The Costumer's Manifesto: (An assertion of Purpose and Ethics for Costumers)

I. When I dress, I am not a style designer nor a clothing manufacturer, but a builder of nature, model, and material progress.

II. I, above all, work with Actors: I help them contour their appeal from lacking, even as they make it from within. I do not nitpick about the nature of their bodies. I found the shape we necessity, and/or physique a visual representation of the appeal that suits the free body. I am awake of their transfer desires and I simplify them.

III. I work under the guidance of Directors: I help them visually embody their conceptual dreams in bodily form. I establish clothes for the inhabitants of the world they visualize.

IV. The language inspired me of Playwrights and Scriptwriters: I try to make booming the play by transforming the words of the copy into visual images. Words, especially poetry in the textbook, essential a visual equivalent that ropes the mood of the writing without distracting from it.

V. I collaborate with the other Designers, seeking to take our collective eyesight together so it facility in harmony. Costumes do not live in a vacuum, but on a set, among properties and furniture, sound, and light, as part of a consistent visual representation of a false world.

VI. Whether I am in the outlook of stitcher, harvester, dyer, crafts worker or designer, I memorize that what I am doing is contributing to the greater total of the production, and must be done with an aesthetic feeling in trust with the performance, not merely my own whims. Designers, hence, neediness to communicate the shows intention to all the other costumers complex in the route as visibly as workable, so that when construct decisions are made at any altitude of the manner, from buttons to victim padding, they imitate the wants of the show or movie as a complete.

VII. I help the Audience in understanding the untruth and characters. In performances where vision is necessary, I make the costumes shock and entertain, but when the listeners should be more attentive of the other basics of the performance, I will try to make the costumes recede to the background, without private pride.

VIII. I learn the narration of devise and dress, no worry what my site in a gear studio, so that I can better replicate the styles of clothing of the history when desirable. However, I will recollect to sidestep mindlessly copying old create plates, but instead keep in thoughts the key rudiments of creature and thought, and elite or adapt those fashions to flatter the individual production.

IX. I am alert that my work consists primarily of adapting and reinventing pre-existing styles to do a functional goal: insurance a body. I know then that what I build is not lawfully focus to copyright law, and I will not winge and whimper if another designer is, in rotate, inspired to reuse basics, even a manhood of those elements, from one of my designs in their work. I will accept this as flattery if everybody does so.

X. Costuming is a fun profession, and I effort at all epoch to keep it that way by remembering the feelings of all my collaborators. Never should actors feel their bodies are being criticized in a fitting, nor should a student, worker or volunteer be treated as slave workers, nor should a chief or another designer be bullied into an unwelcome invent judgment. A yearning for excellence is good, but the petition should never be pursued to any notch that ignores toil law, customary courtesy or civilized collaboration.