Costumes

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.

This is a pdf document which gives an overview of the Costume Department, including the design of costumes; the sourcing of costumes; an introduction to the dye shop; the use of wigs, hair and make-up; and information on the hire department. The document also includes images from costumes used in past productions and from behind the scenes.

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

How the team in the costume room works.

The requirements of men's tailoring

The implications in design and functionality of period fabrics

Techniques used to replicate a dressing gown

Photography, movies and period patterns guide costume design

Applying breaking down actions to make realistic costumes

The dye room of the National Theatre