“For example, let’s say comes back from a war all bloody,” said Bronfman. Also, if it’s a show where an actor has one outfit the entire season - for example, in the Netflix sci-fi drama “See,” which she designed - the clothing has to be adjusted for different levels of breakdown. You never want a character to look like he or she is wearing a freshly purchased shirt, Bronfman said. Build shows need more craftspeople like tailors and seamstresses, as well as agers and dyers - the artists who take new clothes and make them look like they’ve been worn. Many fantasy, sci-fi and period projects are “build shows,” Bronfman said because you can’t purchase any of these costumes, you have to build them.īronfman was the costume supervisor for the first two seasons of “A Handmaid’s Tale” and became the costume designer for the third season. There’s another way into the industry, however, if you have a technical skill, Perez said. (“We’ve all cut our teeth doing thousands of returns,” said Adams.) PAs aren’t allowed to handle the clothes, but it’s a great place to learn how the industry works, meet people, understand the pressures of the job and figure out the timeline needed to get a costume ready for the camera.
Many costume designers start out as production assistants in the costume department. This was all before she got her first assistant job in film.
#Costume design assistant jobs tv
When the late Eiko Ishioka was designing costumes for the “Spider-Man” Broadway musical, Adams was her personal tailor, creating white TV covers and seat cushions for Ishioka’s all-white apartment. She sewed costumes for more than 30 Broadway shows, did stitching and tailoring for Beyoncé’s 2009 I Am … World tour and designed costumes for several off-off-Broadway shows. She gained experience working as a tailor at a Broadway costume shop. When she was in college, she won a costume design contest for Luhrmann’s 2008 film “Australia.” She ended up having tea with the director and his wife and frequent collaborator, costume designer Catherine Martin, who hired Adams as an assistant on “The Great Gatsby” years later.īut a lot happened in between. On the surface, Adams’ story of how she became a costume designer sounds like a fairy tale. “We ended up using a tablecloth, kind of cutting a hole in the head, draping it and making some kind of a shawl.” May remembered one time when her team realized it was missing a priest costume. “I love that you might know what Prada’s latest season looks like, but if we’re rolling, can you take a piece of bubblegum and fix a hem if you only have 10 seconds to do it?” “Can you McGuyver under pressure?” said Carothers. “There’s a lot of moving pieces and a lot of big, expensive balls that can be dropped.… It’s best if you can apply the same kind of meticulous details that you do in the design work to the operational part of it as well.”Īnd it helps to be a quick problem solver. “If everybody’s doing their job correctly and holding their weight, it’s a bunch of crossing T’s and dotting I’s,” said Carothers. They might have to make sure the stunt doubles’ costumes are exactly the same as the corresponding actors’, except for being one size larger to accommodate the padding and with gussets sewn in so that their pants don’t rip mid-kick.Īwards Dressing ‘West Side Story’ for a new eraĬostume designer Paul Tazewell chose distinct color palettes to help audiences track the opposing groups whether they were dancing in the school gym or fighting in the street.
Costume designers also need to remember whether an actor likes a particular undergarment or pantyhose, and if any prefers armpit shields.
If a scene takes several days to film, the outfit has to be managed so it can appear the same way for continuity. Because scenes are often shot out of order, designers need to plan accordingly. Costume designers may be dressing not only the principal cast but also the guest stars and background characters. It also helps if you like spreadsheets, because there’s a lot to keep track of. “So you’re both seeing the tiny details and the big picture all at once.” “There’s close-ups in movies, so you can see the intricate embroidery and beading, but they’re also getting these wide group shots,” she said. Hollywood costume designers need to be very meticulous. So it’s not just having a good eye and a good design sense.”
“You’re not only a designer, but you’re a psychologist, you’re a historian, you’re a researcher.… And then you have to really dig into it with a lot of details and hold all that in your brain at once. “You have to wear so many hats,” said Adams.
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