Unlike other fashion and costume designers, in most instances those who work within the media industry are not able to work totally in isolation with their own ideas, they cannot just work within their own imagination. There will also be a requirement for the finished costumes produced to have paid regard to the input from a number of other department and individuals within the particular Film, TV and Theatre project.
Film, Television and Theatre production companies and organisations consider costume design to be an integral and important part of the process of production. However, each of these individual media elements will impose a different approach and requirement upon the designer. However, as is the case with an actor's poor performance, costume design and construction that falls short of the standard and quality demanded will also have the affect of devaluing the final production.
The hypothesis for this particular research to identify the specific issues that face costumer designers, both in the UK and the USA, when they are involved with design work for Film, Television and Stage. ...
tume design, including what the term means, adding to definitions from a number of sources, including The Royal National Theatre (2006), the Designers guild factsheet (2006) and other articles (2006).
Secondly, the paper will explain the intricate process of costume design with particular reference to the three entertainment medias outlined previously. This will cover the process from original drawings, (Huaixiang 2004), management and supervision of the designs, through to the making of the finished product. An integral part of this process contains a study of how the designer's work needs to interact with the original script, continuity issues relating to the actors make-up and hair styling, and the communication needed with all the other stakeholders attached to the project. A further element of this aim is to consider the ethical image the finished costumes should convey to the audiences.
Our final aim is to study and identify the different issues and requirements demanded of the designer when working for the Stage and Theatre, as compared with those existing in the Film and Television mediums. Within all of these aims our purpose is also to identify this sector of the industry and its performance in the U.K. as well as the U.S.A.
The specific objectives for the outcome of this paper can be identified in three distinct statements.
1) To provide a greater understanding of the intricate and varied processes of costume designing as it is performed within the entertainment mediums, as distinct from the general design industry
2) To identify the issues that impact upon costume designing in these industries, and show how the process itself forms an integrated part of the overall production package.
3) Analyse and explain the key differences that exist between