An Introduction to What a Costume Designer Does.

Examples of the Psychology of Dress

During the first four minutes of contact with a stranger, our understanding of that person’s nature and personality will be based on three primary factors:

1. Appearance: 55%

2. Tone of Voice: 38%

3. What the person is saying: 7%

Think about what you or the character wears!

They ask the same question about each

character that every person asks themselves

before they go off to school, work, a date, to

an important life event, or just “hanging

around”----

What are your clothing choices communicating to

all of us?

Costuming is not just about finding some clothes for an actor; it is about helping to

tell a story, providing insight for the audience

about the character and the production.

(i.e. The basic Functions of a Costume)

Where are they geographical location?

Indoors or Out?

Specific room in the house?

When are they exact time period?

time of the year?

time of the day?

What is the character’s gender?

character’s age?

socio-economic status?

rank or social status?

Occupation?

What is/are the character’s Function?

Relationships?

Evolution or Progression?

What is the character’s Psychology/Personality? Optimistic/Pessimistic

Honest/Dishonest

Gregarious/Shy

Responsible/Irresponsible

Compassionate/Selfish

Lazy/Driven

Courageous/Spineless

Affectionate/Distant

Cultured/Uncouth

Etc.,etc.,etc…….

(i.e. The basic Functions of a Costume)

Where are they

geographical location?

Indoors or Out?

Specific room in the house?

(i.e. The basic Functions of a Costume)

When are they

exact time period?

time of the year?

time of the day?

(i.e. The basic Functions of a Costume)

What is the character’s

gender?

character’s age?

socio-economic status?

rank or social status?

Occupation?

(i.e. The basic Functions of a Costume)

What is/are the character’s

Function?

Relationships?

Evolution or Progression?

(i.e. The basic Functions of a Costume)

What is the character’s Psychology/Personality? Optimistic/Pessimistic

Honest/Dishonest

Gregarious/Shy

Responsible/Irresponsible

Compassionate/Selfish

Lazy/Driven

Courageous/Spineless

Affectionate/Distant

Cultured/Uncouth

Etc.,etc.,etc…….

(i.e. The basic Functions of a Costume)

Where are they geographical location?

Indoors or Out?

Specific room in the house?

When are they exact time period?

time of the year?

time of the day?

What is the character’s gender?

character’s age?

socio-economic status?

rank or social status?

Occupation?

What is/are the character’s Function?

Relationships?

Evolution or Progression?

What is the character’s Psychology/Personality? Optimistic/Pessimistic

Honest/Dishonest

Gregarious/Shy

Responsible/Irresponsible

Compassionate/Selfish

Lazy/Driven

Courageous/Spineless

Affectionate/Distant

Cultured/Uncouth

Etc.,etc.,etc…….

Personality Traits Negative Personality Traits

Adventurous

Affable

Conscientious

Cultured

Dependable

Discreet

Fair

Fearless

Observant

Impartial

Independent

Optimistic

Intelligent

Keen

Gregarious

Persistent

Capable

Charming

Precise

Confident

Dutiful

Encouraging

Reliable

Exuberant

Helpful

Humble

Suave

Imaginative

Meticulous

Obedient

Trusting

Valiant

Laziness

Picky

Sullen

Pompous

Dishonesty

Finicky

Sarcastic

Pompous

Arrogant

Cowardly

Sneaky

Rude

Quarrelsome

Impulsive

Slovenly

Self-centered

Boorish

Surly

Unfriendly

Unruly

Thoughtless

Stingy

Bossy

Vulgar

Malicious

Conceited

Obnoxious

Playwright provides THEME

Director provides the

PRODUCTION CONCEPT

The emotional feeling that

pervades the experience of the

play is the MOOD

The Theme, Concept, & Mood are

supported by the costumes through:

Style: manner or mode the costumes are

created in to best interpret the mood &

concept.

Color: overall color scheme, including the

individual characters and how all the characters

look together.

Scale/Shape: relationship to other objects;

realistic or exaggerated, as well as historical

period.

The Theme, Concept, & Mood are

supported by the costumes through:

Texture/Pattern: proportion of one texture

to another or juxtaposed in groups;

communicating emotion & status.

Line: real or implied; historical reference

and proportions.

Light: reflective qualities of the fabrics or

costume pieces

Factual

Research Ms. Cheveley An Ideal Husband

History supporting

character personality

Evocative

Research

Art & Artist inspiring

shape, line, color of design

Sarah Chandler

The Living

Dramaturgical

Research

Taming of the Shrew:

Commonwealth Shakespeare Company

Inspires Costume Concept

All the “male lovers” after conversion in their “found” costumes backstage.

LOVE’S LABOUR’S LOST

Costume Design 2010

ARMADO Before “Curse” ARMADO After “Curse”

Inspirational

Costume

Design

Collage for

Armando

Katherine Before

“Curse”

LOVE’S LABOUR’S LOST

Costume Design 2010

Berowne After

“Curse”

Berowne Before

“Curse” Katherine After

“Curse”

Before

After

Specifically how do Costume

Designers manipulate the costume

to support character?

Fabric Choices

Trims & Notions

“Anatomy of a Costume”

Construction Details

Fit

Hair & Makeup

Drape & Hand of Fabric

Texture of Fabric

Cutting Direction of pattern

Using the wrong side of fabric

Painting & Dyeing

Other Fabric Manipulations: Distressing

Texturing

Movement of Trim

Implied line of Trim

Company

Duet

Understructures

Collars

Neckwear

Bodices/Shirts

Sleeves

Vests

Skirts/pants

Dresses/Suits

Outerwear

Headwear & Hats

Shoes

Tights/hose/Socks/Stockings

Gloves/Gauntlets

Belts/Sashes

Eyewear

Jewelry

Hair Accessories

Armor/Weapons

Hand Props: fans, muff, handkerchief, walking sticks/canes, bags, purses, umbrellas/parasols

Seams

Pleats

Tucks

Gathers

Zippers

Buttons

Padding Out

Hems

Lining

Necklines

Fabric Choice

Drape

Alterations

Pressing

A Funny Thing Happened on the way to the Forum

Period Movement

Period Modes & Manners

Manipulation of costume to communicate

personality

Period vs. Functionality

Accuracy

http://www.youtube.com/watch?v=sprYygJG4Sk

Actor comfort (fit)

Staging & Choreography

Fabric Choices

Period accuracy

Staging

Laundry & Maintenance

Laundry and Maintenance

Actor’s True Body vs. Character or Period

Arsenic & Old Lace Research Board

Research Board Fabric Swatches for Funeral Dress

Arsenic & Old Lace Abby

Thumbnail

Funeral

Dress

Final Line

Drawing

Funeral

Dress

The primary purpose of a costume rendering is COMMUNICATION!

1. Renderings should illustrate best view of costume

2. Sell the design through character stance and facial expression

3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design

4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories)

5. Include fabric swatches on each rendering

6. Have director sign-off on final designs

The primary purpose of a costume rendering is COMMUNICATION!

1. Renderings should illustrate best view of costume

The primary purpose of a costume rendering is COMMUNICATION!

1. Renderings should illustrate best view of costume

2. Sell the design through character stance and facial expression

The primary purpose of a costume rendering is COMMUNICATION!

1. Renderings should illustrate best view of costume

2. Sell the design through character stance and facial expression

3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design

The primary purpose of a costume rendering is COMMUNICATION!

1. Renderings should illustrate best view of costume

2. Sell the design through character stance and facial expression

3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design

4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories)

The primary purpose of a costume rendering is COMMUNICATION!

1. Renderings should illustrate best view of costume

2. Sell the design through character stance and facial expression

3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design

4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories)

5. Include fabric swatches on each rendering

The primary purpose of a costume rendering is COMMUNICATION!

1. Renderings should illustrate best view of costume

2. Sell the design through character stance and facial expression

3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design

4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories)

5. Include fabric swatches on each rendering

6. Have director sign-off on final designs

Rendering Techniques:

Chose best media to

communicate

production style &

mood Water color

Photoshop & Corel

Painter

Collage

Marker & Colored Pencil

Lysistrata:

Athenian Men

The Costume Bible is your voice when you are not present in the shop & contains all vital information relevant to the production. It should include:

Costume Paperwork

Actor Measurements

Fitting Notes

Wardrobe Info

Rehearsal Reports

Additional Paperwork

Cast List

Contact Info

Schedules/Deadlines

Budget Info

Costume Plates

Research

Fabric Swatch Sheets

Preliminary

Costume

Plot

Examples of paperwork for Costume Bible

Millinery/Character Breakdown

Detailed Character Costume Plot

Fabric Modification

and use information

for Costume Shop

Husband Rashomon

Fabric, Dye, & Pattern

information for Costume

Shop

Mock-up with similar

fabric, approve & fit on

performers

Have you ever put on a costume and

said, “Now I feel like my character?”

That is because the costume

designer did their job! They asked

what would this specific character

wear?