Most commonly reported Work Activities

• Thinking Creatively Developing, designing, or creating new applications, ideas, relationships, systems, or products, including artistic contributions.
• Communicating with Supervisors, Peers, or Subordinates Providing information to supervisors, co-workers, and subordinates by telephone, in written form, e-mail, or in person.
• Getting Information Observing, receiving, and otherwise obtaining information from all relevant sources.
• Making Decisions and Solving Problems Analysing information and evaluating results to choose the best solution and solve problems.
• Handling and Moving Objects Using hands and arms in handling, installing, positioning, and moving materials, and manipulating things.
• Identifying Objects, Actions, and Events Identifying information by categorising, estimating, recognising differences or similarities, and detecting changes in circumstances or events.
• Establishing and Maintaining Interpersonal Relationships Developing constructive and cooperative working relationships with others, and maintaining them over time.
• Organising, Planning, and Prioritising Work Developing specific goals and plans to prioritise, organise, and accomplish your work.
• Performing General Physical Activities Performing physical activities that require considerable use of your arms and legs and moving your whole body, such as climbing, lifting, balancing, walking, stooping, and handling of materials.
• Coordinating the Work and Activities of Others Getting members of a group to work together to accomplish tasks.

The Work

The work of the Assistant Costume Designer involves researching the costume requirements, particularly if it is a period production, to ensure that costumes are historically accurate and helping to plan and organise the number of costumes and changes of costume that the actors will require by doing a detailed script breakdown.

The Assistant Costume Designer then works to the instructions of the Costume Designer in helping to design, source, purchase, hire and /or make all costumes for the production. The Assistant Costume Designer helps the Costume Designer with fittings of the principal cast. Costume Designers do not work full time on set during production, as most of the work involved is preparation and organisation in advance of filming.

The Assistant Costume Designer might work on set with extras, making sure that extras are suitably dressed and will look appropriate in the scene. Both the Assistant and the Costume Designer work ahead, with the wardrobe supervisor, fitting and preparing costumes and ensuring everything required is available when scheduled for filming. The work of an Assistant Costume Designer includes paperwork/administration related to the costume department.

Most commonly reported Work Tasks

• Create worksheets for dressing lists, show notes, or costume checks.
• Provide dressing assistance to cast members or assign cast dressers to assist specific cast members with costume changes.
• Arrange costumes in order of use to facilitate quick-change procedures for performances.
• Design or construct costumes or send them to tailors for construction, major repairs, or alterations.
• Examine costume fit on cast members and sketch or write notes for alterations.
• Distribute costumes or related equipment and keep records of item status.
• Check the appearance of costumes on stage or under lights to determine whether desired effects are being achieved.
• Clean and press costumes before and after performances and perform any minor repairs.
• Collaborate with production designers, costume designers, or other production staff to discuss and execute costume design details.
• Monitor, maintain, or secure inventories of costumes, wigs, or makeup, providing keys or access to assigned directors, costume designers, or wardrobe mistresses/masters.

Further Information

• Costume Design Assistant - TV/Film - from: N.C.S. [UK]

This occupation is typically suited for people with the following Career Interests:

Creative

Creative people are drawn to careers and activities that enable them to take responsibility for the design, layout or sensory impact of something (visual, auditory etc). They may be atrracted to the traditional artistic pursuits such as painting, sculpture, singing, or music. Or they may show more interest in design activities, such as architecture, animation, or craft areas, such as pottery and ceramics.

Creative people use their personal understanding of people and the world they live in to guide their work. Creative people like to work in unstructured workplaces, enjoy taking risks and prefer a minimum of routine.

Realist

Realists are usually interested in 'things' - such as buildings, mechanics, equipment, tools, electronics etc. Their primary focus is dealing with these - as in building, fixing, operating or designing them. Involvement in these areas leads to high manual skills, or a fine aptitude for practical design - as found in the various forms of engineering.

Realists like to find practical solutions to problems using tools, technology and skilled work. Realists usually prefer to be active in their work environment, often do most of their work alone, and enjoy taking decisive action with a minimum amount of discussion and paperwork.

Training & Development 

FET Centre PLC Course Customer & Fashion design, buying & merchandising, performing arts NFQ level 5-6 Search our FET PLC Coursefinder 

Higher education CAO entry: Design, Fashion NFQ level 7-8 Seach our CAO coursefinder

Practice Development 

The starting point for employment in the film industry is as a Trainee Costume Designer, before upgrading to become an Assistant Costume Designer. The qualifications required to upgrade are governed by the relevant section of The Services Industrial Professional Technical Union (SIPTU) and include work on a specified number of productions, among them period productions.

Applications to join SIPTU as a Trainee should be accompanied by a good design portfolio. Work in theatre is a very useful background to have, training in fashion design or interior design is also desirable. There are numerous design and fashion courses available that train students in necessary skills.

Last Updated: November, 2023

Salary Range (thousands per year)* €26k - €52k

Salaries vary by employer, duties, role, experience, and location.

Data Source(s):
Payscale/ Glassdoor/ Erieri/ Prosperity

Last Updated: February, 2024

* The lower figures typically reflect starting salaries. Higher salaries are awarded to those with greater experience and responsibility. Positions in Dublin sometimes command higher salaries.

View Salary information from Indeed.ie
Note: data not aways available

This information has been derived from the Solas National Skills Bulletin (2023).

Employment grew strongly between 2021 and 2022, with an additional 7,300 persons employed. As illustrated in the CSO Census data below, employment is spread across a number of roles; since 2016, the strongest growth, in absolute terms, was for graphic designers and authors, writers and translators.

New employment permits issued for this occupation in 2022 were primarily for film/TV and animation/visual effects (VFX) roles but also for linguistics experts in the ICT sector. There was also a high volume of recent job hires in line with the recent employment increase. The data does not point to overall issues with recruitment for these roles.

Skills Gaps in the Irish Animation sector (Animation ireland June 2022). A key central issue was graduate skills in relevant animation software. Specific software requirements and competencies in pipeline and technical specifics were top of the list regarding skills gaps. While studios that produce 2D content have recently moved away from Adobe Animate (Adobe Flash) into Toon Boom Harmony packages, there are a number of studios using less common softwares such as Cel Action and Moho for their 2D content. Studios creating CGI content are largely using Autodesk Maya with some now moving towards open access softwares such as Blender. A massive 50% of Irish animation graduates are working for overseas studios (20%) or working remotely on adult animated content (30%).The remaining 20% of recent Irish animation graduates are not working in the sector.

The Skills Challenge for the Screen Sector in Ireland 2023. Despite the skills shortages there is no effective and efficient way to identify crew who are available for jobs or for crew to be able to identify what positions are available. Recruiting experienced crew is also a major issue. Notwithstanding the current skills shortages, the key message from the interviews and focus groups was that a larger production crew base will be required to meet future live action demand which is probably significantly larger than the size of the existing crew base. Key areas of focus for future skills needs include the areas of skills for sustainability and green production as well as digital and technology related skills, especially in relation to virtual production. 

Note: The following