Costume designer

The job

You read the script for who each character is, then what they wear in every scene and why. You agree the approach with the director, palette with the designer and DoP, and each character's whole look with the hair and make-up designer.

Then you lead fittings, approve makes and hires, and set the budget with the costume supervisor. Big period shows mean workrooms and specialist makers; on contemporary drama, much is bought and altered.

A typical day (in prep)

Character meeting with the director.
Fittings with lead actors, each one photographed for approval.
Visit a costume house to pull options for supporting artists.
Review a make with the cutter and costume maker.
Agree breakdown and multiples with the supervisor for a stunt sequence.
Budget check with the costume supervisor and the production accountant's report.
Sign off the continuity bible for the first block.

Skills

Character and story: reading a script for what clothes can say.
Research into period, class, region, work and faith.
Drawing, collage or digital illustration to explain designs.
Knowledge of fabrics, cut and construction.
Budget control, and leading a department.
Tact with actors. Fittings are personal.

Reporting lines

You report to the producers and work to the director. The costume supervisor, assistant costume designers, costume makers and, through the supervisor, the whole department report to you.

How people get in

There is no direct entry. Most costume designers come up as assistant costume designers or costume supervisors. Others design first for theatre, commercials, music videos or short films. Costume and fashion degrees are common, and the NFTS runs a costume design course.

Next step up

Costume designer is the head of department. Progression is to bigger productions, larger builds and longer series.

Who a character is, told through what they wear.