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References:

1.) Anderson, Barbara; Anderson, Cletus. Costume Design. New York : Holt, Rinehart and Winston, 1984. Print

2.) Corey, Irene. The mask of reality; an approach to design for theatre. Anchorage, Ky: Anchorage Press, 1968. Print.

3.) Covey, Liz; Ingham, Rosemary. The Costume Designer's Handbook. Portsmouth, NH: Prentice Hall Inc., 1983. Print

4.) Eubank, Keith; Tortora, Phyllis G. Survey of Historic Costume. Fourth Edition New York: Fairchild Publications, Inc., 2005. Print.

5.) Fernald, Mary; Shenton, Eileen. Costume design & making: a practical handbook. New York: Theatre Arts Books, 1967. Print.

6.) Finkel, Alicia. Romantic stages: set and costume design in Victorian England. Jefferson, N.C. : McFarland, 1996. Print.

7.) Henderson, Mary C. Theater in America : 250 years of plays, players, and productions. New York : Abrams, 1996. Print.

8.) Owen, Bobbi. Costume design on Broadway : designers and their credits, 1915-1985. New York : Greenwood Press, 1987. Print.

9.) Prisk, Berneice; Byers, Jack A. Costuming. New York : Richards Rosen, 1969. Print.

10.) Russell, Douglas A. Stage costume design: theory, technique, and style. New York, NY : Appleton-Century-Crofts, 1973. Print.

Costume Design

Costume is specific in the style of dress particular to a nation, a class, or a period. The most basic designs are produced to denote status, provide protection or modesty, or simply decorate a being.^[1] Costume design is a tool to express an art form, such as a play or film script, dance piece, or opera.

Design Process

The costume design process involves many steps and though they differ from genre to genre a basic method is commonly used.

1.) Analysis: The first step is an analysis of the script, musical composition, choreography, etc. Parameters must be established:

Indication of events happening before the piece took place if applicable
Geographical location
Day, month, year or specific season
Who the characters are regarding relationships and socio economics, government and religious rule, and ethical conduct, marriage or family.
The function of each character in regards to protagonist, antagonist etc.
Dialogue mode of text
Texts action in sequence. This is used to create a Costume Plot or Action Chart, which lists which characters are in what scene.
Theme of the text

2.) Design Collaboration: An important phase in the process is meeting with the director and fellow designers. There must be a clear understanding of:

Script/Text
Budget
Time table/Calendar

3.) Costume Research: Once guidelines are established, the next step is to gather research.

A research outline is important to focus your attention, listing any questions necessary to complete your study.
Use primary sources for the majority of your research; Such as, museums, periodicals, newspapers, sculptures, paintings, etc.

4.) Preliminary Sketching and Color Layout Once enough information is obtained to begin drawing, a preliminary sketch must be performed. Successful preliminary sketching conveys an accurate depiction of:

Line, which will show the silhouette of the targeted piece of clothing
Proportion, of not only the garment but also the actors body.
Detail, of not specifics but general ideas. Such as the indication of what type of fabric or pattern may be used.
A color layout, using either fabric swatches, or paint samples needs to be represented.

5.) Final Sketches The final costume sketch can be completed in any medium but must include:

Name of text
Name of character/actor
Scene(s) in which costume is represented
Signed signature of artist
Swatch of fabric if being constructed

Production Process

Once the show is designed, it is necessary to plan where the items will be sourced. There are four options. Garments can be:

Pulled, which refers to searching through a costume shops stock
Rented
Shopped
Constructed, or also known as made to order.

There are two ways a garment can begin to be constructed; either pattern drafted or draped, and many times both methods will be used together. Pattern Drafting begins by using a set of basic pattern blocks developed from the actor’s measurements. They are drawn out on paper first, then transferred to fabric, and sewn together to test fit. ^[2] (See also Pattern (sewing)) Draping involves manipulating a piece of fabric on a dress form or mannequin that have measurements closely related to the actors. It is a process that takes a flat piece of cloth and shapes it to conform the fabric to a three-dimensional body by cutting and pinning. File:Pattern Corrections by Jeanette Aultz 2013.jpg

^ Eubank, Tortora, Keith, Phyllis G. (2005). Survey of Historic Costume. New York: Fairchild Publications. p. 1.{{cite book}}: CS1 maint: multiple names: authors list (link)
^ Covey, Ingham, Liz, Rosemary (2003). The Costume Technician's Handbook. Portsmouth, NH: Heinemann. p. 98.{{cite book}}: CS1 maint: multiple names: authors list (link)

[Eubank-1] Eubank, Tortora, Keith, Phyllis G. (2005). Survey of Historic Costume. New York: Fairchild Publications. p. 1.{{cite book}}: CS1 maint: multiple names: authors list (link)

[2] Covey, Ingham, Liz, Rosemary (2003). The Costume Technician's Handbook. Portsmouth, NH: Heinemann. p. 98.{{cite book}}: CS1 maint: multiple names: authors list (link)

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