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Description
Costumes are crucial to any production. They can be sewn from scratch, bought on the high street, or made by altering other clothes. In the National Theatre's Costume Department, a staff of designers, dyers, tailors and buyers work together to produce outfits for every character in every show.
27 Episodes
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Dyer and Textile Artist Rosie Maccurrach demonstrates the dyeing of Medea’s bloodied and mud-stained dress, worn by Helen McCrory in the final scenes of the 2014 production of Medea.
See how Designer Rae Smith's costume concepts are turned into beautiful finished pieces in the National Theatre costume workshop. This short film follows the process of creating the beautiful military dress coat worn by Hal Fowler as King Ignacio, from initial sketches to the full detail of the finished piece.
Go into the National Theatre's costume workshop and fitting room to show how a dress, worn by Rosalie Craig as Althea in The Light Princess, was designed and created for the stage. We learn how Designer Rae Smith's period inspirations are turned into a finished garment by Head Ladies' Cutter Sarah Mercer, finally seeing the detail of the dress close-up.
Danny Sapani (Actor) talks about the costume for Iorek Byrnison, a polar bear, in 'His Dark Materials' and working with the Costume Designer.
Jon Morrell talks about the process for designing costumes for 'His Dark Materials', from his initial inspirations through to development and the final outfits.
Olivier nominated designer Mark Thompson talks about his designs for the gorgeous 18th century costumes in Jamie Lloyd's production of She Stoops to Conquer at the National Theatre. The film features David Fynn and Cush Jumbo talking about getting into their costumes and into character before the start of a show.
Emily Taaffe is dressed in her costume for Daphne in Nation.
A shirt is altered after the first fitting.
How a pattern is drafted from a book.
Watch a seamstress add sleeves to a woman's jacket.
Her approach to designing costumes for a show
Jewellery, millinery or armour.
An overview of the costume department
Finding costumes at vintage markets
Contemporary costume designs require high street shopping
The ‘bible’ contains designs, fabrics, trimming, photographs, and measurements
The work of the costume buyer at the National Theatre
Working on the costume designer's lead
The importance of realism and detail in designing costumes
Presenting the team in the costume workroom
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