Why Costume Logistics Deserve a System, Not a Spreadsheet

Every dance school principal knows the feeling: show week is approaching, three costumes haven't arrived, two parents haven't paid their costume fees, and someone has lost a pair of ballet shoes. Costume and performance logistics are among the most operationally demanding parts of running a dance school, yet they are often managed with sticky notes, spreadsheets, and sheer willpower.

The problem is not a lack of effort. It is a lack of system. When you are coordinating hundreds of costumes across dozens of routines, multiple age groups, and several performances, you need a structured workflow that tracks every item from the moment it is ordered to the moment it is returned after the final curtain call.

This guide sets out a practical approach to costume and performance logistics that works for schools of all sizes, from a single-studio operation with fifty pupils to a multi-site academy running a full-scale production.

Building Your Costume Ordering Workflow

Starting Early: The Planning Timeline

Costume planning should begin at least six months before your show date. This gives you enough time to source suppliers, collect sizes, place orders, handle alterations, and deal with the inevitable issues that arise. A typical timeline looks like this: six months out, confirm your show programme and identify which routines need new costumes versus which can reuse stock. Four months out, finalise designs and begin collecting measurements. Three months out, place orders with suppliers. Two months out, receive deliveries and schedule fittings. One month out, complete all alterations and distribute costumes for home rehearsals.

The single biggest mistake schools make is starting too late. Suppliers like The Costume Corner, Dancia International, and Revolution Dancewear all have peak-season lead times that can stretch to eight or ten weeks. If you are ordering in January for an Easter show, you are already cutting it fine.

Size Collection That Actually Works

Collecting accurate sizes from parents is notoriously difficult. Children grow, parents guess, and the difference between a child's age size and their actual measurements can be significant. The most reliable approach is to issue a measurement guide with clear diagrams showing where to measure chest, waist, hips, and inside leg, and to require parents to submit measurements rather than clothing sizes.

Where possible, hold a measurement session at the studio. This takes time but eliminates guesswork. For schools using AMES, you can attach measurement data directly to each pupil's record and generate size summaries per routine, which saves hours when placing bulk orders.

Supplier Management

Build relationships with two or three reliable suppliers rather than sourcing from a dozen different places. A good supplier relationship means you can negotiate bulk discounts, get priority during peak season, and resolve problems quickly. Keep a supplier record that includes contact details, account numbers, typical lead times, minimum order quantities, and notes on quality. If a supplier consistently delivers late or sends incorrect items, that information needs to be recorded so you can make better decisions next time.

Fitting Coordination and Alterations

Scheduling Fittings Without Losing Your Mind

Costume fittings are a scheduling challenge because they involve every pupil, often across multiple routines. The most efficient approach is to schedule fittings by class group, running them immediately before or after a regular lesson. This minimises additional trips for parents and ensures you see every child in each routine's costume.

For each fitting session, prepare a checklist that includes the pupil's name, the routine, the costume item, the size ordered, and columns for fit assessment and alterations needed. A simple traffic-light system works well: green for good fit, amber for minor alteration needed, red for replacement required.

Managing Alterations

Every show season produces a stack of alterations. Hems need taking up, straps need shortening, elastics need replacing. If you have a parent volunteer or local seamstress who handles alterations, establish a clear system: each item gets labelled with the pupil's name, the alteration required, and the deadline. Items should be logged out and logged back in so nothing goes missing. For schools with larger budgets, some suppliers offer an alteration service at the point of order if you provide exact measurements.

Accessory Tracking and Stock Management

The Accessory Problem

Costumes get the attention, but accessories cause the headaches. Hair ribbons, character shoes, ballet tights in the right shade of pink, top hats, canes, gloves, crowns: the list for a single show can run to dozens of distinct items across all routines. Each one needs to be sourced, sized where applicable, distributed, and retrieved.

Create a master accessory list for each routine that specifies every item, the quantity needed, the source, the unit cost, and whether it is a school-owned item to be returned or a pupil-purchased item to keep. For school-owned accessories, assign each item a simple ID and track it in and out. This sounds excessive until you realise that replacing thirty pairs of white gloves every year because they disappear costs more than the tracking system ever will.

Building a Reusable Stock Library

Over time, a well-managed dance school accumulates a significant stock of reusable costumes and accessories. This is a genuine asset, but only if you can find what you have. Maintain a stock inventory organised by category (leotards, skirts, trousers, hats, props) with details of size, colour, condition, and which show it was last used in. Photograph each item. When planning a new show, check your stock library first. You will often find that a costume from two years ago can be re-used or adapted, saving hundreds of pounds.

Show-Week Logistics

The Show-Week Timeline

Show week itself requires a minute-by-minute logistics plan. One week before: confirm that every costume and accessory is accounted for, labelled, and packed by routine. Issue a parent information pack covering arrival times, backstage access, hair and make-up requirements, and collection procedures. Three days before: deliver all costume rails and boxes to the venue. Label each rail by routine. Set up a quick-change area if any dancers appear in multiple numbers.

On show day: have a backstage costume manager for every four to five routines. Their job is to ensure dancers are in the correct costume at the correct time, to manage quick changes, and to collect costumes after each number. Provide each backstage manager with a running order, a costume checklist, and a basic sewing kit for emergencies.

Post-Show Returns and Clean-Up

After the final performance, you need a system for collecting, cleaning, and storing or returning costumes. Issue a return checklist to every parent listing the items that must come back and the deadline. Chase up missing items promptly. Costumes that are being returned to stock should be laundered, inspected for damage, repaired if necessary, and stored in labelled bags or boxes. Do this within two weeks of the show while everything is fresh. The schools that leave costume returns until September find that half the items have vanished.

Key Takeaways

Start costume planning at least six months before your show date to allow for supplier lead times and inevitable delays.
Collect actual measurements from parents rather than relying on clothing sizes, and hold measurement sessions at the studio where possible.
Build reliable relationships with two or three suppliers and keep detailed records of lead times, quality, and pricing.
Schedule fittings by class group alongside regular lessons to minimise disruption for families.
Create a master accessory list per routine and track school-owned items in and out with a simple ID system.
Maintain a photographed stock library of reusable costumes and accessories to reduce costs year on year.
Assign backstage costume managers during show week and provide them with running orders and checklists.
Issue return checklists to parents immediately after the final performance and chase missing items within two weeks.