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Costume Parade
- 1. Denton Community TheatrePresentsSecond Saturday Seminars Costume Parade The Art of Costuming & An Overview of Vintage & Historic Dress SarahAnn Sutter November 2009
- 2. Program About Me Ground Work Research Sourcing Special Issues Tips Special Topic: Vintage Dress
- 3. How I Got Started Interest Enthusiasm Mentors Luck First Experience “Annie Get Your Gun” Thanks to DCT! Betty Ann Barrow! Summer 2002 About Me
- 4. About Me What do you need to be a costumer? Creativity & imagination A willingness to work hard What don’t you need to be a costumer? You don't need to be able to sew You don't need to be able to draw You don't need a design degree
- 5. About Me: Shows Assistant Costumed DCT’s “Annie Get Your Gun” (2002) UNT’s “Suor Angelica” (2003) Costumed DCT’s “Oklahoma” (2003) UNT’s “Cendrillon” (2004) UNT’s “The Marriage of Figaro” (2005) DCT’s “Joseph…Dreamcoat” (2007) MTD’s “I Love You…Now Change” (2008)
- 6. About Me: Shows DCT’s “Annie Get Your Gun”
- 7. About Me: Shows DCT’s “Oklahoma”
- 8. About Me: Shows UNT’s “Suor Angelica”
- 9. About Me: Shows UNT’s “Cendrillon”
- 10. About Me: Shows UNT’s “The Marriage of Figaro”
- 11. About Me: Shows DCT’s “Joseph…Dreamcoat”
- 12. About Me: Shows MTD’s “I Love You…Now Change”
- 13. Ground Work 1st steps consist of: Gathering information Determining your work style Talk with the director to determine: Director's vision Director's working style Schedule Budget
- 14. Ground Work The question of help: Assistants Sewers Dressers "Designing" versus "Coordinating" What’s the difference? Ideally, do both
- 15. Ground Work Costume Sheets Actor/character names Measurements Taking Measurements What’s needed How-to
- 16. Ground Work Sample Costume Form
- 17. Research is always needed Especially for any ‘historic’ show Even for ‘minimalist’ or unorthodox productions 2nd step of costuming process Save your research: Keep a notebook Make a "Favorites" folder Create a computer folder Research
- 18. Research: Costume History 1700 A.D. & Prior Women’s Dress Silhouettes changed about every 100 years Big differences between upper & lower classes Men’s Dress Silhouettes changed about every 100 years Big differences between upper & lower classes Post 1700 A.D. Women’s Dress Silhouettes changed about every 10 years Class differences in dress diminished Men’s Dress Silhouettes changed less frequently Class differences in dress diminished
- 19. Research: costume history Changing silhouettes of the 20th Century Women’s fashion underwent major changes every decade of the 20th century Community Theatre Costuming Research Reminders: Couture vs. common dress Some characters are behind the times Historical accuracy: don’t panic!
- 20. Specific sources Costuming books The internet Pattern companies Halloween costumes Films & television Paper dolls Museums Please refer to handouts Research
- 21. Sourcing Process of actually procuring costumes Hardest part Designing’ vs. ‘coordinating’ Variety of sources for both approaches Need to weight cost vs. ease vs. effectiveness Sourcing
- 22. Sourcing: Options Making Pros: Customized to needs and actors’ sizes This is a BIG pro! Cons: Fabric often expensive May take more work & time Buying Pros: May be better long-term financial decision Can often get exactly what’s needed Cons: Can be expensive Consider shipping costs Finding/Borrowing Pro Best option if costume stocks available Free! Cons Borrowing presents risks Your organization's stock may be limited
- 23. Sourcing: Options Refurbishing Pros: Great option (especially for costume stocks) Low cost Cons: Can be a lot of work May require sewing skills Renting Pros: Many rental choices Least labor intensive choice No storage issues Good for specialty items Cons: Often expensive Items must be returned
- 24. Sourcing: Specific Options Denton Community Theatre's Costume Stock Music Theatre of Denton's Costume Stock Local schools Universities UNT's Drama Department UNT Opera Theatre TWU Rose Costumes Dallas Costume Shop Denton Dance World Vintage stores Thrift stores Garage and estate sales The Asian Trade District (Harry Hines/Royal Lane)
- 25. Sourcing: Specific Options The internet Dance supply companies Historical clothing specialty site Purveyors of ethnic clothing eBay Craig's List Online costume rental companies Specialty companies Other theaters Halloween costumes Churches Cast members Other individuals Your private stock
- 26. Budgets Movement Issues Modesty/Comfort Issues Colors Shoes Temperament Alterations & Prohibitions Dyeing & Painting Hair Makeup Quick Changes Borrowing from the Cast The Costumer’s Speech Special Issues
- 30. Movement issues
- 32. Musicals
- 33. Practice skirts
- 35. Be sensitive to modesty concerns
- 37. Color schemes
- 38. Science of color
- 39. Black & white
- 40. Shoes
- 42. Movement issues
- 43. Usually bought by cast
- 44. Men’s shoes sometimes trickier
- 46. You
- 47. The actors
- 48. The creative staff (especially the director)
- 49. Practical requirements of a costume
- 50. Have nothing to do with aesthetics
- 51. Covers enough to be decent
- 52. Allow for movement required on stage
- 53. Lets actors get enough air to function
- 56. Wigs
- 58. Makeup
- 61. Special looks
- 62. Quick changes
- 66. Avoid cutting
- 67. Be careful with fabric
- 69. Use judgment about vintage clothes
- 74. Free
- 75. Good for contemporary shows
- 76. You know costumes will fit & flatter actors
- 77. Actors share in create process
- 78. Risk of dirt & stains
- 79. Actors may see it as imposition
- 81. Eating & drinking in costume
- 82. How to handle costume issues
- 84. Cleaning & repairing costumes
- 85. Any other ground rules
- 88. Determine your own work expectations
- 90. When & how often
- 91. Determine cast’s work expectations
- 92. Can or should the cast clean/iron/repair costumes?
- 95. Safety pins are your friend
- 96. Be careful with white
- 97. Free is good
- 98. Ask for help
- 99. Think out of the box
- 101. Use the Work Day
- 102. Get stuff done early
- 103. Thrift stores & garage sales are great
- 104. Cut up cheap clothes for the fabric
- 105. Use bedclothes or curtains as fabric
- 106. Expect to be at strike
- 110. Family
- 111. Vintage stores
- 112. The internet
- 113. Garage/estate sales
- 114. Antique stores
- 115. Identifying Vintage
- 116. Style
- 117. Condition
- 118. Labels
- 119. Zippers
- 121. Specialize
- 122. Know your subject
- 123. Check condition
- 124. Don’t pay too much
- 125. Pay what it’s worth to you
- 126. Wearing Vintage
- 127. Sizing issues
- 128. Condition issues
- 129. Preservation issues
Notes de l'éditeur
- Director's vision: The director's vision may not be your vision. If he or she is wise, she will let you have some share in the creative process. However, ultimately he/she is the boss. Schedule: (when is costume parade, is there a costume parade, etc.). Explain what is a costume parade.Budget: My budget experiences
- Assistants: What is an assistant? Do you need one?Sewers: Are they needed? Are they available?Dressers: What is a dresser? Do you need one?
- Assistants: What is an assistant? Do you need one?Sewers: Are they needed? Are they available?Dressers: What is a dresser? Do you need one?
- Assistants: What is an assistant? Do you need one?Sewers: Are they needed? Are they available?Dressers: What is a dresser? Do you need one?
- Create a "Favorites" folder on your browser just for the show you're costuming. That way, if you find websites with good reference images or items you want to purchase or rent, you can bookmark the link and put it in one central location. I still have a huge folder of links for "Joseph…Dreamcoat." Create a computer folder: You may want to create a folder on your computer to save inspiration images. Pattern companies - even if you don't use the pattern to construct a costume, you can get great design ideas for modifying existing costume pieces. Also, sometimes the line drawing on the backside of a pattern can help you figure out how a piece is constructed, which, again, can help with modifying existing pieces.
- Until about the mid 1700s, clothing silhouetes seemed to dramatically change only about every one hundred years, more or less. By the mid 1700s, at least in women's dress, fashion silhouettes seemed to change dramatically every decade, up until about the 1990s. (After that, I have had a hard time recognizing what is "so '90s" or "very 2000s"). So, if you are at all concerned about historical accuracy (and really, with community theater, there's only so much you can do), be aware that every decade of the 18th, 19th, and 20th century had a particular 'look.' Men's fashions, however, still seem to change more slowly. You can 'get away' with a very similar costume for an upper-class, Western man in any year from 1820 to about 1890. Of course, specialty outfits (cowboys, religious, ethnic, etc.) are a different story. For an expert, there are distinct differences between what would have been worn in 1800 vs. 1900, but in general the distinction isn't as obvious in men's clothes as it is with women's clothes. By the same token, you can probably use the same kind of suit, with few alterations, for a man living in 1910 as 1950.
- Pattern companies - even if you don't use the pattern to construct a costume, you can get great design ideas for modifying existing costume pieces. Also, sometimes the line drawing on the backside of a pattern can help you figure out how a piece is constructed, which, again, can help with modifying existing pieces. If you are looking for patterns for costuming, check out a pattern company’s “Costumes” or “Halloween Costumes” section. You can also find some good period or costumey pieces in the Formals/Evening/Bridals section. More modern films are usually more accurate in their costuming. Period films from the ‘Golden Age’ of Hollywood are less reliable for historical accuracy (although even the historically inaccurate clothes are often lovely!). “Pride and Prejudice” with Greer Garson and Laurence Olivier is a good example. However, movies are great for studying clothes of the era in which the movies were made (Adrian was a genius). TWU’s First Ladies exhibitThe Smithsonian Institute’s First Ladies exhibitWatch for rotating exhibits, especially if you are traveling out of town. The St. Louis History Museum had an exhibit of historic wedding dresses a couple years ago when I was there, and a museum in Williamsburg, Virginia had a special exhibit of rare and very old costumes from the 17th and 18th centuries which I got to see on a visit some years ago.Many small, local museums (including Denton’s Courthouse) have small collections of historic costumes. If I go to a museum, I usually take a camera, and if I see an historic garment, I take photos of it and save them for future reference. But make sure photos are allowed, first! Usually they are, but sometimes you’re not allowed to use a flash.
- Sourcing: my own term!
- Making may involve sewing! Probably will, at least a littleMaking: Fabric: not expensive if bought at garage sales or thrift stores (even sheets/curtains/bedspreads) or if donated or if in theater’s supply alreadyMaking a costume (especially if you're sewing it from scratch) can take more work and more time________Buying: ~Pros: Theater can keep items - this may be a better long-term financial decision than rentingYou can often exactly what you need without having to make anything~Cons: Buying online is a great way to get exactly what you want at good prices, but you need to consider shipping and the issue of returns if things don’t work out__________Cons of borrowing: Borrowing from others (including other arts organizations and individuals) always presents risks DCT & MTD have stocks!
- Renting: Pros: Good for specialty items and costume pieces that you're not likely to use again for other shows (e.g. "Beauty and the Beast" costumes)Cons: you will spend a lot for items you’ll have to return at the end of the run
- UNT's Drama Department has a large stock, but they don't always allow borrowing. If you are allowed to borrow from them, you may do so at no cost, but you must write down everything you borrow and your organization must have the pieces cleaned before returning them. UNT Opera Theatre has a small collection of pieces, mostly Rennaissance/Restoration, a few Victorian (esp. 1870s)Rose Costume - A local treasure - mostly rentals, but some items available for purchaseDallas Costume Shop - Purchase only; a good collection of specialty, showy, and more contemporary pieces (not quite as good for historical costumes)Denton Dance WorldSome rentals and purchasesVintage stores - Circa 77, Time BanditsThrift stores – Ruth’s Room run by many local theater supportersGarage and estate sales - Highly recommended!The Asian Trade District (Harry Hines/Royal Lane)Some wonderful fabric storesGreat, cheap fashion jewelryLow-cost clothing and accessories (you never know what you're going to find but you can get some great pieces at excellent prices)
- The internetDance supply companies (good for basics like leotards)Historical clothing (these specialty companies have amazing items but they're expensive)Purveyors of ethnic clothing (traditional Indian clothing is gorgeous, often inexpensive, and more verstaile for period costuming than you might think) Ebay (can get great prices and you can search for specific, unusual items. Also, look for items sold in lots if you have to dress a lot of chorus people)Craig's List (I've never tried this)Online costume rental companies (but you don’t necessarily know what you're getting)Specialty companies (for example, I got chef costumes for a great price from a restaurant supply website)Other theatersChurches (especially good if you need Biblical-style costumes)Individuals, especially other costumersPrivate collection (I have a large private collection)Mass-market halloween costumes – quality varies; pictures don’t often match actual product; may want to see in person first
- BudgetsWhat if you need more money?_____________Movement issuesCostumes must allow for the movement required onstage (for musicals especially). You can actually dance and sing in a corset, for instance (opera singers do it often), but be careful of sleeve s or short-waisted outfits that won't let your actors raise their arms past their waists. Be careful of skirts that are too narrow. Be aware that even long dresses may require bloomers, petticoats, or dance briefs under them if dancing is rigorous enough. If your show requires long period costumes, ask your female cast members to wear practice skirts (or provide your cast during rehearsals with petticoats they will wear during the show) so they get used to moving and dancing in long skirts. _____________Modesty/comfort issuesIf special costuming needs, may ask your director to check with actors before castingBe sensitive to modesty concernsBe sensitive to body image issues
- Colors: A director will often have a color scheme for a show and costumes are a vvery important part of that scheme. Unfortunately, adhering to a strict color scheme can be a headache for costumers, since, with small budgets, just getting a costume in the right size, right period, and right style, for the right price, is hard enough, without worrying about the colors. Special issues: Black: A large percentage of good vintage clothing (especially clothes from the 1930s-1950s) are black. However, many directors shy away from too much black onstage. White: You must be very careful when you put anyone in white onstage. White will draw focus from everything else and will reflect stage lights. For example, you probably would not want to put a single, random chorus member in white if everyone else (especially the leads) are in colors or in black. Unfortunately, many good costumes (especially Victorian-style blouses) are white. However, if enough people are wearing white (especially an off-white), mixed with other colors, you can get away with it. Generally, off-whites are much safer than stark whites. You can do a lot of research on the psychology of colors (especially in regard to interior decoration), and I've tried that, but really, for community theater and community theater budgets, you don't need to worry too much about whether your calm, serene heroine is dressed in a 'restful green' or not. If you can make it happen, more power to you. ___________________ShoesTricky issue - sometimes hard to make them look period. Usually, women can get away with character shoes for most eras. You can add buckles, clips, bows, etc. to make them look more period if desired. Usually not too big an issue for community theater. Beige or black is mostly an aesthetic choice. Shoes, unless they are a speciality item, are traditionally purchased by cast members and are not part of the costume budget. Be considerate of your casts' budget needs (you may have to settle for black character shoes instead of beige ones if half your cast only owns black ones - again, this is community theater). Men's shoes are trickier:Many shoes require bootsSee if your cast members own anyBorrow from anyone you canGo to thrift stores, etc. If no other choice, rent them (but this gets expensive)If dancing isn't too intense, men can wear black or brown dress shoes onstage (this even works with more intense dancing - it just depends on the dancing style)Jazz shoes are often a good choiceStockings, especially tights, can go either way - sometimes the organizaiton pays for them (especially if it's a specialty item, like striped stockings or fishnets), but more often cast members pay. Dance tights (especially Capezio tights in Light Suntan) are excellent for 20th century period musicals ("Kiss Me Kate," "Crazy for You," "Anything Goes," etc.). Black or white opaque tights (you can get them almost anywhere) are best for 19th century and early 20th century shows.
- Temperament: For some actors, costumes become closely tied up with the actor's self-image. Certainly, costumes can really help an actor get into character, but sometimes an actor's own self-image issues are very much affected by his/her costume. For this reason, don't be surprised if one or more of your cast members gives you trouble about his/her costume. Be compassionate, but ultimately, remember that (in my opinion) there are only 4 practical requirements of a costume that an actor should be concerned about. The aesthetics of a costume are your business and the director's business, not the actor's. At some point in the production, when you give your Costume Speech, tell the actors that if an actor has an issue with a costume to come directly, and in private, to you or the director. Don't make a scene about a costume in front of other actors. The creative staff (especially the director)Costumes are a very important part of a show's look, and some directors are more concerned with costumes than others. Be prepared for a director to tell you he/she doesn't like something. Ultimately, the director is the boss - but he/she would be unwise to treat you and your work with anything but respect. ____________Practical requirements of a costume (has nothing to do with aesthetics) Cover what it needs to cover for decencyAllow for the movement required onstageLets you get enough air to do what is required onstageDoesn't physically hurt you
- Hair & makeupMost often, cast members are responsible for styling their own hair and makeup. Leads may get some special help. Wigs are not usually worn, except for specialty roles. However, wigs have advantages, but they can 1) get expensive and 2) may not be appreciated by cast members. Sometimes, a hairstylist will be present throughout the run (or for the first few rehearsals) to help with hair. If you know you have to have a certain hair length or color, you may want to ask actors at auditions whether or not they are willing to alter their hair/beard length of color. Occassionally, your budget will cover the cost of cutting or coloring a cast member's hair. I have never done that for one of my shows, but I know it's done. Also, some cast members (especially females) will be willing to cut or dye their hair on their own and pay for it themselves. _____________Makeup: Occassionally a makeup artist will assist cast members with achieving specific looks (this is especially important for old age makeup).For specific looks, especially period looks, directors or costume designers will often provide photos or makeup charts for cast members to copy. Makeup is almost always paid for by individual cast members. Makeup sharing is not recommended for sanitation reasons. Special stage makeup is fine, but for many smaller theaters (including the campus) it is not really necessary. I seldom use stage makeup at the Campus, but I often used it at UNT Opera. ________________Quick changesOne of the costumer's chief concerns: a costume can be fabulous and perfect, but if an actor can't get it on or off in time for a quick change, you have a problem. The presence and location of each costume change in the script is one of the first things you need to work out with your director. The presence of quick changes may also dictate whether or not you need dressers backstage.
- Dying and PaintingDying costumes (especially all those white costumes out there) sounds like a good idea, but it can be tricky. Many fabrics (especially synthetics) will not take color well or evenly. You also don't want colors bleeding on your actors. Dying can be messy to do. I've never done it, so I can't really say too much about it. I know they do it successfully at Rose Costumes in a washing machine (but I don’t' know if you want to sacrifice your own machine for that). For "Chicago," Casey had cast members dye t-shirts in coffee. You can also use fabric paint (I've done that for a few small things), but it's not a panacea. You also need to be careful that paint doesn't make your fabric stiff. However, 'they' are always coming out with amazing new products - just take a look at a craft store to see what they have. Feel free to buy a clothing item at a thrift store or garage sale and practice. Alterations and ProhibitionsIf you are borrowing costumes, there may be some rules about how you can alter costumes. Usually, you don't ever want to cut anything you can't put back easily. Unless you get very specific permission (maybe even in writing) don't EVER cut an item of clothing that you need to shorten - just hem it. Of course, depending on how much fabric has to be hemmed, this can be a problem. Fabric glue is a very tempting thing, especially when it comes to adding trim or hemming. Just remember that glue is much harder to take out than thread. Also, it can make fabric stiff and sometimes the glue will bleed through so that you can see it. On cutting or altering vintage clothes: I personally have a hard time cutting up clothes from the 1950s or earlier, unless the item is in really bad condition to start with. Altering clothes from the 1960s or 1970s is dicey, since those clothes get older and more collectible every year. However, there are a lot of '70s clothes out there, most of them very ugly and very costumey. Ultimately, you have to use your own discretion in deciding whether to alter any piece.
- Borrowing costumes from cast members:ProsGood for contemporary shows You know the costumes will fit and flatter the actors (At least at the Campus, there aren't necessarily a lot of good, flattering, contemporary clothes upstairs)Many cast members love to share costumes because they get to share in the creative process. Also, if they are providing their own costume, they get to control what they're wearing (so they know they'll be happy with their costume). Personally, I love to share my costumes.ConsClothes can get stained and dirtied up during a show. I have heard actors complain about having to provide costumes. Some people seem to feel it's an imposition and that it means the costumer isn't doing his/her job properly. This is especially the case if you wait until late in the process to ask people to bring items.
- The Costumer's SpeechI always like to give a speech to the cast members at some point in the production. You can do this perhaps when you first meet the cast, or when costumes are used for the first time, or when you move into the theatre, or on the day of Costume Parade. You should tell the cast the following things:If you have an issue with a costume, come to the costumer individually and in private to discuss the issue. It's much better (and more professional) not to gossip to your cast members about how much you hate your costume and how ugly it is. What you say may very likely be heard by the costumer - criticism of his/her costumes is a criticism of his/her taste, and can be as hurtful as criticism of your acting (even if it's true). Remind actors that eating and drinking in costume is discouraged or even forbidden. Remind actors that they MUST hang up all costumes at the end of each rehearsal/show. A costumer should never come into a dressing room to find costumes on the floor. Establish any other rules and state where your job ends. For example, you may be willing and able to iron clothes after each show - then again, you might not. You need to determine this in advance and tell the cast. You need to discuss cleaning issues with the cast. In equity shows, costumes must be washed after each wearing, but this is not equity. You need to tell the cast whether or not they are allowed to take home costumes and wash them (you need to weigh the risks of whether something can be safely washed and whether you are comfortable with costumes being taken out of the theater and potentially lost or forgotten). You also need to decide whether or not you need to or should clean and repair costumes during the run of the show. For a typical community theater show that runs 2+ weekends, I would recommend that the costumer come in during the week between weekends to check on the costumes and fix or clean anything that needs attention. You are a volunteer and should not be expected to come to every show or rehearsal to fix problems, but I think it's fair for you to come in once during the run to check on things. This is community theater: cast members should not necessarily assume that the costumer should drop everything and come fix their hems in the middle of the run. At some point, cast members need to take personal responsibility and pin or sew the hem themselves.
- Think out of the box. I once tried to make a Nefertiti hat out of an Ikea trash can. It didn't work, but I tried.
- The sewing machine upstairs is hard to use (no one is quite sure how to thread it). You might want to bring your own machine to the theater. Most shows have a work day - don't be afraid to ask your director to let you have some of the cast members as costume helpers on that day. Get as much done ahead of time as possible. The more that is done before Costume Parade, the better. The director will be less stressed and so will you. Thrift stores and garage sales are great - if nothing else, you can always buy a cheap item and cut it up to use the fabric! Consider using bedclothes or curtains from thrift stores and garage sales as fabric. Just wash it first! Expect to be at strike. Make charts (I recommend using Excel) of each character and how many costumes that character has. If necessary, note quick changes. Make charts (I recommend using Excel) of each costume and its pieces. This is especially good for when you're gathering costume parts and when you have to return things at the end of a show.
- Identifying Vintage1. Style1930s vs. 1970s1950s vs. 1980s2.Condition3. Labels – usually embroidered, not printed + specific look4. Zippers : 1) Existence (not invented until 1930s), 2) Location (side), 3) Material (metal, not plastic)5. Homemade vintage - Hardest to identify