Dyer and Textile Artist Rosie Maccurrach demonstrates the dyeing of Medea’s bloodied and mud-stained dress, worn by Helen McCrory in the final scenes of the 2014 production of Medea.

See how Designer Rae Smith's costume concepts are turned into beautiful finished pieces in the National Theatre costume workshop. This short film follows the process of creating the beautiful military dress coat worn by Hal Fowler as King Ignacio, from initial sketches to the full detail of the finished piece.

Go into the National Theatre's costume workshop and fitting room to show how a dress, worn by Rosalie Craig as Althea in The Light Princess, was designed and created for the stage. We learn how Designer Rae Smith's period inspirations are turned into a finished garment by Head Ladies' Cutter Sarah Mercer, finally seeing the detail of the dress close-up.

Danny Sapani (Actor) talks about the costume for Iorek Byrnison, a polar bear, in 'His Dark Materials' and working with the Costume Designer.

Jon Morrell talks about the process for designing costumes for 'His Dark Materials', from his initial inspirations through to development and the final outfits.

This is a pdf document which gives an overview of the Costume Department, including the design of costumes; the sourcing of costumes; an introduction to the dye shop; the use of wigs, hair and make-up; and information on the hire department. The document also includes images from costumes used in past productions and from behind the scenes.

Olivier nominated designer Mark Thompson talks about his designs for the gorgeous 18th century costumes in Jamie Lloyd's production of She Stoops to Conquer at the National Theatre. The film features David Fynn and Cush Jumbo talking about getting into their costumes and into character before the start of a show.

Emily Taaffe is dressed in her 19th century costume for Daphne in Nation.

A skirt is altered after the first fitting.

Watch a pattern cutter draught and cut a pattern from a 19th Century book, for the costume of Arthur Narracott in War Horse.

This film shows how a woman's tailor adds sleeves to a jacket.

Rae Smith designer for All's Well That Ends Well talks about her process of designing costumes for the show

The Costume Prop Department designs and makes costume items and technical elements of costume, such as jewellery, armour or millinery. Working with the designer's concept for the costumes, the costume propmakers explore the use of different materials to create the desired effects.

The costume department at the National expands far beyond the main workroom where the ladies makers and gents tailors make costumes. There's also a dye shop, wig department and costume propmaker. Crucial to the process of putting on shows are the dressers and maintenance staff in the running wardrobes.

When Ashley Holtom is out buying items from vintage clothing stores or similar establishments, she has a good deal of responsibility, since many items may not be able to be returned. Camden Passage, Portobello and Covent Garden markets are some of her top destinations.

Many productions at the National have a contemporary design style, so Ashley Holtom will often go shopping at high street stores. While it is easier to return items to this kind of store than it is to take things back to a vintage market, she still often prefers to take a photograph and show it to the costume designer or supervisor before buying.

A costume bible records all the information about all the costumes from a particular production.

As Head Buyer for the Costume Department, Ashley Holtom spends most of her time outside the office, tracking down items of clothing or accessories for costume designers, costume supervisors and other costume department staff.

Costume designers are normally brought onto a project by the show's director, and they will work out their ideas together regarding the different costumes. Some designers like to draw out their designs, but computer-generated designs or ‘mood boards' are increasingly common.

The costume makers take great care to make costumes that look exactly like real clothes, even down to details that the audience can't see. This allows the actor to get into character and treat the garments as they would their own clothing.

The costume supervisor is the key liaison point between the costume workroom and the costume designer, but direct contact between the designer and maker really helps everyone to get a good idea of what's required. After the actor's measurements are received at the start of the rehearsal period, patterns and material can be cut and the costume assembled in a provisional form prior to a series of fittings, after which the costume will be assembled in its final form.

Ladies makers, mens tailors and alteration hands make up the team in the costume workroom. Karen Smith tries to give her staff a feeling of ownership of a costume by letting them see a piece through from beginning to end, rather than dividing one item of clothing up between numerous colleagues. The division of work between staff members will depend on how many items of clothing for a show are being made from scratch, and how many are alterations of stock items of clothing, or of bought items.

The type (particularly the weight) of the cloth is an important element in how a costume looks, and it is particularly difficult to source the heavier type of material used in older clothes.

Finding appropriate fabrics for period costumes can be quite difficult, as they're often heavier or more expensive than conventional modern ones. Wearing unfamiliar fabrics can also have an effect on an actor's performance.