A wardrobe fitting is an appointment, usually before your first shoot day, where the costume department tries your outfits on you, adjusts them and photographs each look for the director to approve. Come on time, in the right underwear, with honest measurements, and treat the costume designer as the expert they are. Here's what to expect, with advice from Kym's on-set masterclass and the experts in our library.
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It's where your character's clothes become real. The costume designer has already planned the looks from the script and your sizes; at the fitting you try each one on, they pin and mark alterations, and they take photos of every look so the director and producers can sign off.
The department goes by wardrobe or costume, and the two words are used interchangeably. On a contemporary show it might be a rack of shopped clothes. On a period piece or fantasy project it could be several fittings for built costumes, wigs and shoes.
Usually in the days or weeks before you shoot, once you're booked. Someone from production or the costume department will contact you, or your agent, to set a time and place: a production office, a studio, a costume house, or a trailer at base camp.
For small roles booked at short notice, the fitting might happen the same day you shoot. Karen Workman, answering a parent whose teen disliked a costume, put it simply: there should have been a fitting before the job, and if there wasn't, the place to raise it on the day is wardrobe.
On union jobs, fitting time is covered by the contract, but how it's paid depends on which contract and on your deal. As of November 2026, SAG-AFTRA's own page on fittings says rates for fittings vary by contract and points members to a business representative at their local office for the details. That's the right call to make if you're unsure.
On non-union jobs, check your deal memo or ask whoever booked you before the fitting. Ben Whitehair's general rule for contracts applies here too: terms should be agreed before you get to set, and if something on the paperwork looks wrong, call your agent or manager before you sign. This is general information, not legal advice; check with the union or your rep for your situation.
Arrive clean, unscented and on time. Fittings are often booked back to back, and the costume team is working to the shoot schedule like everyone else.
You'll change, step out, and stand while the team looks, pins and talks. They'll ask you to sit, raise your arms, walk, maybe do the main action of a scene, to check the costume works on camera and doesn't restrict you. Each look gets photographed, often front, side and back.
Your job is to be easy to dress. Kym's on-set masterclass describes the head of wardrobe as the person who selects, designs and arranges every costume, working to the director's vision. Casting director Carmen Aiello made the same point about auditions: a film or TV set will have a designer, so you don't need to arrive dressed as the character.
You can raise real problems: it doesn't fit, you can't breathe or move in it, it irritates your skin, it exposes more than you agreed to. Say it calmly at the fitting, while there's time to fix it. If a scene involves nudity or intimacy, an intimacy coordinator can help with modesty garments; see our page on intimacy coordinators.
Simply not loving how it looks is different. Karen Workman's view was that disliking a costume usually isn't a valid complaint, because production is telling a story. For parents, Bonnie J Wallace was clear that you should have no input on your child's wardrobe, hair or makeup. Your role is to keep them safe and supported.
It happens, especially on commercials, low-budget projects and background work. Bring clean, pressed options in the colours and styles asked for, and more than one choice. On union jobs, SAG-AFTRA says that when you provide personal wardrobe at the producer's request, the producer pays a weekly cleaning allowance per outfit. On non-union jobs, ask before the shoot whether anything is paid for using your clothes.
Wardrobe usually lives in its own trailer at base camp, and the second AD keeps track of where every costume piece needs to be, so get dressed when you're called and stay dressed.
Kym's habits from her on-set class: don't nap in a way that ruins your makeup, don't touch the clothing or props on a hot set, and at the end of the day hang every piece back up and leave your trailer tidy. She tells of an Australian actor she worked with who did exactly that every day, and how much crews loved him for it.
Kate Dennis, who once worked in continuity, adds that matching what you do take to take gives the editor more options. That includes how a jacket sits or whether a button is done up. Trust the script supervisor and wardrobe to track it, and if something tears or stains, tell wardrobe straight away.
The same rules, plus a parent or guardian. Bonnie J Wallace told us the second AD is the point person for logistical questions on set. Karen Workman's list of things parents must not do includes forgetting your child's wardrobe when you were asked to bring it. Pack it the night before, labelled.
An appointment, usually before your first shoot day, where the costume department tries your outfits on you, makes alterations and photographs each look for the director to approve.
Plain, seamless, skin-tone underwear (and a strapless bra if you wear one), plus anything production asked you to bring, such as your own shoes.
On union jobs fitting time is covered, but SAG-AFTRA says rates vary by contract, so check with your local office. On non-union jobs, check your deal memo or ask before the fitting.
It depends on the role. A few contemporary looks can be quick; period or built costumes can take hours or several fittings. Ask when it is booked so you can plan.
You can raise genuine fit, comfort, safety or nudity concerns at the fitting. Not liking the look is usually not a reason, because the designer is serving the story.
Wardrobe. For anything about schedule or logistics, the second AD is your point person.
A fitting is often your first contact with the crew on a new job. Grab Your Free On Set Guide before you go.
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