Using Costume to Create Characters

Actor Fiona Rodrigo discusses the power of costume when building a character and shares what's in her on-set kit bag.

By Fiona Rodrigo

The accents and fit of a costume are incredibly helpful for creating character. For me, the cut over the shoulders and what type of shoes the character wears are particularly helpful in bringing out a personality.

Costume is one of the first things I will pay attention to when watching a scene. Along with lighting. Without a doubt, if an actor sees a character wearing something they like; they imagine themselves wearing it and acting in it. We can't help it. It’s visceral and immediate and we want it. Costume designs are dripping with emotional insights.

Costume lends a spotlight to the outsider, harmony to the collective and shapes the human landscape of the narrative.  It may not be the first thing you see but if an item is out of place or if there is a tone that jars, you’ll be quick to notice.

There are designers that stand out to me for specific reasons – Kasia Walicka-Maimone for blending and coherence (Moneyball, Bridge of Spies), Ngila Dickson and Richard Taylor for function and elegance (The Lord of the Rings trilogy), Kimberly Adam-Galligan for mood and movement (Halt and Catch Fire, Stranger Things) and Sandy Powell for weight and edge (The Departed, Gangs of New York). Research any of these designers and their creative approach and wealth of knowledge will knock you over.

All actors, I am sure, have a list of designers they love and admire whether it be for period costume, hellbent fantasy or white-collar acuity. And whilst the costume designer’s relationship is primarily with the director, the communication and dependency between actor and designer carries an equal, if far more subtle, grace and weight.

Actors often use costume to remind them of a historical feature for the time and place or a momentous event in the character’s life, even if this is not obvious to the audience. A scuff, stain or perfect shine on a pair of shoes, a brooch, a ring, a colour, they all mean something and can provide the actor with wonderful touchstones for character work.

The accents and fit of a costume are incredibly helpful for creating character. For me, the cut over the shoulders and what type of shoes the character wears are particularly helpful in bringing out a personality. Restrictions in the sleeves will hold back my movement and lend a restraint to the character, or maybe a staccato erraticism if the character is higher energy. Comfortable shoes will allow a long stride and a confident walk – yes, there are comfortable heels too.

In a recent job, I was given a pair of shoes that were a size too small, they'd been chosen and cleared by both production and the client so no alternative was on the table. In circumstances like those, a working actor will tend to get on with it and have painkillers and toe/heel gel cushions at the ready. There can be pain involved in the job as every actor knows.

A really good costume designer will always have back up. For example, in another job I was given three pairs of shoes to try, all in my actual size, and to be honest I was happy with any of them because they wouldn't have hurt to wear for a 12+ hour day. I am not of the tribe that believes actors should just perform through the agony. My main interest is character and where possible, my personal comfort. My trust goes to the designer every time, but I keep my eye on anything I think will cause discomfort with long wear. After working with all sort of designers and directors I believe this is a healthy approach to the relationship, and what I need to get my job done to the best of my ability.

I would certainly encourage more of a dialogue between costume designers and actors, especially on set. It's an incredibly rewarding and exciting relationship and one that runs core to what makes being an actor one incredible adventure after another.

As a tip for women actors putting together their personal costume set bag (everyone should have one) here are a few core items I have learnt to always have on me:

• A well-fitted bra both padded and non-padded, a strapless or multi-way bra, in black and in your skin tone (I honestly cannot stress how important this is as key kit)
• Skin tone and black tights
• A tank top/vest in black
• Gym shorts
• Socks in a neutral colour
• Gel cushions for toes and heels
• Comfortable slip-on shoes (ballet pumps or similar) for between takes if needed.

Actors should engage with the designer as they would with the director, and as they would with their character lines from the script. Authenticity to the extraordinary and fascination with the mundane are core to what makes this form of visual storytelling so seductive.

Fiona Rodrigo is an actor and writer based in London, England. Her CV is a pleasant mix of screen, stage and voice work. Most likely to be found auditioning in an American accent, writing fantasy, or day-dreaming about drinking coffee in Vancouver.

Headshot by Isaac Peral.

Main image by Yves Monrique via Unsplash.