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Our 30-strong team of costume makers moved back into the new workshop with some of the best facilities for costume-making, in summer 2021. The restored Grade II listed buildings now sit alongside newly created spaces with more space and daylight. 
The costume journey
Planning and Measuring
The Costume Designer for the show meets our Head of Costume to discuss the general requirements of the design, which historical period it draws on, and look at the budget and costings. The designer is allocated a costume supervisor to work with them throughout the design and construction process.
All the actors are measured. Over 50 measurements are taken from each actor, as well as details of any allergies. 
Fabric samples
Next, the Designer and Costume Supervisor begin to sample and buy fabrics, visiting fabric shops in London and Birmingham as well as consulting a large pattern room in Stratford-upon-Avon where fabric samples are kept from both national and international suppliers.
Printing & dyeing
If the designer requires a particular colour or pattern, fabric can be dyed or printed by our Dye Department. We use 60 kilos of dye powder and 800 kilos of salt during an average year.
Cutting & sewing
Fabrics are handed to the cutters in the workrooms. We draft all our cutting patterns ourselves according to the specifics of each design. Once the fabric pieces are cut they are handed on to a team of makers who start the construction in time for the first costume fittings. 
First fitting
The first fitting with an actor lasts around 30 minutes. The designer decides on the visual look of the garment, the length of the hem, style of trim etc, while the makers concentrate on how it fits and the technical aspects of the costume. We work together to ensure actors get costumes they like and feel comfortable wearing. 
Alterations and breaking down
The costume is returned to the workshops for the adjustments required after the fitting. Fastenings are added - we try to avoid using zips as they can get stuck in a quick change, and Velcro is noisy, so we often use industrial strength magnets. Many costumes are 'broken down' to look worn, using tools such as a cheese grater, sandpaper, Stanley knife, blow-torch, emulsion-based paints and fabric paints.
Once the production is up and running all the costumes have to be maintained on a daily basis by the Running Wardrobe team in the theatre. There's a constant list of running repairs and all shirts, tights, socks and other linens have to be washed after each performance.
Special knowledge is needed to care for delicate fabrics and elaborate costumes are dry cleaned as necessary. Most costumes aren't washable so we often use inner layers that can be removed and washed. 
After the show
When a show comes to an end the costumes go into our Costume Store, where they may be reused by the Costume Workshop as well as made available to hire to amateur and professional customers. 
Costumes from previous RSC productions have been hired out from the Company's Costume Store, appearing in films and television programmes including Shakespeare in Love, Gladiator, Braveheart, Merlin, Dr Who, Don't Tell The Bride and many more. 
A career in costume
There are many routes into a profession within the Costume Department. All staff are trained to a high standard. Although some learn these skills on the job, most have a relevant degree-level qualification in addition to specialist professional training.
Alistair McArthur, Head of Costume, originally trained as a stage manager. He worked his way up in the costume field with positions at the Royal National Theatre and the Royal Opera House, in addition to employment as a freelance costume supervisor. "Once you leave any costume-making course, the best thing to do is to find a freelance maker who is willing to take you on as an assistant. You can only learn so much in a college and you learn much more actually doing the job." 
