Abstract
In theatre, the term ‘costume’ encompasses all the attire worn in performance, including the garments that are seen by the audience, as well as supporting garments that create the silhouette and sculptural accessories such as wings, masks and headdresses. In British theatre, many of the garments are unique to the performance, and made bespoke for the individual performer. These are hand-crafted by a relatively hidden workforce of costume-making professionals. Costume as a whole has been a neglected area of research and with the majority of academic attention focusing on costume Designers, the craft of the Costume Makers remains in the margins, overlooked and undervalued.This PhD study aims to explore and document the perception, remit and role of Costume Makers in British theatre, through an ethnographic account of one costume department in a repertory theatre in the North of England. Observations, recordings of interviews, and photographs were analysed using Actor-network theory and thematic analysis.
Actor-Network Theory uncovered two pivotal actants in the costume construction process; the paper design and the costume Cutter. The paper design is a key organising and communicative tool in the workroom and the Cutter makes all the crucial construction decisions in the realisation of the 2D design into a 3D costume. Interviews with Costume Makers revealed that they feel their skills and the passion they hold for their craft is often not recognised . The lack of recognition and acknowledgement of the craft of costume construction is problematic not just in terms of future research, but also the reward and recognition in industry and the training of future practitioners.
| Date of Award | 6 Aug 2025 |
|---|---|
| Original language | English |
| Supervisor | Helen Ryall (Main Supervisor) & Andrew Hewitt (Co-Supervisor) |