Charlie Rowen FdA Costume for Theatre, TV & Film

Charlie Rowen

Charlie Rowen (she/her)

BA (Hons) Costume for Theatre, Film and Television

Charlie is a final-year Costume Production student specialising in Supervision. She has supervised costume for award-winning shows at the Harrogate Theatre and the Annex, assisted fittings at Bristol Old Vic and dressed on Priscilla, Queen of the Desert (Theatre Royal, Bath). She recently completed a placement as Costume Assistant with Grange Park Opera.

BOVTS credits:
Costume supervisor:Catastrophe Bay, Macbeth (Bristol Old Vic)

Costume Maker: Pride and Prejudice (The Mount Without), The Last Days of Judas Iscariot (The Station), Sammy and the Sea Morgans (TIE School’s Tour), Troilus & Cressida (Redgrave Theatre).

Costume Standby
: Sidelined (BOVTS TV)

Costume Assistant/Dresser: Far From the Madding Crowd (Redgrave Theatre), Absolute Scenes (The Marble Factory), Three Seagulls (Bristol Old Vic)




Costume Supervision ‘ Catastrophe Bay’ (Bristol Old Vic)

Designed by Matthew Cassar, the debut of this new folk musical evoked the rough beauty of an isolated Cornish village in the 1830s. This required a good deal of research into the dress of working class people in the early 19th century, then a number of modifications to enable extremely fast quick changes between characters of different social classes.

Costume Supervision ‘Macbeth’ (BOV Weston Studio)

Designed by Choy-Ping Clarke-Ng, this highly ambitious production blended courtly Elizabethan attire with ancient Scots dress. The heavy use of blood and pieces of armour required a lot of experimentation, as did finding the exact right look for the great kilts, for which I dyed 40 metres of fabric. In the end the production required over 200 individual costume pieces.

Photography credit: Craig Fuller

Costume Maker ‘Pride and Prejudice’ (The Mount Without)

Regency muslin dress and over-dress, Designed by Olivia Jamieson. Both pieces were drafted on the stand based on an original period pattern, and made over the course of four weeks with a number of different Regency-era techniques, including piping, cartridge pleating, and gathering.

Photography credit: Craig Fuller

Headshot of Head of Performance Design
Working relationships made at BOVTS often extend beyond the course, design commission rates are excellent, it’s fantastic to see the graduates embracing successful and rewarding careers as Performance Designers in a professional environment. Angela Davies, Head of Performance Design