Elaborate Renaissance costumes take time and money, so don't wait until the last minute.
"Hamlet" is a true challenge to any costume designer. Not only is there a play within a play, but this is a play for which many people already hold a certain degree of expectation. While it can be presented very traditionally, it has also been presented in extremely avant-garde and unexpected ways. The costume designer of any production needs to be united with the director in vision, organized and prepared to make decisions for the sake of the production as a whole, as opposed to any particular actor or for ease.
Instructions
1. Meet with the director to discuss your vision as well as hers. Being hired to design costumes for a production is an enormous responsibility because you're there from the beginning to create a vision for how the production will look. Come to the table with ideas about the characters and notes for how many costumes you think may be necessary for each character throughout the play. Sometimes directors already have a clear idea of what they want, but more often than not, they need you there to add to their ideas and know what is practical and available within the production's budget.
2. Create your costume renderings. The renderings are drawings of the vision that you and the director have discussed. If your shared vision is set in the Renaissance, research Renaissance dress and traditions. Keep in mind that a wide variety of productions of "Hamlet" have not been set in the traditional Shakespearean style. Whatever the vision you're setting out to realize, do some research on that time, place and dress. Your research can include books, paintings, historical records or even magazines, but the closer you are to a primary source, the better. As you draw out each costume, make your renderings easy to read in terms of design and interpretation of character. If possible, include swatches of fabrics you'd like to use.
3. Meet with the director again to present your renderings and research. This meeting may happen with all the designers for the production present. Having all the designers present is a way of ensuring that all design aspects of the production will look cohesive. The director will give you feedback on your ideas and may suggest changes. When adjustments are suggested, make sure that you and the director are on the same page as to how the production needs to look. Having your research with you helps both of you to see the source of your inspiration and can keep you in the same world of ideas.
4. Measure the actors. For each actor, you will need a full record of measurements from head to foot. You will need head measurements for any headpieces, including hats. When measuring the upper body, include the neck and circumference of chest, waist, upper arm, lower arm and length of arm (bent and straight) starting at center back. On women, measuring the bust can be a little tricky. Measure around the broadest point of the bust, immediately below the bust and immediately above the bust. It's also a good idea to take a measurement of the bust direct across tip to tip, and tip to tip as a halter.
5. Draft patterns for the costumes. Sometimes designers first drape muslin on a mannequin to create the pattern. A well-seasoned draper will probably already know draft the patterns to fit the actors.
6. Build a muslin version of each costume. This should be a very basic version of the costume, without extra trimming or fine details. When sewing a garment, start with the larger pieces first, working your way to adding in the smaller pieces. Do this while building the top separate from the bottom. Finally, sew together the top and bottom, if necessary, and add only minimal closures. In a fitting, safety pins will do, but if working with a garment, such as a corset, you will need to rig the back so it can be laced.
7. Fit the muslin versions of the costumes on the actors. The first series of fittings can be done with the muslin versions because the idea is to make sure that the costume will fit correctly. Take notes on any adjustments needed on the patterns so they're accurate enough to use with the real costume fabrics.
8. Use the patterns to determine the amount of fabric and other materials needed to finish the costumes. Think about the number of each piece needed and lay out the patterns on fabric 46 inches or 52 inches wide. This may change the amount of yardage needed when the costumes are finally sewn, fitted and completed.
