Costume Design Skills - Safe working practices

Learning Outcomes

• Explain why safe working practices are part of effective costume design.
• Identify common costume hazards in making, fitting, wearing, storing and striking costumes.
• Describe control measures for sewing machines, hand tools, heat equipment and chemicals.
• Apply safe practice to fittings, quick changes and performance movement.
• Link costume safety to character, period, style and the practical demands of a production.
• Use correct health and safety vocabulary in written and practical drama responses.

AQA GCSE Drama (8261) Syllabus

For AQA GCSE Drama, costume design is one of the theatrical skills that may be used to communicate character, period, status, mood, genre and production style. Safe working practices matter because a costume idea is only successful if it can be made, fitted, worn and managed in performance without putting actors, designers, crew or audience members at unnecessary risk.

• Costume choices must support the dramatic intention while allowing the actor to move, speak, breathe and perform safely.
• Designers should consider safety from the planning stage, not only during performance week.
• Safe practice applies to materials, fastenings, footwear, masks, wigs, make-up, props attached to costume, and backstage changes.
• Costume construction involves hazards such as needles, blades, irons, steamers, glue guns, sewing machines and chemical products.
• Fittings must respect the performer’s comfort, privacy, dignity and physical safety.
• Written exam answers should show practical awareness, not just visual description.
• Design ideas should be achievable within the performance space, rehearsal time, budget and technical resources available.
• Evaluation of design work can include how safely and effectively the costume functioned in rehearsal and performance.

Test Your Knowledge

Attempt these questions before reading this article. If you find some difficult or cannot remember the answers, look more closely at that area during your revision.

1. What is the difference between a hazard and a risk in costume design?
2. Name three control measures that reduce danger when using costume tools or equipment.
3. Why should costume safety be considered before rehearsals begin?
4. What safety checks should be made before an actor wears a costume on stage?
5. How can a costume designer make a quick change safer backstage?

Introduction

Costume design is not only about how a character looks. A successful costume must help the audience understand the character while also allowing the performer to act safely and confidently. A costume may show age, class, job, wealth, mood, period or dramatic change, but it must not create avoidable danger. A beautiful design that causes trips, overheating, burns, allergic reactions, restricted breathing or unsafe movement is not effective theatre design.

Safe working practices cover the full costume process: researching, sourcing, making, altering, fitting, rehearsing, performing, laundering, storing and striking. This is especially relevant in GCSE Drama because costume decisions are often made in school spaces with limited time and resources. You may be working with borrowed garments, second-hand clothes, adapted uniforms, simple make-up, wigs, hats or accessories. Each choice needs a safety check.

Key Term: Safe working practice
A planned way of working that reduces the chance of harm during costume design, construction, rehearsal and performance.

In Willy Russell’s work, costume can be linked closely to character and setting. For example, Blood Brothers moves across time, class and social spaces, while Educating Rita includes a hairdresser character and university setting. These plays remind designers that costume must communicate social identity clearly, but also cope with stage action, movement, changes of time and repeated performance.

From costume concept to risk assessment

Safe costume design begins before anyone puts on the costume. A designer should ask practical questions at the concept stage: What does the actor need to do? Will they run, dance, kneel, fight, sit, climb stairs, carry props, or change quickly? Is the stage open, cramped, dark, raked, wet, crowded or full of furniture? What lighting conditions will the performer experience? Can the actor hear, see and breathe properly?

A risk assessment is a structured way of answering these questions. It does not have to stop creativity. In fact, it helps the design team make creative ideas work in a controlled and repeatable way.

Key Term: Hazard
Anything that has the potential to cause harm, such as a needle, hot iron, long trailing skirt, loose shoelace, solvent glue or heavy costume.

Key Term: Risk
The chance that a hazard will cause harm, combined with how serious that harm could be.

For example, a long coat may be visually useful for a sinister narrator or a wealthy character, but it becomes a hazard if the actor must walk backwards, climb rostra or move through a group in low light. The risk might be tripping during a scene change. A control measure could be shortening the hem, adding hidden loops, using lighter fabric, rehearsing the movement, or changing the blocking.

Key Term: Risk assessment
A check that identifies hazards, considers who could be harmed, decides control measures, and reviews whether those controls are working.

Key Term: Control measure
An action that reduces risk, such as training, supervision, safer materials, better storage, correct footwear, or a rehearsal of a costume change.

A useful GCSE structure is:

• Identify the costume hazard.
• Say who could be harmed.
• Explain what could happen.
• State a practical control measure.
• Link the solution back to the performance aim.

For instance, in Blood Brothers, the production note describes an open stage with different settings and time spans shown through lighting changes and minimal furniture. This creates a need for smooth movement and clear transitions. If actors are moving between the Johnstone and Lyons areas, costumes should not catch on furniture or slow the flow of the play. Shoes should be safe for fast movement, and changes of age should be achieved without unsafe or time-consuming costume changes.

Test Tip: In design answers, do not only write “I would make it safe.” Name the hazard and the control measure. For example: “I would avoid a floor-length skirt because Linda must move quickly across the open stage; I would use a calf-length skirt and rehearse the movement under performance lighting.”

Safe design also means refusing unsafe shortcuts. Russell’s autobiographical writing describes dangerous factory work cleaning oil from girders high above machinery with no safety equipment. The danger is obvious: height, oil, machinery and no protection. In costume work, the scale may be smaller, but the principle is the same. You should not use hot tools, machines, chemicals or unsafe stage garments without proper controls.

Safe construction with tools, machines, heat and chemicals

Costume construction can involve sharp, hot, electrical and chemical hazards. Even a simple school costume may use scissors, pins, needles, a sewing machine, an iron, glue, paint, dyes or hair products. Safe practice protects the designer as well as the performer.

Hand sewing and cutting tools need careful handling. Scissors should be passed handle-first and stored closed. Pins and needles should be kept in a pin cushion, tin or magnetic holder, not left loose on chairs, floors or inside costumes. Broken needles and blades should be disposed of in a safe container, not dropped in a bin where someone could be cut. Rotary cutters and craft knives should be used on cutting mats and moved away from the body.

Sewing machines need training. The user should know how to thread the machine, change the needle, lift the presser foot, control the speed and switch off the power. Fingers must stay clear of the needle. The machine should be switched off before threading, changing needles or adjusting the mechanism. Good lighting, a stable chair and a clear work surface reduce strain and mistakes.

Key Term: PPE
Personal protective equipment used to reduce harm, such as gloves, aprons, eye protection or masks when suitable for the task.

Heat tools include irons, steamers, heat presses, glue guns and hair styling tools. These create burn risks and fire risks. They should be placed on heatproof stands or mats, switched off when not in use, and kept away from paper, fabric scraps, aerosol products and trailing leads. Steam can burn skin, so the user should avoid pointing steamers towards themselves or others.

Chemical products may include fabric dyes, sprays, adhesives, stain removers, latex, cleaning fluids, hairspray, make-up, spirit gum, remover and perm solutions. In Educating Rita, Rita’s work as a hairdresser is part of her identity; she even jokes about leaving a customer with perm lotion. For a costume designer, this kind of detail is useful because hair and beauty products can communicate character, but they also need safe use. Skin tests, ventilation, allergy checks and correct product instructions matter.

Key Term: Safety Data Sheet
A document that gives information about a chemical product’s hazards, safe handling, storage, protective equipment and emergency action.

In UK school or theatre settings, hazardous substances should be considered carefully. If a product gives off fumes, stains skin, irritates eyes, is flammable or can cause allergy, it needs extra control. Safer substitutes are often best: water-based fabric paint rather than solvent-based spray, pre-made ageing effects rather than harsh chemicals, or washable make-up rather than unknown products.

Exam Warning: Do not suggest unsafe methods for dramatic effect, such as real blood from unsafe materials, flammable sprays near heat, shoes that do not fit, or masks that block vision. Examiners reward practical theatre thinking.

Good construction also reduces performance risk. All fastenings should be secure. Buttons should be stitched firmly, zips should run smoothly, hooks should not scratch skin, and hems should not drag. Heavy decoration should be tested because beads, chains or badges can fall off and create trip or slip hazards. If a costume includes props, such as a handbag, school bag, cleaning cloth, hairdressing scissors or cigarette case, those items should be checked as part of the costume system.

Fittings, movement and quick changes

A fitting is a safety check as well as a design check. The actor should try the costume while doing the movements required in performance: walking, sitting, bending, kneeling, lifting arms, dancing, running or turning. A costume that looks correct when still may fail during action.

Key Term: Fitting
A planned session where a costume is tried on, adjusted and checked for comfort, appearance, movement and safety.

During fittings, performers should be treated with respect. They need privacy when changing and should be asked about comfort. Designers must listen if an actor reports pinching, itching, overheating, restricted breathing, loose shoes, poor vision or difficulty moving. Pins must be placed safely and removed before the costume is worn in rehearsal. If pins are left in garments by accident, the performer may be scratched or injured.

Footwear is one of the most common costume safety issues. Shoes help define period, class and character, but they must fit and suit the stage action. High heels, slippery soles, heavy boots and loose sandals can all affect balance. If a character needs to look formal or wealthy, the designer could choose a low-heeled polished shoe rather than a dangerous heel. If a performer must dance or run, soles may need grip. New shoes should be worn in before performance.

Costumes also affect body temperature. Heavy coats, padding, masks, wigs and layered period clothing can cause overheating, especially under stage lights. Actors need water breaks and rehearsal time in costume. If the design aims to show age or class through layering, the designer can use lightweight fabric or partial layers rather than making the performer too hot.

Masks, hats, wigs and glasses need special care. They can restrict sight, hearing or balance. A hat brim may cast shadow over the face or block peripheral vision. A wig may slip during movement unless fitted securely. Glasses without prescription lenses may still reflect light or fall off. If a mask is used, the performer must be able to breathe clearly and see exits, other actors and stage edges.

Quick changes can be risky because they happen under time pressure, often in dim backstage areas. The solution is planning. Costumes should be pre-set in order, clearly labelled and placed where the actor can reach them safely. Fastenings can be adapted with Velcro, magnets, elastic, press studs or larger zip pulls if suitable. Dressers should rehearse the change with the actor so that both know the sequence.

Key Term: Quick change
A fast costume change during a performance, usually completed backstage or in a concealed stage area.

In Blood Brothers, the action covers different ages and social positions. Costume may need to show children becoming teenagers and adults. A safe design might use simple additions rather than full changes: school jackets, ties, cardigans, coats, aprons or accessories. This supports the play’s smooth flow and avoids delays or rushed backstage work.

Test Tip: When writing about a costume change, include timing and space. For example: “The jacket would be hung on a labelled hook stage left so the actor can add it during the lighting transition without crossing behind moving scenery.”

Storage, hygiene and backstage routines

Safe costume work continues after construction and fitting. Costumes need to be stored, transported, cleaned and checked throughout the run. Poor backstage organisation can cause trips, lost items, blocked exits or last-minute panic.

Key Term: Housekeeping
Keeping work and backstage areas clean, tidy and free from avoidable hazards such as loose pins, trailing cables, blocked exits or fabric scraps.

Costumes should be hung or folded correctly, labelled by character and scene, and kept away from food, drink, damp, heaters and open flames. Wet clothing should not be stored in sealed bags because it can smell, stain or grow mildew. Heavy items should not be stored high where they may fall. Shoes and accessories should have set places, so performers do not search in the dark.

Hygiene matters because costumes are worn close to the body. Shared garments, wigs, hats, masks and make-up can spread infection or cause skin irritation. Make-up brushes and sponges should be clean, and products should not be shared in ways that transfer eye or lip infection. Costumes should be laundered or aired when needed, especially after energetic scenes. Underlayers, T-shirts or dress shields can protect shared costumes and improve comfort.

Allergy checks are part of safe design. Some performers may react to latex, wool, adhesives, face paint, perfume, metal jewellery, hair products or detergents. A designer should ask about known allergies before using these materials. If a character needs a rash, scar, tattoo or ageing effect, the safer choice is a tested theatrical make-up product applied according to instructions.

Fire safety is also relevant. Costumes should be kept away from naked flames and heat sources. If a production uses candles, cigarettes, pyrotechnics or heaters, costume fabrics and loose elements need extra review by the responsible staff. Long sleeves, veils, scarves, capes and synthetic fabrics can be risky near flame or heat.

Backstage routes need to be clear. Costume rails, laundry baskets, bags and shoes should not block entrances, exits or fire equipment. If a performer exits in darkness, glow tape, low-level light or a crew cue may help. Emergency plans should be known: where first aid is kept, who to tell if a costume breaks, and how to stop a scene safely if a serious problem occurs.

The strike, when costumes are removed after a production, should also be controlled. Pins, needles, staples and broken fastenings should be dealt with safely. Borrowed items should be checked and returned. Damaged or contaminated items should be cleaned, repaired or disposed of correctly. A good designer treats the end of the process with the same care as the first sketch.

Key Point Checklist

This article has covered the following key knowledge points:

• Costume safety applies to making, fitting, rehearsing, wearing, storing and striking costumes.
• A hazard is something that could cause harm; a risk is the chance and seriousness of that harm.
• A risk assessment identifies hazards, who may be harmed, control measures and review points.
• Costume design should support character and style while allowing safe movement, breathing, vision and speech.
• Sewing machines, scissors, needles, blades, irons, steamers and glue guns require training and safe handling.
• Chemical products such as dyes, sprays, adhesives, make-up and hair products should be checked before use.
• Fittings should test comfort, movement, fastenings, footwear and performer safety.
• Pins must not be left in costumes before rehearsal or performance.
• Quick changes need labelled pre-sets, rehearsed sequences and clear backstage space.
• Footwear must fit the actor and suit the stage action.
• Hygiene checks are needed for shared costumes, wigs, masks, hats and make-up.
• Exam answers should name specific hazards and control measures, not just describe costume appearance.

Key Terms and Concepts

• Safe working practice
• Hazard
• Risk
• Risk assessment
• Control measure
• PPE
• Safety Data Sheet
• Fitting
• Quick change
• Housekeeping