SPOTLIGHT ON COSTUME - Royal Shakespeare Company

Spotlight on
Costume
Information Sheet
The 28 workers in the RSC Costume
workshops demonstrate a diverse range
of specialist skills. These include not only
tailoring and costume making but dyeing,
printing, leatherwork, beading, corsetry,
millinery, mask-making and jewellerymaking
to name but a few.
The complex of buildings opposite the
main theatre building in Stratford includes
workrooms devoted to Men's Costume,
Ladies' Costume and Hats & Jewellery,
as well as an Armoury and a Dye Shop.
From designing to fitting
Costume design is a complex and
time-consuming process. Often the
workshops have only a few weeks to make
a complete set of costumes. The journey
begins when the costume designer meets
Alistair McArthur, Head of Costume.
“We talk through the general requirements
of the design with regard to period,” Alistair
explains. “Then we discuss the budget and
costings. The designer is allocated a Costume
Supervisor who will be their right-hand
person through the design and construction
process. The Supervisor is responsible for
ensuring that the two-dimensional drawings
become a three-dimensional reality.”
Designers and Supervisors involve the
actors as much as possible in the design
process. To ensure that the costume suits the
particular actor many designers wait until
the production is fully cast before completing
their designs. At the start of each season
all the acting company are measured. Over
fifty measurements are taken from each
actor. Any allergies are noted and taken into
consideration.
Next, the Designer and Costume Supervisor
begin to sample and purchase fabrics,
visiting shops in London as well as consulting
a large pattern room in Stratford where
fabric samples are kept from both national
and international suppliers. If the designer
requires a particular colour or pattern,
fabric can be dyed or printed by the RSC’s
Dye Department. As soon as fabrics start
to arrive they are handed to the cutters
in the workrooms. The RSC cutters draft
all patterns themselves according to the
specifics of each design. Once the fabric
pieces are cut they are handed on to a team
of makers who start the construction in time
for the first costume fittings.
At the first fitting with an actor, which lasts
around half an hour, the designer decides on
the visual look of the garment, the length of
the hem, style of trim etc., while the cutters
concentrate on the basic fit and technical
aspects of the costume. The Costume
Department tries to avoid using zips in their
costumes. “If someone is doing a quick
change during a show we can’t risk a zip
getting stuck,” Alistair explains. For quick
changes we try not to use Velcro as it ruins
the line of the fabric and is very noisy. We
now use industrial strength magnets which
work really well. Sometimes designs change
considerably through the making process.
There has to be a lot of co-operation between
the designer, our team of makers and the
actor to ensure actors get costumes they like
and feel comfortable with.
Ready for the stage
Before any costume or pair of shoes or boots
goes on stage they may be ‘broken down’
by the Dye Department. Breaking down is a
process of distressing a costume to give it a
worn and authentic look. Jacket sleeves are
tied up with string, sprayed with water and left
overnight to get authentic creases. Pockets
are made to sag realistically by filling with
paper or stones. Costumes can be rubbed
with sandpaper or soap to make the garment
look worn or greasy. The Dye Department
also regularly covers boots and shoes with
specially made ‘mud’.
The RSC has an onsite Armoury where Julian
Gilbert and his team produce breastplates,
gauntlets, belts and weaponry as well
as overseeing all the footwear for each
production. Specially designed swords are
made without an edge, and their lightweight
construction makes them easier for actors to
work with.
The Costume Supervisor compiles the
Costume Description List. This is a document
that details every individual item of costume
worn by the actor in each scene. This is
given to the Running Wardrobe team so that
they know what each actor is supposed to
be wearing. To aid this, every single item of
costume from hats to socks is labelled with
the name of the production, character and
actor’s name.
The technical rehearsal is the first time that
the actor gets to wear the complete costume
and the first time that the designer sees the
costume under stage lighting. This is a very
busy time for the Costume Department. Some
costumes may need alterations in terms of
design or fit, some need extra work in the Dye
Shop and sometimes unforeseen difficulties
arise as part of the technical process.

Getting it right, every night
Once the production is up and running all the
costumes have to be maintained on a daily
basis. “Maintenance of costumes is often
looked upon as a bit of washing, drying and
ironing,” Alistair explains, “but it’s much
more than this. Certain fabrics are very
delicate and have to be cared for with very
special knowledge. All the shirts, tights,
socks and other linens have to be washed
after each performance. There is a constant
list of running repairs. It’s a big job and great
care must be taken. Elaborate costumes are
dry cleaned as necessary. Most costumes
aren’t washable so we use inner costumes or
‘shields’ that can be removed and washed.”
“For example in the 2004 production of House
of Desires most of the men wore leather
‘catsuits’. Leather and suede cannot be
washed or dry-cleaned so each actor wore a
lycra body stocking underneath to absorb the
sweat and which could be washed. In fact, due
to the high energy levels in the show, each
actor had 2 leather costumes plus 2 washable
bodies that they could change into at the
interval. We always have to think ahead as to
how we can maintain the costumes.”
Everything the Costume Department makes
is created to last. “People sometimes imagine
theatre costumes are held tight with bulldog
clips,” McArthur laughs, “but nothing could be
further from the truth. Whereas an everyday
shop-bought suit might be worn a few dozen
times, an RSC costume will be on stage for
well over 100 performances and so must be
made to much higher standards to live up to
the rigours of the stage.”
Costume curios:
Life in the Costume Department
• During an average year, the Dye Department
goes through 60 kilos of dye powder, 800 kilos of
salt and 1500 pairs of disposable gloves.
• For The Histories Cycle, the Hats & Jewellery
Workroom made 27 crowns; some out of metal
and some out of plastic.
• An average set of armour uses 53 sets of
buckles and straps – all individually made to
spec. - and approximately 350 sets of rivets.
• The costumes for the complete eight plays in
the Histories cycle in 2008 filled over 100
four-foot-long dress rails.
• As well as many UK suppliers the Costume
Department also buys fabrics from Germany,
Italy and France; metal for crowns from Bavaria;
crystal beads from Austria; fans from Spain;
specialist haberdashery from New York and is
always sourcing new manufacturers.
• In the 2008 production of A Midsummer Night’s
Dream, Oberon’s coat was constructed from over
320 individual pieces.
• All RSC hats, boots and costumes make their
way to the RSC Costume Hire after the end of
a production and are available to be hired by
schools, dramatic societies and other theatres.
To find out more call 01789 205 920
Career Information
There are many routes into a profession
within the Costume Department. All staff
are trained to a high standard. Although
some learn these skills on the job, most
have a relevant degree-level qualification in
addition to specialist professional training.
Alistair McArthur, Head of Costume,
originally trained as a stage manager. He
has worked his way up in the costume field
with positions at the Royal National Theatre
and the Royal Opera House, in addition
to employment as a freelance costume
supervisor. “Once you leave any costumemaking
course the best thing to do is to find
a freelance maker who is willing to take you
on as an assistant. You can only learn so
much in a college and you learn much more
actually doing the job.”
“Anyone who wants to become a milliner
has to start by really wanting to do this,
as it’s a very different skill to making and
sewing costumes” says Head of the RSC
Hat and Jewellery Department, Elaine
Moore. Elaine has a qualification in theatre
design from West Sussex College with a
specialism in millinery. Other members
of her staff have degree qualifications in
fashion and costume. Previous members
of staff have trained in embroidery and 3D
design. “Theatre millinery is completely
different to fashion millinery because the
hats have to be much stronger. Our hats
might be worn every day for two years, even
though they perhaps need to look like they
are made out of cobwebs,” Elaine explains.
“Also, just because someone is a fantastic
street hatmaker does not mean they will be
a good costume hatmaker. Most successful
people start with an interest in theatre
first. Flexibility is important as we do
both delicate and big butch work. We also
style and heat metal as well as work with
intricate beads.”
Julian Gilbert came to the RSC Boots and
Armoury in 1967 when he was seventeen,
now he is Head of the Armoury. “It’s hard to
train for this area of work,” Julian explains.
“We deal with so many types of fabrics and
materials, and many different processes
that it can be better if someone comes in
without any preconceptions. What we are
really looking for is the right attitude to
the work and flexibility. There is a lot of
repetition involved in our work, and it can
be very demanding at times. One set of
armour might have over 50 sets of buckles
and straps and these can be very time
consuming to make.”
Work experience placements are available
in RSC Costume but there is always a
waiting list.
A Day in the life of
Running Wardrobe.
The Running Wardrobe is staffed from
9.00 am to 11.00 pm and the day starts
with the laundry. Every item of clothing
that touches the skin is washed immediately
after each show, which often involves up to
8 wash loads every night, and these must
be dried, ironed and set into the appropriate
dressing room box ready for the dressers to
collect in the evening. The recent production
of The Taming of the Shrew, for instance,
involved some 74 shirts for each performance,
as well as underwear, etc. In addition, any
repairs are noted immediately after each
performance and must be completed before
the next show goes up. Jewellery may need
to be mended, boots resoled, or stage blood
cleaned from costumes. Most of these
repairs will be carried out within Running
Wardrobe, although some more major work
may mean a costume has to be returned to
other parts of the Costume Department.
Costumes are then placed on divided rails
ready for collection by the dressers.
During the afternoon, the Wardrobe
Mistress or her deputy will be hard at work
preparing for the next production coming in,
or for understudy technical rehearsals and
runs etc. This involves labelling boxes,
dressing rooms, typing up dressing notes,
sorting out understudy techs and runs, so
that all of this preparatory work is done
before the shows arrive. Every item of
costuming is labelled with the actor, role
and production, and jewellery, daggers, etc.
are placed in labelled boxes for each actor.
The dressers arrive an hour before the show
goes up and pre-set all the costumes for
the performance that night. Costumes are
collected and set in the dressing rooms, and
wherever quick changes are needed. This
may be backstage, in the auditorium, in a
corridor, or even in the foyer – although
foyer changes are not usually set until the
show has started! Each dresser will have
up to 7/8 actors in their care and it has been
calculated that the four dressers will carry
out up to 45,000 quick changes per year!
Half an hour before the show begins the
dressers will go in to the actors and start
getting them ready, particularly if it is a
period show. During the show they will be
carrying out the costume changes that will
have been set down during the tech, and
which will not be altered after Press Night.
It is essential that the dressers work well as
a team because they may find that they are
expected to be in two places at once, and
colleagues will then help out by stepping
into the breach. It is also essential to have
great people skills, as the actors rely upon
them to ensure that the show runs smoothly.
They may have to do running repairs, to
provide tissues, water, or anything else that
may be needed. At the end of the show, the
dressers also make sure that costumes are
back on rails, laundry is in the basket and
that the dressing rooms are tidy. The
washing machines are then set to work –
ready for the process to begin again the
following morning.
Training is generally done ‘on the job’ but
dressers are usually expected to have
reasonable sewing skills and a feel for
fabric. They are all highly skilled, but get
through the long working days with
professionalism and a lot of laughter!
Information Sheet
Royal Shakespeare Company
Stratford-upon-Avon
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