Nature and Purpose of Costume Design
Costume design serves many important purposes in the staging of a play. Costumes help to:
Define Characters: differences between characters must be clearly visible to audiences, who don’t have much time to get to know the characters.
Set a character in time and space (contexts): this can refer to helping establish the historical period, the geographical location or imaginary place.
Establish approximate age and gender of character: this can be done through use of wigs, makeup, style of dress, etc.
Establish rank or social status: even in plays without royalty there are social and economic hierarchies.
Establish personality: sometimes costume can contrast with who the character really is to show what that character pretends to be.
Contribute to the overall aesthetic of the production
Good costume design reflects and reinforces the themes and ideas (intended meanings) the director is trying to communicate. This is done in many ways, including through use of colours, fabrics, design features, style, and how the costumes are manipulated/worn by the actors.
Costumes also convey the theatrical style of the production. If the play is performed in the style of Realism, the costume design will reflect the characters status and traits, and context/s. If the theatrical style in non-naturalistic, the costumes will work on a much more symbolic level.
The costume designer must also work within a director's vision for the play, which may shift the time, place, or style from the original contexts indicated by the playwright.
During production development, the costume designer works collaboratively with the lighting designer, set designer, director, actors, props designer and anyone else on the production team who is impacted by decision made by the costume design team.
Design Process for a Costume Designer
1. Read the script and undertake a script analysis
The costume designer will read the script several times looking specifically at the characters, documenting the characters' actions, the character arc, the times and locations of the play, costume changes required, and the style of the play.
2. Concept/Production Meetings
The director holds a production meeting with the production team and shares their directorial vision for the show. They may answer questions (like the ones below) before the production team begin their design planning:
• What period is the play set in? (Context)
• Is the production realistic or non-naturalistic? (Theatrical Style/s)
• What are the important aspects or intended meanings/themes of the script? (Intended
meanings)
• Are then any special effects like fire or rain?
• Is there choreographed dance/movement or physical theatre?
• Is there a specific colour palette to consider?
• What’s the budget?
These are but a few details that could be discussed. The main goal is to give the designers enough information for them to begin their design planning.
3. Sketch Your Costume Design Ideas
The costume designer may present initial ideas in the form of thumbnail sketches, colour palettes, fabric swatches, or a collage of design ideas. It is important at this stage to have a production meeting with the director and other members of the produciton team to ensure a cohesive aesthetic vision. Budget also needs to be taken into consideration.
4. Present a Pitch
Each design area will present their initial ideas during a production meeting. This is called a pitch and is an opportunity for the director to see if they have been clear in articulating their vision to the production team. It is also an opportunity for design teams to see each other’s work and ensure they are all on the same page. If the director approves the designs, the design teams can start developing their initial ideas further.
5. Renderings
Once final designs have been approved by the director, the costume designer creates renderings. Unlike the set designer, who may create only one rendering if the play takes place on a unit set, the costume designer normally creates a different rendering for each costume. Sometimes one character will be drawn in various costumes in one rendering, or several chorus members might be combined in one rendering. Costume designers' renderings include swatches, or small samples, of each fabric to be used in the costume.
6. Source the Costumes
The costume designer’s job will also include making or buying the costumes. This can be a really challenging part of the process, so don't leave it till the last week and ask for helo sooner rather than later. It can become stressful for the whole production if costumes are still being sourced during production week :(
The budget available will also impact greatly on realising your costume dreams. Make sure you get approval from the producer before buying any costumes.
7. Costume Fittings
After the garments are made, the actors will need to try them on. Fittings ensure that the clothes are tailored to the actors’ bodies and can accommodate specific actions and movements. A designer will attend fittings and make adjustments depending on how the garments suit the actor and character and the actions that character engages in onstage. For example, dancing or swordplay require very flexible costumes, which might be achieved either by enlarging a costume or using fabrics which move easily, like stretch knits. A single costume for a single character usually requires multiple fittings. The costume designer, actors and/or stage manager may decide who will be responsible for labelling and storing costumes.
8. Costume Parade
A costume parade is when cast members appear in costume, on stage and under lighting, so that the costume designer can see how they look. This can happen during tech week, however it's a good idea to try to organise a costume parade before tech week to allow enough time for any modifications needed.
9. Tech Week
Designers join the entire group of artists in the theatre during technical and dress rehearsals. Normally, sets, lights, and sound are handled in tech rehearsals, and the costume designer comes in for the first dress rehearsal, which is when costumes and makeup are added. At the same time, the director and lighting designer are usually present for their input as well. Changes may need to be made at this point.
10. Dress Rehearsal
The final rehearsal before opening night is the Dress Rehearsal. This rehearsal is performed in full costumes with all other design elements in place.
11. Production Season/Opening Night
The costume designer’s job is done. However, costumes may need to be washed or repaired throughout the season, and the costume designer may need to have a system in place for storing, checking, and labelling costumes so they don’t go missing between performances.
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