Costume designer in the context of "Natalia Goncharova"

A dance costume is the clothing worn by a dancer when performing before an audience. A dance costume may be custom designed for use in a specific dance work, or it may have a traditional design, such as those used in some ceremonial and folk dances. Typically, dance costumes are designed to harmonize with the dance and not hinder the movements of the dancer.

When created for a specific work, a costume may be designed to expose or enhance the lines formed by the dancer's body, or to express the choreographer's artistic vision, or to engage the audience, or combinations of these. A costume may portray or relate to some characteristic, mood, or theme of the dance. It may fit loosely or it may be form-fitting to emphasize the form of the dancer's body. Costumes are designed in accordance with aesthetic requirements, the anticipated movements of the dancer, and budget. Various people may collaborate in designing a costume, including the choreographer, costume designer, costume maker (seamstress), and dancer.

Robert Edmond Jones (December 12, 1887 – November 26, 1954) was an American scenic, lighting, and costume designer.

He is credited with incorporating the new stagecraft into the American drama. His designs sought to integrate scenic elements into the storytelling instead of having them stand separate and indifferent from the play's action. His visual style, often referred to as simplified realism, combined bold vivid use of color and simple, yet dramatic, lighting.

In theatre, a lighting designer (or LD) works with the director, choreographer, set designer, costume designer, and sound designer to create the lighting, atmosphere, and time of day for the production in response to the text while keeping in mind issues of visibility, safety, and cost. The LD also works closely with the stage manager or show control programming, if show control systems are used in that production. Outside stage lighting, the job of a lighting designer can be much more diverse, and they can be found working on rock and pop tours, corporate launches, art installations, or lighting effects at sporting events.

A production designer is the individual responsible for the overall aesthetic of a film and television story. The production design gives the viewers a sense of the visual media's narrative, tone, setting, time period, the plot location, and character actions and feelings. Working directly with the director, cinematographer, and producer, production designers have a key creative role in the creation of motion pictures and television.

Production designers are commonly confused with art directors as the roles have similar responsibilities. Production designers decide the visual concept and deal with the many and varied logistics of filmmaking including, schedules, budgets, and staffing. Art directors head an art department, and manage the process of making the visuals, which is done by concept artists, graphic designers, set designers, costume designers, lighting designers, etc. The production designer and the art director lead a team of individuals to assist with the visual component of the film. Depending on the size of the production the rest of the team can include runners, graphic designers, drafts people, props makers, and set builders. Productions Designers create a framework for the visual aesthetic of a project and work in partnership and collaboration with the Set Decorator & Set Decorating department to execute the desired look.

Alvin Colt (July 5, 1916 – May 4, 2008) was an American costume designer. Colt worked on over 50 Broadway shows.

His first job was in a theatrical fabric house, he also worked on painting scenery during the summer. On the Town was the first Broadway show he worked on in 1944. His major Broadway credits include Guys and Dolls, Top Banana, Fanny, Finian's Rainbow, Six Characters in Search of an Author, Destry Rides Again, Wildcat, Here's Love, The Crucible, The Goodbye People, Sugar, Lorelei, Jerome Robbins' Broadway and Waiting in the Wings for producer Alexander H. Cohen, with whom he had a long working relationship. Alvin won a Tony Award in 1955 for Pipe Dream. He did the costumes for the 1957 show, Rumple. The last official show he worked on was in 2001 for If you ever leave me...I'm going with you!

Varvara Jmoudsky, better known as Barbara Karinska or simply Karinska (October 3, 1886 – October 18, 1983), was the Oscar-winning costumier of cinema, ballet, musical and dramatic theatre, lyric opera and ice spectacles. Over her 50-year career, that began at age 41, Karinska earned legendary status time and again through her continuing collaborations with stage designers including Christian Bérard, André Derain, Irene Sharaff, Raoul Pêne du Bois and Cecil Beaton; performer-producers Louis Jouvet and Sonja Henie; ballet producers René Blum, Colonel de Basil and Serge Denham. Her longest and most renown collaboration was with choreographer George Balanchine for more than seventy ballets — the first known to be “The Celebrated Popoff Porcelain,” a one act ballet for Nikita Balieff's 1929 La Chauve-Souris with music by Pyotr Ilyich Tchaikovsky for which Karinska executed the costumes design by Sergey Tchekhonin. She began to design costumes for Balanchine ballets in 1949 with Emmanuel Chabrier's “Bourrèe Fantasque,” for the newly founded New York City Ballet. Their final collaboration was the 1977 "Vienna Waltzes.” Balanchine and Karinska together developed the American (or powder puff) tutu ballet costume[9] which became an international costume standard.

With Dorothy Jeakins, she won the 1948 Oscar for color costume design (the first year costume design was divided into color and black & white categories) for Joan of Arc, and was nominated in 1952 for the Samuel Goldwyn musical Hans Christian Andersen, starring Danny Kaye. She was the first costume designer to win the Capezio Dance Award, in 1962, for costumes "of visual beauty for the spectator and complete delight for the dancer".