The costume designs I have created are showcased on the costume design page of my portfolio. Costume design is typically created for a specific character or performer. Costumes are used in cinema, theatre, musicals, ballet and other entertainment fields. The extensive types of costumes range from historical, modern, fantasy, dance, and sci-fi. The style of costumes be representative of national identity, gender, age, time period and/or socio-economic class.
Costumes I have constructed are showcased in the costume construction page of my portfolio. Costumes which cannot be readily sourced from existing stock, rented or purchased must be constructed. Once a costume is designed and/or a performance has been planned, it is necessary to determine what materials and other items will be needed to construct the costumes and where materials will be sourced. A costume can be constructed from a drafted pattern, draped, or in many cases, a mix of both methods. Patterns, initially drawn on paper, are drafted using a set of basic pattern blocks developed from the wearer’s measurements. These patterns are then transferred to fabric and sewn together. Draping involves manipulating the fabric on a mannequin with measurements similar to the wearer. Of course, costumes for cinema or stage are not always fabric. A vast range of materials may be used such as foam, metal, leather, feathers, warbler, paper and plastic.
Projects which I have been involved in costume supervision are showcased in the costume supervision page of my portfolio. If a costume is to be sourced rather than constructed, options include pulled from stock in a theatre’s costume store or similar stock, renting or purchasing it. These methods of sourcing documents are typically part of costume supervision. Costume supervision also includes overseeing all aspects of the wardrobe for the production. Functional and comfortable costumes are important so as not to affect the actors' performances.
About Bethany Hewitt
I am a highly driven Sydney based costume designer and maker. I love costumes because it is a unique medium of art which tells a story of where someone has been and where they are going.
I am a 2021 graduate of the NIDA (National Institute of Dramatic Arts) and have a particular interest in art finishing, millinery, prop costume and, of course, a challenge. I love learning how to use new materials, upskilling and learning new techniques.
I have worked on NIDA productions over the last three years including as a costume supervisor on a number of NIDA productions including Perfect Stranger (2021) directed by Kate Champion, as a costume assistant on God of Carnage (2019) directed by Judy Davis, and on costume maintenance for the touring professional production of Bluey's Big Adventure (2021). I had a costume placement at Opera Australia in 2021 in the millinery department where I worked on their upcoming production of Ernani restoring and making hats and also making wire collars for another future production.
I have worked with an assortment of materials including fabric, leather, thermoplastics and foam. I also have experience in felting, dying, painting, digital rendering and laser cutting.
I also had the opportunity to work as the Costume Designer ona couple of short films such as Hotel for No-Hopers directed by Simone Neviani and participate as a team member in production development. In addition, I work part-time with NIDA Open as a teaching assistant for various drama classes for children and teenages.
Having now completed my degree at NIDA in 2021, I have been successfully progressing my career in costume and fashion development in the movie industry, theatre, and opera.
I aim to be versatile and a 'Jack of all trades' to take on new and exciting opportunities in the future. I believe I will be a collaborative and positive addition to any teams that I join.