Chapter 17: Costume Construction
Costume Design –
Explains the play’s characters
Cues to emotional states / social rank / financial status
Awareness of line, color, fabric, etc.
Costume Construction –
Making the design ‘live’
Responsible for building the designer’s creations
Knowledge of the processes, materials ,and
techniques of construction
Theatrical Design and Production
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Chapter 17: Costume Construction
Concerns for costume construction…
Costumes must be more durable than street clothes
Capable of dealing with / expressing heightened emotional extremes
Must accommodate a wide range of motion and rigor
Theatrical Design and Production
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Chapter 17: Costume Construction
Specific knowledge:
The hand of fabrics
Techniques of making and adjusting patterns
Sewing
Fabric painting
Dyeing
Distressing
Specialty skills – making of jewelry / shoes /
boots / wigs / armor
Hand: The quality and
characteristics of a fabric
that can be evaluated or
defined by a sense of touch
Theatrical Design and Production
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Chapter 17: Costume Construction
Organization of Costume Shops
In process
In performance
Costume Designer
Costume Designer
Shop supervisor
Wardrobe supervisor
Shop crew or staff
Wardrobe crew or staff
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Cutting Tables
Used for laying out patterns and fabrics
Surface needs to be smooth and also easy to push pins into
Height – average person standing won’t need to bend to work
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Dress Forms
Used for draping and pinning material
Used for adjusting patterns
Available in men’s and women’s sizes
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Fabric Storage
Storage should be easily labeled
Organize by fabric type and color
Often use ‘scrap’ pieces or use original fabrics to make alterations
Need space for bolts of fabric and large rolls of brown paper as well
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Washing Machine and Dryer
Used for standard purposes as well as dyeing fabrics
Requires a heavy-duty machine – lots of wear and tear
Continual cleaning to ensure that dyes do not remain in washer
or dryer and ruin other clothing!
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Dye Vat
Commercial = expensive
Soup kettles = cheap and workable!
Needed to heat large quantities of fabric and
liquid to achieve an even coloring of dyed
fabric
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Hot Plate
Smaller alternative to a dye vat
Works well with smaller amounts of fabric
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Stove
Residential stove will work
Can be used for heating water
Also useful when dealing with plastics or other materials for accessories
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Irons
Need heavy-duty irons to work with many fabrics
Last longer if industrial as well
Steam irons are also used
Use distilled water – prevent mineral build-up
and possible stains
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Ironing Boards
Once again – heavy-duty, industrial versions are
preferable
Specialty boards for sleeve boards and/or needle boards
are also good to have in the shop
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Steamer
Use to take wrinkles out of heavy materials such
as velvets, velour, and corduroys..
Also used for millinery
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Sink
Need hot and cold water!
Variety of uses
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Mirror
Full-length, three-way mirror needed for fittings
Want to see costume from all directions to insure correct fit
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Racks
Useful for transporting clothing from shop to various
locations in the theatre
Provides mobile hanging location
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Tables & Chairs
Needed for hand sewing and detail work – often requires many
hours in sitting position
Consider the comfort of your workers and craftspeople!
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Equipment
Sewing Machines
Straight-Stitch Sewing
Machines
Zigzag Sewing Machines
Walking-Foot Machine
(a.k.a. power machines)
Serger
(a.k.a. merrow machine or overlock)
Blind-Stitch Machine
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Sewing Equipment
Common hand tools
Measuring devices
Hand needles
Machine needles
Thread
Thimbles
Tracing wheels
Tracing paper
Tailor’s chalk
Shears & Scissors
Seam Rippers
Single-edged razor blades
Hot Glue Gun
Theatrical Design and Production
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Chapter 17: Costume Construction
Costume Shop: Sewing Equipment
Common fasteners
Straight pins
Safety pins
Push pins
Snaps
Hooks & Eyes
Zippers
Velcro
Seam-Binding Tape
Buttons
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Each fabric has its own intrinsic characteristics
The hand of the fabric is used to determine a fabric’s
suitability for a particular costume
Hand of the fabric =
Type of fiber
Weave or structure of fabric
Treatment of fabric
Finish of fabric
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
2 types of textile fibers
Natural
Synthetic
Cotton
Linen
Silk
Wool
Acrylic
Nylon
Polyester
Rayon
Acetate
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Cotton
White natural fiber contained in the seed pod, or
boll, of the cotton plant
Breathes (ability to transmit heat, air, and water
vapor) well – good for performers
Accepts dyes well
Blend – combination of more
than one type of fiber, blends
are created to take advantage
of the best properties of all
fibers in the blend.
Wrinkles easily
Large number of weaves and blends available
Mercerization – soda treatment applied to cotton
which swells and straightens fibers
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Linen
Oldest textile fabric known
Comes from flax
Stronger than cotton
Silky luster
Good conductor of heat
Lint-free
Hard to dye and/or stain
Washes easily
Shrinks and creases easily
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Silk
Silkworms spin cocoons – creates silk
Expensive / Strong
Lightweight / Pliable
Good elasticity / Lustrous
Holds heat / Dyes well
Wild silk – brown with a rougher texture
Cultivated silk– Smoother texture and grayish-yellow color
Cultivation
1.Reeling – stronger & more lustrous
2.Spinning – Shorter and twists the fibers more
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Wool
Made from the fleece of sheep
2 main types
1.Woolen: Loosely twisted, soft, and weak / fuzzy textured surface / works
as an insulator – traps heat
2.Worsted: Tightly twisted, stronger, and smoother surface / breathes well
Absorbs moisture & dyes
Shrinks!!!
Wrinkles will disappear if the material is hung up – will hang out
Can be shaped with steam
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Synthetic Fabrics
Chemical compounds changed into hardened filaments through patented
processes
Tend to be slick, smooth, and dense
Do not breathe like natural fibers – tend to trap body heat
Durable
Resistant to wrinkles
Often costume designers will use blends of synthetic and natural fibers to create
garments that have the best of both worlds (50% blends of natural and
synthetic tend to breathe well but hold up to theatrical demands!)
Important to know the fabric type & blend to care for the garment once made!!!
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Synthetic Fabrics: Acrylic
Compound based on coal, petroleum, & other materials
Soft & lightweight
Does not dye well in shops but factory dyed acrylics are colorfast
Wrinkle-resistant
Little ironing needed
Common trade names: Acrilan, Orlon, Creslan
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Synthetic Fabrics: Nylon
A slurry of air, water, and coal produces the continuous-filament fiber
known as nylon
Light, strong, elastic, & resistant to abrasion
Virtually no wrinkles
Generally does not conduct moisture or heat well
Various weaves – smooth, tight (Trap heat) – loose, open (Don’t trap heat)
– Some dye well some do not
Common trade names: Antron, Capriolan, Qiana
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Synthetic Fabrics: Polyester
Petroleum-based product
Highly resistant to wrinkling
Extremely strong, commercially colorfast, reasonably stain-resistant
(Does not dye well in shop surroundings)
Used in a variety of fabrics and blends
Common trade names: Dacron, Kodel, Quintess
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Synthetic Fabrics: Rayon
One of the 1st synthetic fabrics
Regenerated cellulose – cotton linters and wood pulp…
Dyes easily, excellent colorfastness, bends well with other fabrics,
& very absorbent
Similar to silk (low-cost alternative)
Common trade names: Avril, Celanese, Fibro, Zantrel
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Synthetic Fabrics: Acetate
Similar to rayon – regenerated cellulose solution
Little strength, require low heat iron, don’t hold crease well
Good draping characteristics & wrinkle resistance
Triacetates – better than acetates – have virtues with less issues
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Weaves
How the fabric is created – generates a variety of different
textures and patterns
Threads running the length of the fabric = warp
Threads running the width of the fabric = weft / woof / fill
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
Weaves
Types of weaves…
Plain
Basket
Twill (most durable weave)
Satin (appears lustrous)
Pile (plush texture)
Plain Knit (interlocking loops)
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
A variety of fabrics are used in costume construction – a basic list…
Brocade – Slightly raised pattern – various weights – reflexive surface
Buckram – Foundation for millinery and other stiff garments
Canvas – Used mainly for lining or when durability is focus
Chiffon – Sheer – Soft diaphanous draping qualities
Corduroy – Has ridges – does not drape – low-cost sub for velvet/velour
Crepe – Low luster, soft drape – lingerie, blouses or flowing gowns
Crinoline – Has permanent sizing for stiffness
Denim – Blue-jeans and working clothes
Drill – smoother & more luster than denim
Felt – Primarily used for hats and trimming
Flannel – Men’s & women’s suits, trousers, & shirts
Gabardine – Inexpensive suits & outerwear
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics
A variety of fabrics are used in costume construction – a basic list cont…
Jersey – Knit fabric with draping qualities
Linen – Nubby, soft-luster surface – tropical suits & sportswear
Muslin – Plain, durable cotton – lining material & making patterns
Net – Stiff, very-open-weave – Ballet skits & veils
Pellon – Non-woven stiffening material - petticoats
Sateen – Satin-weave lining material
Satin – High-luster satin-weave – evening gowns to draperies
Taffeta – Used extensively in 18th & 19th century gowns
Moiré taffeta – Taffeta with a nonrepetitive pattern pressed into the surface
Velour – Pile-weave fabric – Heavy weight (upholstery & drapes) Light weight
(sportswear)
Velvet – Drapes well, lustrous – evening gowns to capes
Theatrical Design and Production
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Chapter 17: Costume Construction
Fabrics Finishes
Functional Finishes
1.Permanent-press – reduces wrinkles in fabric and puts in permanent creases
2.Mercerization – adds strength & shine to cotton thread
3.Flameproofing – chemical process – prevents cloth from supporting flames
4.Preshrunken – has been bathed in water
5.Anti-bacterial agents – reduces stains from natural substances such as sweat
Decorative Finishes
Alter the appearance of the fabric – bleaching, dyeing, printing, texturing…
Finishes are applied to fabric before they leave the mill although some
finishes are applied in costume shops!
Theatrical Design and Production
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Chapter 17: Costume Construction
Nonfabric Materials
Leather
Used for hats, shoes, & period pieces such as vests, armor, and belts
Usually treated cowhide (in U.S.)
Smooth & rough side
Can be dyed & stitched
Tools for leather working – awls, leather punches, etc.
Theatrical Design and Production
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Chapter 17: Costume Construction
Nonfabric Materials
Sculptural Arts Coatings
Made in North Caroline – water-based, low-emissivity craft products,
paints, & finishes - bonds materials together to create anything needed!
Theatrical Design and Production
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Chapter 17: Costume Construction
Nonfabric Materials
Plaster Bandage
Plaster-impregnated gauze – make items from forms such as masks,
small armor pieces, etc.
Same material used to make casts
Water soluble – no toxic or noxious fumes – forms easily
Once dry, can be sanded or painted
Theatrical Design and Production
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Chapter 17: Costume Construction
Nonfabric Materials
Thermoplastics
Stiff plastics that soften in hot water to then be molded
Pellet, mesh, and fabric forms
Masks, armor, etc.
Can be finished with most paints
Theatrical Design and Production
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Chapter 17: Costume Construction
Nonfabric Materials
Fiberglass
2 Forms:
1.Glass fibers in form of mat or woven cloth
2.Resin coat that cures into hard plastic
Used to make armor and helmets
Resin can be used alone in production of jewelry
Theatrical Design and Production
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Chapter 17: Costume Construction
Nonfabric Materials
Metal
Aluminum, copper, and brass
appliqués and jewelry are
often used in construction
of bodices, gowns, armor,
buckles, etc.
Metals are often attached
using pop rivets or special
adhesives…
Theatrical Design and Production
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Chapter 17: Costume Construction
Garment construction
Theatre costumes vs. the garment industry
Single, perfect fit version vs. multiple copies of one garment
Built to last for production vs. built to last as long as possible
Costume design is geared around creating character – not
creating a ‘saleable’ garment
Theatrical Design and Production
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Chapter 17: Costume Construction
Garment Construction: Patterns
Patterns
3 Main goals…
1.Manipulate a flat piece of cloth by cutting and shaping so it conforms to a
specific three-dimensional body
2.Accurately translating the costume designer’s rendering
3.Creating a costume that serves the needs of the script, actor, production,
etc.
2 Main methods…
1.Flat patterning (drafting)
2.Draping
Theatrical Design and Production
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Chapter 17: Costume Construction
Garment Construction: Patterns
Flat Patterning
Get actor measurements
Use measurements to develop basic pattern – a.k.a. the body block / block
Transfer paper pattern to muslin and stitch garment together
Actor comes in for fittings – Adjustments are made
Costume pattern developed from the modified block
Muslin mock-up fitted to the actor for more adjustments
Construct final garment
Final fittings for performer
Cutter of the pattern must be familiar with the designer’s concepts as
well as historical patterns for clothing –
has to be able to translate research into practical application
Theatrical Design and Production
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Chapter 17: Costume Construction
Garment Construction: Patterns
Actor Measurements
Measurements include:
Traditional clothes sizing
Specific measurements that involve various
segments of the performer’s body –
Arm length to wrist
Bicep
Armseye
Underbust to waist
Etc. – See book pg. 439!
Theatrical Design and Production
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Chapter 17: Costume Construction
Garment Construction: Patterns
Draping
Process of pinning fabric directly to the tailor’s form and creating
pattern pieces or a garment by manipulating the fabric until the
desired look is achieved
Requires a dress form that is padded/altered to match the
performer’s exact measurements
Traditionally used to create non-tailored elements
Sometimes creates a mock version but often works to build the
garment without mock version as fabric drape is essential to this
type of creation process
Theatrical Design and Production
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Chapter 17: Costume Construction
Garment Construction: Patterns
Pattern-Drafting Software
With computers, cutters can use software to develop patterns
Cannot be used for draping
Learning curve with the software – cutter must know how to really
use the software for it to be useful!
Sample software: Custom Pattern Maker
Requires a plotter to print adequately
Theatrical Design and Production
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Chapter 17: Costume Construction
Special-Effects Treatment of Fabrics
Fabric Dyeing
Safety 1st! Look at the MSDS information to be sure you are handling
any and all materials correctly!
Types of dyes must know setting agent as well as time, saturation, &
heat needs
Union Dyes – Household dyes such as RIT – made to be moderately
effective – not particularly effective on synthetic materials
Aniline Dyes – a.k.a. unified aniline dyes or acid dyes – Strong colors w/ light
to full saturation – good with natural fibers & some synthetics
Disperse Dyes – Intense colors – almost colorfast if dyed when dye is at
boiling point – designed for use with synthetics
Fiber-Reactive Dyes – Most useful for fabric painting with natural fibers –
Uses cool or lukewarm water
Theatrical Design and Production
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Chapter 17: Costume Construction
Special-Effects Treatment of Fabrics
Fabric Painting
Painted to add texture / enhance 3D qualities /
Age Fabric / Create or reinforce a pattern
Fabric painting can be done with a
variety of materials
– dyes, fabric paints, spray enamels, French enamel varnish,
shellac, bronzing powders, etc. –
and a variety of applicators
– brushes, sponges, spray guns, air brushes, stencils,
hot glue guns, etc. –
Read MSDS to make certain you know safety procedures for application
and later treatment of the garment!!!
Theatrical Design and Production
© 2006 McGraw-Hill. All right reserved.
Chapter 17: Costume Construction
Special-Effects Treatment of Fabrics
Costume Aging
Sometimes, it is necessary to distress a garment
– showing its age, abuse, and wear-and-tear
Distress appears where fabric receives greatest stress
– elbows, knees, seat, etc.
Distress can be created by overstretching a garment, painting it, ripping
or shredding the fabric…
Experience is the best teacher! Experiment!!!
Theatrical Design and Production
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Chapter 17: Costume Construction
Accessory Construction
Wigs…
Allows designer to achieve correct hair style – especially important with
period costuming
Rent or make – wigmaking is a difficult craft!
Restyle contemporary wigs to look like period is also a low-cost
alternative
To make a commercial wig appear more natural, 1/3 of the hair is
removed and is then used to ventilate a piece of netting attached to
the wig’s foundation – this creates a more realistic hairline…
Also hair extensions and pieces are used to supplement a performer’s
natural hair
Theatrical Design and Production
© 2006 McGraw-Hill. All right reserved.
Chapter 17: Costume Construction
Accessory Construction
Wigs…
Some period styles that
require the use of wigs,
extensions, or pieces to
create…
Theatrical Design and Production
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Chapter 17: Costume Construction
Accessory Construction
Millinery…
Hats often provide the completing
element for period costume…
Many hats can be created from a
basic broad-brimmed, deepcrowned felt hat
Steaming allows hats to be shaped
and molded as needed – using a
hat mold or hat block…
Also buckram is used to help create
hats
Theatrical Design and Production
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Chapter 17: Costume Construction
Accessory Construction
Millinery…
Some period styles that
require hats or headpieces
to complete the ‘look’ of
the particular period…
Theatrical Design and Production
© 2006 McGraw-Hill. All right reserved.
Chapter 17: Costume Construction
Accessory Construction
Footwear…
Appropriate footwear makes a costume complete…
Ideal solution is to contract with a cobbler or shoe company but that is
not cost effective
Usually shops add elements to existing shoes to create the illusion of a
period piece
Soft- and hard-soled house slippers are a common base for building
shoes – usually leather additions and other accessories provide the
rest of the illusion…
Theatrical Design and Production
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Chapter 17: Costume Construction
Accessory Construction
Footwear…
A progression of footwear styles over the course of history…
Theatrical Design and Production
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Chapter 17: Costume Construction
Accessory Construction
Jewelry…
Simplicity and exaggeration combine to create stage jewelry…
Know your research to create something that looks correct
Wood, plastics, metals, and more can be used to create jewelry
Attaching cording and trim, painting the object, and applying rhinestones
adds to the illusion
All shops should have a collection of ‘junk jewelry’ – rings, brooches,
necklaces, and similar pieces that look gaudy up close often look rich
and elegant from stage…
Theatrical Design and Production
© 2006 McGraw-Hill. All right reserved.
Chapter 17: Costume Construction
Accessory Construction
Armor…
Breastplates and helmets are often made from Fabric Form, fiberglass,
thermoplastics, leather, etc.
Most armor requires a form or armature that is made of clay & wire…
The form is covered with foil or some other no-stick material…
The material making the armor is applied to that, making a rigid shell
Then apply decoration to suit the character
If using thermoplastics, insulate the actor and mold directly on the body
to ensure a good fit…
Theatrical Design and Production
© 2006 McGraw-Hill. All right reserved.
Chapter 17: Costume Construction
Accessory Construction
Masks…
Another major element of design, masks can be
made in a variety of ways…
Papier-mâché – plaster bandages – Fabric
Form – fiberglass – Thermoplastics…
Often, molds are made of the performer’s face
and then the mask is formed from that ‘cast’
Once built, masks are decorated and/or painted
to express character as needed
Theatrical Design and Production
© 2006 McGraw-Hill. All right reserved.
Chapter 17: Costume Construction
Accessory Construction
Masks…
Papier-mâché process
1
1.Life-mask made and
covered with aluminum
foil
2
2.Apply glue-soaked strips
of paper to mask
3.Allow to dry for 24-48 hrs.
4.Finish as desired
3
4
Theatrical Design and Production
© 2006 McGraw-Hill. All right reserved.
