After decades of fighting for pay equity, costume designers in theatrical and television (other than on one half-hour television) received a wage increase of over 40%, bringing the scale rate in line with similar creative peers.
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As IATSE reached a deal on a new overarching contract with Hollywood’s major studios and streamers, Variety obtained a copy of the guild’s achievements which also summarized their gains in the General Basic Agreement Negotiations.
In a statement to Variety, president of the costume designers guild Terry Gordon said, “Following a six year, highly coordinated effort, our clearly defined CDG proposal demanding pay parity with our design team colleagues was recognized and rewarded. Overwhelming data, statistics and research compiled during our lengthy pay equity campaign led to achieving long overdue rate increases for our membership as well as appropriate recognition for our contributions to production.” Gordon added, “This has been an unprecedented contract achievement for our Guild. Our members were clear and united in their priorities. The Pay Equity and bargaining committees were dedicated and determined, leaving no stone unturned.”
Emmy award-winner and Co-Chair of the Pay Equity Now Steering Committee Ariyela Wald-Cohain (“Waitress”) said, “We are elated by the outcome of the current negotiations to achieve pay parity scale rates for Costume Designers with their creative peers. We extend our gratitude to all who supported and helped us reach this historic achievement. Our hope is to continue fostering a more inclusive and equitable industry for future generations of artists across all crafts.”
For decades, costume designers have worked to shine a spotlight on longstanding pay discrepancies. Pay Equity Now was a movement that gained traction as contracts were under negotiation. The movement encouraged costume designers to ask their agents to demand the same pay as department heads such as production designers or directors of cinematography, and to share their salaries and terms of their contracts with costume designers who are working for the same studios.
As previously outlined, costume designers are the least compensated creative heads in the film and TV industry. A noticeable wage gap becomes apparent when considering what is often a 60-hour work week: Scale rates for costume designers, who are 87% female, under the IATSE Basic Agreement are approximately 30-65% lower than those of their creative department head counterparts, which are 82-93% male.
Another significant gain is that Costume Designers now have mandatory screen credit. The memorandum of agreement specifies: “No screen credit as/or implying rendition of services as a Costume Designer on a motion picture subject to this Agreement shall be given to an individual other than a Costume Designer.”
“Whenever and as long as the practice of giving screen credit to any individual (exclusive of the Producer, Director, Writer and cast) prevails, the Producer agrees that screen credit shall also be given on all motion pictures covered hereunder to Costume Designers rendering their services for the production.
“On theatrical motion pictures, screen credit will be given in a prominent place when the Director of Photography, Editor, and Art Director credit are ‘up front.’ The term ‘prominent place’ means single card credit, whether it appears in main credits or end titles.
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“On television motion pictures, the placement of the screen credit shall be at the discretion of the Producer, and the screen credit may be on a shared card.
“Screen credit shall be in one of the following forms: ‘Costumes Designed by…,’ ‘Costumes by…’ or ‘Costume Designer.’”
Remarking on the mandatory costume designer screen credit, Gordon shared, “The long-awaited appropriate screen credit placement, ensures that producers agree screen credit will be given to Costume Designers on all motion pictures who have rendered their services for the production. The term “prominent place’ means single card credit whether it appears in main credits or end titles for theatrical motion pictures.” She added, “Television motion pictures placement is at the discretion of the producer, may be on a shared card and shall be in one of the following forms: Costumes designed by, or Costumes by, or Costume Designer…. followed by the designer’s name.”
Gordon noted in the fight for pay equity when it comes to costume designers working on half-hour shows and assistant costume designers.
Costume designers on one half-hour television received an outsized wage increase of 12% in the first year, 4% in the second year, and 3.5% in the third year, all compounded.
Assistant costume designers in theatrical and television (other than on one half-hour television) also received outsized wage increases of 10% in the first year, 7.5% in the second year, and 7.5% in the third year. Assistant Costume Designers on one half-hour television received an outsized wage increase of 10% in the first year, 4% in the second year, and 3.5% in the third year.
“We didn’t achieve pay parity for costume designer’s on half-hour TV and we didn’t achieve Pay parity for our Assistant Costume Designers. As Terry said we still have work to do,” said Wald-Cohain.
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