I was interested to see this article at Flavorwire magazine - 'costume test photo's'.
Fitting photo's are a vital part of our process but it is unusual to see them published. There is a big element of trust involved in the rehearsal period, the photo's being quite intimate because the actors generally aren't wearing any make-up and the costumes usually have pins and visible markings for alterations and whatnot.
They are most definitely not for sharing.
Maybe there is a thirty year rule or something!Anyway, in these old studio photographs I particularly like the blackboards and the small details in the notes; the real names, costumer credits, black and white or colour tick-box options, the scenes for each costume all plotted in advance. They don't appear to be expecting much to happen organically throughout filming whereas I'm used to lots of costumes filtering onto the truck throughout the schedule and I am open to new ideas from cast throughout. Even when the costumes all have to be made it's not the norm to have them all ready before we shoot, the workroom will be busy making most of the way through.
They reek of a slower pace of life.
It's quite amazing to see technology change so fast. I used to be sent out to Snappy Snaps with a roll of film to get prints developed and then go to use a public phone box so I could let the designer know how long it was going to take. Around that time I can remember saying to Phoebe de Gaye that one day I would be able to sample for her and send pictures from my mobile phone back to her in the office, saving me the journey from the West End to Angels so she could make a decision and then for me to go back to town to buy the items. It seemed like a sci-fi vision at the time and, believe me, it wasn't very long ago.