The air is a mixture of second-hand shop, gym and fabrics. Around 60,000 costumes hang on hangers in the costume tailor's trove. Golden bodices with baroque-style hooks, a dress with an empire collar made of soldered copper wire and sequins for Mary Stuart and a net leotard with hand-painted tattoos. "The make-up artists then continue painting on the neck to make it all look real," says Scholz. "Costumes are also often made old, for example for the play 'Ulysses'. There, clothes are dyed and artificially soiled. There have been tears among the dressmakers in the tailor's shop. But that's theatre - if you only want to sew beautifully, you have to go into fashion." For costumes that look delicate and light or need to be made to move, the tailors use Freudenberg interlining fabric from the roll, which is then cut and sewn, for example into waves or fringes.
Whether Domingo or Denoke - Scholz knows many well-known artists and has dresses in his collection that they have worn. "It's all tailored to the body," he says. "And of course we all know the sigh of a star when they say, well no, that's not me. I don't find myself in that dress." Of course, he doesn't name names. With a twinkle in his eye, he notes, "Psychological skill and persuasion are also part of it."