Wenger | J.R. Clancy: When it comes to Broadway, there is much more to costume design than sequins, tailcoats, and ballgowns. Costume designers must consider factors such as movability, durability, how different fabrics react under various lights, and work within the confines of a director’s vision- all while managing budgets and deadlines.
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As an aspiring costume designer I tend to pay attention to articles like this, and over the years I have read enough of them to know the basic process of designing costumes for a production, even though I have limited experience with participating in a production. This article only confirmed what I already know about the costume design and production process. I like that the ending gently reminded readers to pay attention to and appreciate the costumes next time they see a production. I remember seeing SIX the musical on Broadway in 2022, and being amazed by the way the costumes were just as clear from my seat in the back of the house as they were in the filmed promotional material. After making plans to see the US tour when it was in a city near me, I took it upon myself to recreate one of the costumes to wear to the show. It gave me a taste of what the costume process was, and deepened my appreciation for everyone involved with the show.
It’s fascinating how little of the costume ideation and creation process involves creating the finished costume that you see onstage! I worked as an intern in a costume studio during my senior year of high school, and we would spend weeks cutting fabric swatches and sending them to the designer (who is likely busy sketching, receiving swatches, and doing fittings with a number of other studios) before we found the right one. Then, mockups would be made in muslin—oftentimes there would be anywhere from two to five revisions and reworkings until the fit and style was in line with what the designer imagined. Once we got the okay, only THEN could we start making the finish costume in the actual fabric. The sewing part is easy, but then you have fittings and refittings to make sure the costume fits and moves correctly. If the show is dance-heavy, it’s especially important that the costume is not restrictive and allows for the largest range of movement possible. The process seems slow at times, but every step is necessary for the polished result you expect to see onstage.
Rylee Vogel’s An Eye for Design highlights the intricate, behind-the-scenes artistry of Broadway costume design, revealing just how much creativity and technical skill is involved in bringing a character to life through fabric.The draping process struck me as particularly theatrical, almost like a performance in itself. The way fabric is pinned and shaped to fit an actor’s body mirrors how directors shape a scene or choreographers craft movement. It’s a deeply collaborative effort, where precision and flexibility are key—just like in drama or even sculpture, where the artist has to work with the material’s natural tendencies while maintaining control over the vision.What I found most fascinating, though, is how the final costume becomes part of the actor’s toolkit for telling the story. Costumes don’t just exist to be beautiful—they help performers embody their characters. This reminds me of how lighting or sound design in theater transforms the space, setting the emotional tone. Costume design, like these elements, serves both a functional and artistic purpose, merging practicality with storytelling.
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