HAIR, MAKEUP, AND COSTUMES

Job Overview

After careful study of the script, discussions with the director to understand his vision for the production, and meetings with the production designer, hair, makeup, and art departments, and actors, the costume designer decides on all of the clothing worn by the actors in the production. “All characters reveal things about themselves in the way they dress,” explains costume designer Diana Eden. “The primary duty of the costume designer is to tell the story of the script and help the audience understand who the characters are.”

Depending on the size and scope of the production, the costume designer may sketch out original designs (or use a sketch artist to render them) and select the fabrics to have them constructed from. Alternately, the designer may rent costumes from a costume shop, or purchase ready-to-wear clothing and have it altered.

“Some days I have fittings with actors, where they're trying on clothes to discover what works for the character, and then I have a production meeting with all the heads of the departments to discuss the production requirements. Then I may go on set to make sure everything is running smoothly, go out shopping, or stop by the workroom where they're making some of the costumes, talk with the pattern makers and tailors, and see my designs coming to life. It's incredibly varied, incredibly peopled, and there is never a dull moment.”

Special Skills

In addition to costume design skills, designers must know how to work within a budget, possess basic computer skills, be organized, and have the ability to hire and manage a staff, as well as to work with a variety of personalities. “The actors need to trust you,” says Eden.

“You have to earn that trust. You have to be able to coordinate a lot of things. I have a crew of three to eight people, on a feature film it's even larger, and I have to make sure all of those personalities get along well and know their jobs.”

Advice for Someone Seeking This Job

Look for work as a production assistant with the wardrobe department, or as a day player, hired to assist on days when there are many extras, so you can meet people and gain some basic experience being on set. Networking is the key to landing a job as a costume designer. Join an organization where you can meet theater people, or volunteer to work for a designer on a stage production where you will have an opportunity to meet people and learn from a working designer.

“I occasionally do theater,” says Eden. “I tell people, ‘If I'm doing a theater project and you want to come and work with me for free, I'll be happy to teach you what I know.’ A lot of designers are very kind. They have been helped by other people, and if they have the time and situation to help someone, many of them will.”

Professional Profile: Diana Eden, Costume Designer

Born in England, Diana Eden's family moved to Toronto when she was 10. She knew at the age of five that she wanted to be a dancer, and by 15 had earned a slot with the National Ballet of Canada. When she grew too tall to be a ballerina, she moved to New York and became a dancer and actress on Broadway. “There was never any question that I wanted to be involved in the performing arts.”

What began as a hobby soon led to designing and sewing clothes for fellow Broadway dancers. “It never occurred to me that I would be designing costumes, but I obviously loved clothes.” Looking to expand her acting career into film and television, Eden relocated to Los Angeles in 1969, and supported herself between acting jobs by designing clothing.

Her first costuming break was a combination of luck and years of honing her sewing and design skills, along with experience as a dancer. Eden was asked by an acquaintance to coordinate the dancers’ wardrobe for Ann Margaret's nightclub act. “I was hesitant, because I'd never done that. The person rightfully said, ‘Well, you've been a dancer, you've worked with clothes, and you're organized. Of course you can do it.’ So I accepted the job and took to it immediately.”

Through Ann Margaret, she was introduced to Bob Mackie. Recognizing Eden's talents, Mackie offered her a position at Elizabeth Courtney Costumes, working as his assistant. At night she took extension courses to improve her skills and knowledge of costume design and filmmaking, but working alongside Mackie was where she really learned the business. “His work ethic, his perfectionism, his attention to detail, and the people he surrounded himself with—there was no better education.”

During the five years Eden worked for Mackie, she assisted him on the Las Vegas show Jubilee and on the Academy Awards show. “I did just about everything, other than designing. I made sure everything from his sketch was realized on time, and to some degree, on budget. I assisted other people in the organization as well, like Pete Meneffee. Then I realized it was time to become a designer in my own right.”

While working at Elizabeth Courtney, Eden worked on outside projects, such as equity waiver theater productions, often for free, to make contacts and gain design credits. “I would do a very, very tiny production and that would lead to a slightly bigger production. Every time I got a good review, I would send out a flyer to everyone I knew. I even took out ads in the trade papers quoting the reviews, just to get my name out there. Eventually it worked.”

In 1985, Eden was referred to a producer of The Facts of Life. Then in its seventh season, the show's producers were looking for a new designer, and Eden landed the job. “After I interviewed, I learned later that they presented my name to director John Bowab. He had just seen the play Tamara, which I had done the costumes for. They used clothing from John Franco Ferre, but I put it all together. John said he noticed that the Commandant was wearing argyle socks, and that he thought it was a brilliant detail.” Eden stayed with the show for three seasons.

When The Facts of Life ended, she went on to work on other sitcoms and movies of the week, then on to the series Santa Barbara.

“One of my favorite jobs, although it was short lived, was the television series A League of Their Own. Penny Marshall was producing and directing, and we also had Tom Hanks directing an episode. I loved doing the period clothes. You don't get to do a lot of period clothes in television.” Eden's design work on the series earned her an Emmy nomination in 1993.

More pilots, series, and television movies followed. Then she landed the series Family Law. “I love to dress people beautifully. I had wonderful, wonderful actors: Kathleen Quinlan, Dixie Carter, and Tony Danza. They're just so professional, so real, and so much fun.”

Between jobs, Eden has managed to co-author RetroChic!, a guide to vintage clothing stores, and is working on a book titled How to Break into a Career in Costume Design for Film and Television.