Chapter 7:
Dressing the Part: Costume, Hair, and Makeup Design
Introduction
The visual transformation of a performer into a character is one of the most magical aspects of theatre, and much of that work is accomplished through the efforts of costume, hair, and makeup designers. These artists use historical research, character analysis, and practical craftsmanship to bring authenticity and flair to the stage. Depending on the size of the production company, the responsibilities of costume, hair, and makeup design may be shared among a team or handled by a single person. This chapter explores how clothing, hair, and makeup design help tell a story and support actors in embodying their roles.
Costume refers to the clothing and accessories worn by actors to portray characters. Hair design includes styling natural hair or wigs to support character portrayal. Makeup designers apply cosmetics to shape the actor’s appearance for stage visibility and character development.
History of Clothing and Costume
Clothing has always been more than just functional. Across time and cultures, what we wear has communicated our social status, cultural beliefs, and personal identity. In many Indigenous cultures, clothing and adornment served ceremonial and spiritual purposes. Ritual dress symbolized clan affiliations, rites of passage (significant life events), or spiritual beliefs.
Notable Costume Designers
Clint Ramos is a Filipino-American designer who won a Tony Award for Eclipsed and is known for his work on Once on This Island and Here Lies Love. He was the first person of color to win a Tony Award for Costume Design in a Play.
Paloma Young, a gender-nonconforming designer (she/they), won a Tony Award for Peter and the Starcatcher and is celebrated for her use of found and repurposed materials to create rich, character-driven designs.
Paul Tazewell designed the iconic costumes for Hamilton and earned accolades for The Wiz Live! and Harriet. His work balances historical detail with bold visual storytelling.
Machine Dazzle is a queer, nonbinary designer and performance artist known for their work with Taylor Mac. Their extravagant, maximalist costumes challenge traditional aesthetics and celebrate queer identity through theatrical design.
Roles in Costume Design
The costume department is composed of multiple specialized roles that work collaboratively throughout pre-production, rehearsal, and performance. Depending on the size of the production, some individuals may fulfill multiple roles.
- Costume Designer: The lead artist responsible for creating the overall visual look of the costumes. They work closely with the director and other designers to develop concepts that align with the production’s vision.
- Assistant Costume Designer: Supports the designer by conducting research, sourcing materials, attending fittings, and managing documentation such as costume plots and fitting notes.
- Cutter/Draper: Translates renderings into physical garments by drafting patterns, draping fabric on dress forms, and cutting fabric for construction. They work directly with stitchers and often lead the costume construction team.
- Stitcher: Assembles garments by machine or hand sewing based on the draper’s instructions. They may also assist with alterations and repairs throughout the run.
- Costume Crafts Artisan: Specializes in creating non-traditional costume pieces like armor, hats, masks, jewelry, or dye treatments. Their work bridges costuming and props.
- Shopper: Purchases or sources garments and accessories from stores, online retailers, or rental houses. They are especially important in modern or budget-conscious productions.
- Wardrobe Supervisor: Oversees costume maintenance, laundering, and quick changes during the run of the show. They ensure all pieces are accounted for and ready each night.
- Dresser: Assists performers with quick changes and ensures costumes are properly worn, secured, and in good condition. Dressers often work backstage during performances.
Each member of the costume team plays a critical role in transforming design concepts into living characters on stage, and clear communication between roles is essential for success.
Costume Renderings
A costume rendering is a full-color, detailed illustration that shows what a character will wear onstage. These renderings serve multiple purposes: they convey the designer’s vision to the director and other members of the creative team, guide the costume shop during construction, and help actors visualize their transformation into character. Costume renderings combine visual storytelling with technical clarity, capturing not just what a character wears, but how that costume supports the tone, time period, and physicality of the play.
Renderings include design details like silhouette, fabric drape, accessories, and color palette. Some designers prefer hand-drawing their renderings using pencil, ink, and watercolor, while others work digitally using programs like Procreate or Photoshop. Regardless of medium, the goal is the same: to create a visual reference that supports both artistry and practical construction.
What Is a Croqui?
If drawing human figures isn’t your strength, or if you need to create renderings quickly and consistently, using a croqui can be a helpful shortcut. A croqui (pronounced crow-kee) is a pre-drawn outline of a stylized human figure—usually around 9 heads tall—that serves as a template for costume illustration. Croquis are typically gendered and elongated to emphasize silhouette and garment detail, though inclusive croqui sets can reflect a range of body types, gender expressions, ages, and mobilities.
Using croquis is especially useful when working with multiple characters or quick costume changes, allowing designers to focus on fabric, cut, and layering without spending time redrawing the figure each time.
How to Use Croquis in Costume Design
- Select an Appropriate Croqui Choose a croqui that matches your character’s needs—or draw one yourself if you have figure drawing skills. Consider the character’s posture, age, and body type to ensure your rendering supports authentic representation. You can download inclusive croqui here created by Mandy Rojas and Devan Freecman.
- Sketch the Costume Using tracing paper or digital layers, draw the costume directly over the croqui. Add important details such as buttons, hems, pleats, closures, or accessories. Think about how the garment will move onstage and how it reflects the character’s story.
- Add Color and Texture Apply color using markers, colored pencils, paint, or digital tools. Textural details can help communicate fabric type—sheen for silk, transparency for chiffon, weight for wool. Some designers also attach fabric swatches for tactile reference.
- Label and Annotate Label specific costume pieces and note relevant construction details. Include information like fabric type, closures, lining, and any specialty stitching or distressing.
- Assemble a Costume Plot When complete, organize renderings into a costume plot that shows each character’s look across scenes. This helps the director, actors, and wardrobe team understand costume changes and visual storytelling throughout the production.
While using croquis is not required, it’s a practical tool that supports clarity, speed, and consistency—especially for designers who are early in their figure-drawing journey. The most important thing is not how beautifully the figure is drawn, but how clearly and effectively the costume is communicated.
Basic Sewing Skills
Understanding basic sewing is essential in costume construction, especially in educational or low-budget theatre where costume shop staff may be limited. Sewing helps designers make repairs, modify garments, and communicate clearly with stitchers and drapers. Whether done by hand or by machine, sewing is a skill that contributes to the functionality and appearance of a costume.
Hand Sewing
Hand sewing is the process of stitching fabric using only a needle and thread. It is useful for quick repairs, finishing details, or sewing areas that are too small for a sewing machine. Common hand stitches include:
Running stitch: A basic stitch where the needle weaves in and out of the fabric in a straight line. Used for seams or gathering fabric.
Backstitch: A strong, durable stitch where each stitch overlaps the previous one slightly. Often used for permanent seams.
Slip stitch: A nearly invisible stitch used for hemming or closing seams on the outside of garments.
Overcast stitch: A looping stitch over the raw edge of fabric to prevent fraying.
When hand sewing, it's helpful to use a thimble for protection and wax your thread to reduce tangling.
Machine Sewing
Machine sewing speeds up the process and produces even stitches. To use a sewing machine, start by:
Threading the machine: This includes winding the bobbin (the lower thread), inserting it into the bobbin case, and running the top thread through various tension discs and guides before inserting it into the needle.
Adjusting stitch length and tension: Stitch length controls the spacing of stitches. Shorter stitches are more secure, while longer ones are better for basting, a temporary method of joining fabric with long, easily removable stitches used to hold pieces together before final sewing. Tension controls how tight the stitches are. If tension is too tight, fabric may pucker; too loose and the stitching may unravel.
Always test on scrap fabric to adjust your settings. Machines should be maintained with regular cleaning and oiling as specified by the manufacturer.
Sewing Tools and Workspaces
A basic sewing kit includes: needles, thread, scissors, seam ripper, measuring tape, pins, pin cushion, thimble, tailor’s chalk, fabric marker, and a small ruler. For machine work, additional tools like bobbins, presser feet, and extra machine needles are essential. A well-lit, organized sewing space with an ironing board and cutting table ensures safe and efficient costume work.
Taking Measurements with Consent
Taking accurate actor measurements is critical and must be handled with care. Drawing from best practices in intimacy coordination, designers should always ask for verbal consent before initiating physical contact and clearly explain what measurement is being taken, how it will be taken, and why it is necessary. This helps establish trust and creates a safer environment for both the performer and the technician.
Setting boundaries is key. Invite the performer to participate in the process: they may prefer to hold one end of the tape measure themselves or request a same-gender or non-touch option. Avoid placing hands in sensitive areas without asking—this includes the chest, hips, and inseam. Designers should be mindful of body language, and if a performer expresses discomfort, the process should pause immediately to reassess the approach.
Use gender-neutral language, such as referring to "upper chest" or "inseam," and offer a mirror or invite a friend or assistant to help if the performer prefers.
Step-by-Step Guide to Taking Measurements:
Bust/Chest: Measure around the fullest part of the chest or bust, keeping the tape measure level and snug but not tight.Waist: Measure around the natural waistline, which is usually the narrowest part of the torso.Hips: Measure around the fullest part of the hips and buttocks.Inseam: Measure from the crotch to the desired pant hemline, typically at the ankle or shoe top.Sleeve Length: With the arm slightly bent, measure from the center back of the neck over the shoulder and down to the wrist.Neck: Measure around the base of the neck where a collar would sit.Shoulders: Measure from one shoulder bone across to the other.Height: Measure from the top of the head to the floor.Head Circumference: Useful for hats or wigs, measure around the forehead and base of the skull.
Filling Out a Measurement Chart
A measurement chart is a standardized form used to record and store each performer’s measurements for use by the costume team. These charts often include spaces for:
Performer’s name and roleContact informationDate of measurementAll major body measurementsNotes about allergies, sensitivities, or special clothing needs
Charts should be stored confidentially and shared only with the costume team. Encourage performers to speak up if they feel uncomfortable or need accommodations during the process. Respect and professionalism help create a safe environment for all performers.
Costume Paperwork
Costume design involves several types of documentation that ensure organization, communication, and efficiency throughout the design and production process.
A costume plot is a chart that outlines what each character wears in every scene. It typically includes information such as act/scene numbers, character names, costume changes, and specific notes on garments or accessories. The costume plot helps the designer track continuity and visualize the costume flow throughout the play.
A quick-change plot identifies any changes that need to occur within a short amount of time backstage, often during a blackout or a fast-paced transition. It outlines the time allowed, location of the change, required assistance, and specific garments or accessories involved. This document is crucial for coordination between wardrobe staff and stage management.
Measurement charts collect and store actors' body measurements. These forms are used throughout the construction and fitting process to ensure proper sizing. Charts should be accurate, updated regularly, and kept secure to protect performer privacy.
Fitting schedules are used to plan appointments between actors and the costume team. These schedules ensure that fittings happen in a timely, organized manner and allow the team to prepare garments or alterations before technical rehearsals.
Additional paperwork might include costume calendars (which align fittings and construction deadlines with the rehearsal process), budget spreadsheets (to track purchases and rental costs), and laundry schedules (especially for long-running shows). Keeping costume paperwork well-organized—digitally or in print—improves efficiency and promotes a successful production process.
Shoes, Hats, and Specialty Costumes
Specialty costumes include items that alter or exaggerate a performer’s silhouette or identity. These include armor (costumes simulating metal or protective gear), padding (fabric or foam inserts to change body shape or create muscle structure), and masks (coverings that conceal or stylize facial features). These pieces often require collaboration with artisans such as sculptors, props technicians, or 3D modelers. Lightweight and breathable materials such as EVA foam or thermoplastics are often used to ensure safety and comfort.
Hats are both functional and symbolic in costume design. They can indicate status, profession, or personality. The creation and modification of hats is known as millinery. A milliner crafts hats using techniques such as blocking (shaping fabric or felt over a mold), wiring brims for stability, and trimming with ribbon, feathers, or beads. Millinery requires specialized skills and tools and plays a critical role in completing a period or stylized look.
All specialty items must be carefully integrated with an actor’s movement and blocking and should be considered during early design conversations to avoid surprises during tech rehearsal or dress runs.
Roles in Hair and Makeup
The hair and makeup department are composed of creative professionals responsible for the transformation and visual consistency of characters on stage. Depending on the size of the production, some roles may be combined, while larger shows will have a more specialized team.
- Hair and Makeup Designer: Oversees the visual concept for all hair and makeup designs in a production. Collaborates closely with the director, costume designer, and lighting designer to ensure a unified aesthetic. This person also selects materials and products, supervises application plans, and trains team members.
- Assistant Hair and Makeup Designer: Supports the lead designer by conducting research, sourcing supplies, organizing makeup plots, and assisting during fittings and tech rehearsals.
- Wig Manager: Maintains and styles all wigs used in the production. Responsibilities include wig setting, cleaning, repairs, and ensuring wigs are correctly prepped and fitted for each performance.
- Makeup Artist: Applies makeup according to the design. In larger productions, individual artists may be assigned to specific performers or specialized effects such as aging or prosthetics.
- Specialty Makeup Artist: Focuses on specific technical skills such as airbrushing, prosthetics application, or special effects makeup. Often brought in for productions requiring transformation or fantasy designs.
- Dresser (Hair/Makeup): Assists actors with last-minute hair or makeup adjustments backstage and during quick changes. Ensures continuity and checks for any needed touch-ups throughout the show.
Hair and makeup artists are highly collaborative roles who work closely with the costume, props, and stage management teams. Effective communication ensures that design elements work together and that application and removal timing fits into the rehearsal and performance process.
Every role contributes to helping performers feel confident, safe, and seen in their transformation into character, making the hair and makeup team a critical part of any production.
Hair on Stage
Hair design ensures continuity and character accuracy. Designers must consider whether to use an actor’s natural hair or apply a wig based on the needs of the production and the actor's comfort. Natural hair offers a personal and authentic look but may require daily restyling, product maintenance, and time. Wigs provide consistency, especially useful for period or fantasy settings, and can ease quick changes between scenes.
When using wigs, proper application is essential. Use wig caps to secure natural hair and pins to anchor the wig. Ensure the wig is ventilated (made of breathable materials) and fits snugly to prevent slippage during movement. Wigs should be labeled, stored carefully, and styled with heat tools or set methods depending on the fiber type.
Hair design also includes important collaboration with performers. Designers should seek verbal consent before styling or cutting natural hair and should consider racial, gender, and cultural identities when making design choices. Hair should be a celebration of character without reinforcing harmful stereotypes.
Designers must also anticipate changes due to sweat, movement, and environmental effects (like wind or water) and adjust styles and products accordingly. Good hair design is invisible to the audience but indispensable to the performer.
Historical Hairstyles
Hair trends vary across time and place, often reflecting the values, technologies, and social structures of their era. Understanding these styles helps designers place characters within a specific historical context and convey status, personality, or cultural identity.
In Ancient Egypt, hair was braided and often supplemented with wigs or elaborate headdresses, reflecting status and hygiene practices. The Elizabethan era favored high foreheads, elaborate updos, and powdered hair to signify wealth and nobility. During the 18th century, European aristocrats wore towering, powdered wigs adorned with feathers and ribbons. In contrast, the 1920s brought liberation through bobs and finger waves, as women rejected Victorian restrictions in favor of flapper modernity. By the 1960s, styles like beehives and pompadours reflected pop culture and rebellion.
Hair history is deeply tied to social identity. Hairstyles have been used to enforce or resist cultural norms—such as the Afro during the Civil Rights Movement or punk spikes during the countercultural 1980s. Global hair traditions also play a role: traditional Japanese geisha hairstyles, Indigenous feather adornments, and South Asian bridal braids all carry layered meaning.
When designing historical hairstyles, research is key. Designers consult primary sources such as paintings, fashion plates, and photographs, as well as academic texts and museum collections. These references help ensure accuracy and cultural respect, especially when designing for stories outside one's lived experience. It’s also important to adapt styles for theatrical performance—considering durability, movement, lighting, and costume changes—so that the look can sustain repeated use while remaining true to the design concept.
Makeup Design
Stage makeup enhances facial features, allows expressions to be seen from a distance, and helps define a character’s age, health, status, or supernatural qualities. Unlike everyday cosmetics, theatrical makeup must withstand heat from stage lights, sweat, and long performances. It also must read clearly from a distance, which often requires more intense colors and exaggerated contours than personal or fashion makeup.
Basic components of makeup include:
- Foundation: A base layer that evens out the complexion.
- Highlight: Light-toned makeup applied to the high points of the face to bring areas forward.
- Contour: Darker makeup used to define or recede areas like cheekbones and jawlines.
- Eye makeup: Includes eyeliner, eyeshadow, and mascara to define the eyes.
- Lip makeup: Adds color and shape to the mouth, often exaggerating natural contours for visibility.
Skin Preparation and Restoration
Before applying stage makeup, actors should cleanse and moisturize their face to ensure smooth application and protect their skin. A primer can help makeup last longer. After the performance, it's important to fully remove makeup using a gentle remover or cleansing balm followed by washing the face. Neglecting removal can lead to breakouts, irritation, or damage to sensitive skin.
Makeup design is not just about aesthetics—it is also about character storytelling, actor comfort, and safety. A well-designed makeup plan ensures cohesion with lighting, costumes, and hair design, and it supports actors in fully inhabiting their roles.
Makeup Plots and Skin Tones
A makeup plot is a visual and written document created by the makeup designer to guide the application of makeup for each character in a production. It typically includes a face chart (a template with drawn representations of the actor’s face showing makeup placement), a product list (including brand names, shades, and tools used), and application instructions for each scene or look.
Makeup plots help ensure continuity and consistency, especially when multiple artists are applying makeup or during long runs. Each actor or role may have multiple looks noted depending on the script’s demands.
Understanding skin tones is essential for choosing the right products and creating natural, respectful designs. Skin tone refers to the surface color of the skin, while undertone refers to the subtle hue beneath—commonly categorized as cool (pink, red, or blue), warm (yellow, peach, or golden), or neutral (a mix of warm and cool). Designers should test makeup under the same lighting conditions as the performance space.
Inclusive makeup practices mean keeping a wide variety of shades and products on hand and understanding how to work with different skin types and facial features. Avoid using a single palette across a cast; instead, tailor each look to the individual cast member. Engage in research and conversations with actors about cultural norms, expectations, and sensitivities to ensure respectful and affirming design choices.
Changing the Shape of a Face
Contouring uses shadow and light to reshape facial features, helping to change an actor's perceived age, gender, mood, or character type. Strategic placement of highlight (light makeup on raised areas like cheekbones and the bridge of the nose) and contour (darker makeup under cheekbones, jawline, or sides of the nose) can dramatically alter the face under stage lighting. These methods are especially useful for emphasizing bone structure or softening facial angles depending on the role.
Nose shading and jawline enhancement are common techniques to refine or broaden perceived proportions. These adjustments help actors resemble historical figures, animated characters, or exaggerated archetypes such as villains or clowns. They also support gender transformation and character age shifts. These techniques are used extensively in drag performance, where makeup artists—particularly drag kings and queens —employ transformative skills to reshape and exaggerate facial features. Drag queens often use contouring to soften jawlines, create fuller cheeks, and reshape noses for a traditionally feminine look. They may glue down eyebrows to draw new, expressive arches higher on the forehead.
Both kings and queens use baking (setting makeup with powder for longevity), color correction (neutralizing shadows or beard areas), and overdrawing lips or eyes for dramatic effect. The artistry of drag makeup often informs theatrical makeup design, particularly for fantasy, cabaret, and heightened realism productions. These applications offer a rich example of how makeup can defy and redefine perceived identity onstage.
Special Effects Makeup
Special effects makeup creates transformations that go beyond naturalistic stage looks. It includes techniques such as aging, creature makeup, injury simulation, and the use of prosthetics to modify an actor’s physical appearance. These effects help bring fantasy, horror, or stylized realism to life in both theatre and film.
Aging makeup can be done with highlight and contour to emphasize wrinkles, sagging, and changes in skin tone. Adding fine lines with makeup pencils and creating age spots with stippling can increase realism. Stretched and stippled latex can also create texture that mimics older skin.
Creature makeup involves blending colors, textures, and shapes to depict non-human characters such as animals, aliens, or monsters. This often includes the use of prosthetics and layered paint techniques to add scales, fur, or other textures.
Prosthetics are pre-formed pieces made of latex, gelatin, silicone, or foam latex that are adhered to the skin to change facial or body structure. Always perform a latex allergy test before using latex on skin—apply a small amount to the inside of the wrist and wait 24 hours.
How to Apply a Basic Prosthetic
- Prepare the skin by cleansing and applying a light barrier such as moisturizer or castor sealer.
- Test-fit the prosthetic to ensure alignment.
- Apply adhesive (like Pros-Aide or spirit gum) to the skin and the prosthetic edge.
- Press the prosthetic onto the skin and hold until secure.
- Blend the edges using latex or gelatin and a sponge.
- Powder the area to remove stickiness.
- Paint the prosthetic to match the actor’s skin tone or character design using alcohol-activated or water-based paints.
Special effects makeup must balance durability with actor comfort. Products should be selected based on performance needs—whether for sweat resistance, waterproofing, or compatibility with lighting. Removal should always be done with professional removers and care to protect the skin.
Makeup Tools of the Trade
A well-stocked makeup kit is essential for theatre professionals. Makeup tools are used to apply, blend, shape, and set cosmetics, as well as to maintain hygiene throughout a production. Understanding what each tool does helps artists apply products with precision and care.
Brushes come in a variety of shapes and sizes, each with specific uses:
- Foundation brush: Used to apply liquid or cream base evenly across the face.
- Powder brush: Large, fluffy brush used to apply setting powder.
- Blush brush: Smaller rounded brush for applying color to the cheeks.
- Eyeshadow brush: Flat or rounded for applying and blending shadow.
- Angled brush: Used for eyeliner, eyebrows, or precision contouring.
Sponges and beauty blenders help blend cream products like foundation and concealer for a smooth, natural finish. Stippling sponges are used in special effects makeup to create texture (like beard shadow or scabs).
Disposable applicators (mascara wands, lip gloss sticks) should be used when applying makeup on multiple people to avoid contamination. Tweezers, lash curlers, palette knives, and mixing palettes are also useful additions to a professional kit.
Hygiene and Cleaning Practices
To prevent irritation (discomfort or inflammation) and infection (harmful bacteria exposure), makeup tools must be cleaned regularly. Brushes should be washed with a gentle cleanser or brush shampoo after each use or at least once a week during a show. Sponges should be replaced regularly, especially if used wet. Shared products should be scooped onto a palette—never applied directly from container to skin.
Special effects makeup tools like airbrush guns, prosthetic molds, or adhesive brushes require deep cleaning and sterilization. Artists should always wash their hands before and after application, wear gloves when appropriate, and store tools in clean, dry containers.
Maintaining clean and organized tools ensures the health of the performers and the longevity of your kit.
Conclusion
Costume, hair, and makeup design help performers embody their characters and support the director’s vision. These areas require artistry, research, collaboration, and sensitivity. Whether designing a powdered wig or sculpting a foam latex creature, the work is essential to storytelling.
Showcase Your Learning
Assignment Objective:
Students will demonstrate their understanding of theatrical design by creating their own costume, hair, and makeup design for a play or story they have read.
Assignment Rationale:
As designers and technicians, it’s essential to understand how to visually support storytelling through clothing, hair, and facial design. This project allows you to explore the creative and technical sides of this process.
Choose your Assignment:
Choose one of the options below to showcase your learning.
- Render It!: Create detailed costume, hair, and makeup renderings for three characters. Use pencil, marker, watercolor, or digital tools like Procreate or Photoshop.
- Style Journal: Write from the perspective of each character, describing what they wear, how their hair is styled, and how their makeup appears in different scenes.
- Digital Mood Board & Pitch Video: Create a visual mood board for your three characters using Google Slides, Canva, Pinterest, or another design platform.
- Quick Change Design Challenge: Design for three characters, including one who must undergo a quick change or wear a specialty costume, wig, or prosthetic. Must include an explanation of how the quick change works.
- Drag & Theatre Fusion: Design three characters inspired by drag performance styles (drag queen, king, or nonbinary drag art).
- Gamify Character Creator: Use a character creation tool from a game or app (e.g., The Sims, Bitmoji, Avakin Life, Gacha Club, Hero Forge, etc.) to design three characters from a play you’ve read.
- Roll the Dice! Let the fates decide.
All designs must include the following:
- Rendering or Mood Boards for at least 3 characters from a play or musical
- Swatches or digital swatches
- Reflection: Why did you make the decisions you’ve made? How did you use the Elements and Principles of Design to steer your choices?
Key Terms
Afrofuturism – A cultural aesthetic that combines science fiction, history, and fantasy to explore the African diaspora experience, often used in costume design to reimagine Black identity.
Backstitch – A strong hand sewing stitch used for seams; each stitch overlaps the last for durability.
Blocking (Millinery) – The process of shaping fabric or felt over a mold to form the base of a hat.
Contour – Dark makeup applied to define facial features such as cheekbones or jawlines on stage.
Costume Plot – A document outlining which costumes appear in each scene, helping designers track changes and continuity.
Costume Rendering – A detailed illustration showing how a character's costume will appear, often accompanied by notes and fabric swatches.
Croquis – A template or outline of a human figure used as a base for costume sketches.
Dresser – A backstage crew member who assists actors with costume changes and maintenance during performances.
Fabric Swatch – A small piece of fabric attached to renderings or paperwork to represent the final garment's material.
Fitting Schedule – A calendar used to organize actor costume fittings in preparation for performances.
Highlight – Light makeup applied to elevate areas of the face, such as cheekbones and nose bridge, for stage visibility.
Inseam – The measurement from the inner thigh to the ankle, crucial for fitting pants correctly.
Machine Dazzle – A designer known for maximalist, queer-inclusive costume work combining performance art with theatrical costume design.
Makeup Plot – A document detailing the products, colors, and application steps for each character’s makeup, often including face charts.
Milliner – A designer or artisan who creates and shapes hats as part of costume design.
Overcast Stitch – A looping hand stitch over fabric edges to prevent fraying.
Paloma Young – A Tony Award-winning costume designer known for gender-nonconforming identity and use of recycled materials.
Paul Tazewell – A costume designer recognized for Hamilton, The Wiz Live!, and historical storytelling through clothing.
Powder Brush – A large, fluffy brush used to apply finishing powder during makeup application.
Prosthetics – Pre-formed pieces applied to the skin using adhesives to change an actor’s facial or bodily features.
Quick Change Plot – A document outlining fast costume changes during a performance, detailing location, time, and staff support.
Ruth E. Carter – An Oscar-winning costume designer known for merging African traditions and sci-fi in Black Panther.
Running Stitch – A basic hand stitch used for gathering or joining fabric with minimal strength.
Seam Ripper – A small tool used to remove stitches for alterations or repairs.
Silhouette – The overall shape or outline of a costume, often reflecting historical or stylistic context.
Slip Stitch – A nearly invisible hand stitch used for hems or closing seams discreetly.
Stippling Sponge – A textured sponge used to apply makeup effects such as beard shadow, dirt, or aging textures.
Sumptuary Laws – Historical laws regulating what types of clothing or materials people could wear based on their social class.
Thimble – A protective metal or plastic cap worn on a finger during hand sewing.
Wig Master – A specialist responsible for styling, maintaining, and fitting wigs used in a production.
Wig Cap – A stretchy, close-fitting cap worn under a wig to contain natural hair and provide a smooth surface.
Video Resources
- Working in Theatre: Costumes– From the sketchbook to the gown, Working in The Theatre bares all in this rare backstage pass to the costume design process.
- National Theatre: Costume Playlist – Insights into costume design and production processes.
- Hand-Sewing Basics - Learn to hand sewing basics needed for quick repairs in the costume shop.
Practical Pedagogy
References
Carter, R. E. (2019). The Art of Ruth E. Carter: Costumes for Film and Theater. Abrams.
Ingham, R., & Covey, L. (2009). The Costume Designer’s Handbook: A Complete Guide for Amateur and Professional Costume Designers. Heinemann.
Moran, B. (2019). Makeup Artistry for Film and Television. Routledge.
Monks, A. (2010). The Actor in Costume. Palgrave Macmillan.
Pecktal, L. (1993). Costume Design: Techniques of Modern Masters. Back Stage Books.
Pullen, K. (2014). Acting Out: Cabinet Cards and the Making of Modern Stage Performance. Rutgers University Press.
Smith, R. (2016). Stage Makeup. Routledge.
Zuber, C. (2020). Interview in American Theatre Magazine.
Ziegler, S. (2012). Special Makeup Effects for Stage and Screen: Making and Applying Prosthetics. Focal Press.
© Bryan Stanton 2025