A History of the Theatre Costume Business: Creators of Character

by Triffin I. Morris, Gregory Morris, Rachel E. Pollock

A History of the Theatre Costume Business is the first-ever comprehensive book on the subject, as related by award-winning actors and designers, and first hand by the drapers, tailors, and craftspeople who make the clothes that dazzle on stage. Readers will learn why stage clothes are made today, by whom, and how. They will also learn how today’s shops and ateliers arose from the shops and makers who founded the business. This never-before-told story shows that there is as much drama behind the scenes as there is in the famous actors relate their intimate experiences in the fitting room, the glories of gorgeous costumes, and the mortification when things go wrong, while the costume makers explain how famous shows were created with toil, tears, and sweat, and sometimes even a little blood. This is history told by the people who were present at the creation – some of whom are no longer around to tell their own story. Based on original research and first-hand reporting, A History of the Theatre Costume Business is written for theatre actors, directors, producers, costume makers, and designers. It is also an excellent resource for all theatregoers who have marveled at the gorgeous dresses and fanciful costumes that create the magic on stage, as well as for the next generation of drapers and designers.

Genres: Fashion, Nonfiction, History

208 pages, Paperback

First published September 30, 2021

Reviews

[Maggie]

I rather enjoyed this. Partly it’s because I knew or have worked with some of the characters in the book but it’s also a nice lens into the theater business using costumes as the portal. It’s a little shaggy, and jumps about, but it’s full of tasty nuggets.

[Susan · Rating 5 out of 5]

Having just started in Theatrical Millinery this year, this book is an absolute treasure. I love the combination of stories, plus the magnificent pictures.
I’d been following its progress on Rachel’s Instagram, and it’s far better in person than I imagined from the glimpses on insta!

[Eugenea Pollock · Rating 5 out of 5]

Madame Karinska’s daring escape from Soviet Russia, Aline Bernstein’s trail-blazing entry into the previously males-only Brotherhood of Painters, Decorators, and Paperhangers, the building of my FAVORITE Broadway theater (Lyceum in 45th St.), SOOOO many interesting and helpful photographs, great commentary by theatrical notables (e.g., Chita Rivera, Joel Grey, Bernadette Peters, Nathan Lane, Kristen Chenoweth, James Inglehart, Matthew Broderick)—these are just a sampling of what makes this book so fun, as well as informative to read. But, of course, the primary focus is costumes: who designed them, who made them, who wore them, where, when, and why. This leads to my favorite quote, said by critics about the to-die-for clothes by Werner Kulovits worn in “Les Liaisons Dangereuses”: They “could have been worn at Versailles.” Having seen them myself, I totally agree. Costumes really do make the character. (The incomparable Alan Rickman became Le Vicomte in those gorgeous threads). In the interest of full disclosure, I am related to one of the authors.

[Rachel Pollock · Rating 5 out of 5]

DISCLAIMER/FULL DISCLOSURE: This review is based on the galley of the book which I have just proofed. I don't think much will change before the book is published/released, but I mention it because I'm writing this three months before the book comes out and that's how. Also, I'm one of the three authors so bear that in mind. I did only write about a chapter and a half and conducted almost none of the research, and reading this galley is the first time i've read my coauthors' chapters. Still, worth mentioning.

Ok so on to the review:

This book is amazing. It's the book i wanted to exist when I was in undergrad, lo these many years ago.

Yes, the old-time history of the advent of professional costume production as a business is great and inspiring for the stories of all the skilled women, most immigrants from eastern Europe and Russia, who came to America and pioneered this field.

And it's great to read the full (or fuller than rumors/hearsay) story of legendary midcentury makers like Ray Diffin and Barbara Matera and the Miceli sisters. These are names I've heard my whole career, mentioned with reverence and talked about like heroes.

But it's invaluable for the chapters on the current (pre-pandemic) shops and what they specialize in. Young professionals in the field could use this as a guide for where to drop of resumes to get work in this business!

This would be a great book club book for groups interested in theatre, fashion, costuming, etc. and a great textbook for a class or unit on this history of where all the Tony winning costume designers got their clothes made.

Of course it doesn't include every shop/artist, and the chapter "beyond" Broadway only focuses really on Western Costume in LA and the authors' own current LORT theatre employer, but that leaves room for other scholars to write their own volumes about the many other centers of costume production businesses--LA, Seattle, Minneapolis, Chicago, etc. and even those elsewhere across the globe.

This feels like a great start to a story only just beginning to be told.

[Virginia · Rating 5 out of 5]

⭐️⭐️⭐️⭐️⭐️
I received an advance review copy for free, and I am leaving this review voluntarily.