A second fitting takes place shortly before the costume is needed in rehearsal, to make the final adjustments, ensuring it's a perfect fit and that Charlotte will be able to move freely in it on stage.
Once complete, the dress is collected and taken across to the theatre, for Charlotte to wear it during technical rehearsals in the last days before the show opens.
Judith works on the finer detail of the skirt, which is pleated on one side.
During the first fitting other staff from our costumer workshops came to check hats, shoes and jewellery. The Countess will wear pearls, and a brooch on the fasting on the bodice of the dress.
The first fitting for the costume took place. This serves three purposes:
For Judith to check the fit and make fine adjustments
For Katrina, the Designer, to see that the dress looks as she wants it to look
For Charlotte, the Actor, to see that it will be comfort and practical for her to move about on stage
The dress is made from fine black merino wool, and is being hand sewn by Judith Clarke in our Costume Workshops in Stratford-upon-Avon.
Once she had been given the design for the Countess costume, Judith began by making up a rough version of the dress to show the designer, Katrina Lindsay.
Katrina checked the rough version, and made a few minor tweaks to the design, and Judith started work on the real dress. This meant she didn't have to undo her work on the final version.
Director Nancy Meckler wanted the nurturing aspect of the Countess's character to be brought out, suggesting that maybe she grows plants as a way of showing this. For this reason the design shows the Countess holding a garden fork.
Designer Katrina Lindsay explained: 'I was keen that she looked like she comes from Old Money and is a woman from a distinguished background. I quite liked the juxtaposition of a woman tending her plants but looking distinguished and wealthy whilst doing it.'
This mannequin shows the bodice for the Countess costume in All's Well That Ends Well. It features pleats on one side and is plain on the other, and has a brooch fastening. On the left is a raglan sleeve which is sewn into the neckline, while on the right is a standard set in sleeve. The lower-arm part of the sleeves includes a diamond-shape which tapers into the cuffs.
Judith works on the skirt of the Countess costume. Made from the same black material as the bodice, the skirt is plain on the left side and draped on the right, with a black fabric belt.
The Designer, Katrina, adds: 'The Countess is very high status but not cut off from understanding. As we aren't setting it in a particular time I just wanted the dress to look wealthy and of its own style, giving her status but nothing too recognisable in terms of cut.'
Centre, Edith Evans's costume from the 1959 production on display in our Into the Wild exhibition.
This shows Edith Evans as the Countess in the 1959 production, directed by Tyrone Guthrie. The costume is featured in our Into the Wild exhibition, in the PACCAR Room.
This shows Judi Dench playing the Countess in the 2003 production, directed by Gregory Doran, in the Swan Theatre. The costume is featured in our Into the Wild exhibition, in the PACCAR Room.