs and patterns. So over the years, we’ve sewn about 1,250 coats. Each artist receives two coats, and after several years of work, they can change designs, requiring the creation of new coats.

The first sketch for the artist is really my favourite part.

What are the most common challenges you and your team face?

The biggest challenge is being able to bring the artists’ ideas to life and deliver a coat that meets their expectations. Another big challenge is ensuring that children react when they see the artists arriving in their costumes.

What’s your favourite moment during the creation of a coat?

I have several favourite moments. The first, of course, is the interaction with the artist when we imagine and build the coat. And obviously, the first sketch for the artist is really my favourite. And the moment when the artist leaves the workshop happy. That’s the most important thing. I also enjoy when my seamstresses arrive here at the workshop, and we work together. It’s fantastic to have that connection with them. I love imagining the children’s reactions and trying to see through their eyes.

What’s the most unusual request you’ve received?

One day, Dr. Zazoo asked me for a theater curtain on his back that could open with drawstrings. He wanted to pull a string on the side to open the curtain. I think that was one of the most eccentric coats. There was another one too: we really created a 3D bird’s nest on the shoulder. In fact, nothing is too outlandish, we can do anything. We always find a solution. The seamstresses would say to me, “You sometimes make us do things that are a bit special, but we always manage.”

Do you have an anecdote about making a coat?

Dr. Méli Mélo came with drawings made by her child, which we put on her coat. It was really poetic and truly beautiful. For Dr. Couette, we created a small cushion. During visits, she can take it out of her coat and give it to moms so they can rest for a little while. That’s a really sweet story.

How has the Giggle Doctor’s coat evolved over the past 30 years?

Thirty years ago, we often took patterns we liked and simply applied them to the coat. Over time, the artists have really developed their characters. Now, they come with a complete character, where the clothes they wear underneath match the designs we put on the coat. Everything matters: the clothes, the hat, the makeup.

How do children react when they see the coats?

The artists sometimes tell us stories. For example, Dr. Bidule never knew where to put his accessories in his coat. So, we made him lots of little pockets, each with a design that matched what he was putting in his coat. So, if he had a small pencil, we put a little pencil on the pocket. Or he had a small pocket with glasses on it because he put his glasses in there. And that way, he could find his things. And he had a lot of fun with the children because it led to funny stories.

How do you feel when you see the coat worn for the first time?

When I see the coat worn for the first time, it’s always emotional. The coat is the finishing touch of the character.

Is there a coat you’re particularly proud of?

Just one? Impossible… The most beautiful coat is always the last one. We always say, “Oh, that one, it’s the most beautiful.” Whether it’s simple or very sophisticated, we always enjoy finishing it. Sometimes, I have trouble letting go of the coats and think, “I’d like to keep it a bit longer.”

When I see the coat worn for the first time, it’s always an emotion.

Do you have a memory that stands out from your time with the Foundation?

In 2013, for the Foundation’s 20th anniversary, about 200 Theodora artists, fully dressed from head to toe, gathered on Federal Square. We saw 200 coats at once, and that was amazing!

What does the Foundation mean to you?

In a way, it’s part of my life. Thinking about children who are in hospitals and being able to give them moments to breathe—it’s fantastic. Thank you to the Foundation for all these children.

Watch the full interview in the video: