Our Focus Topics

ARTSCENICO focuses on working conditions, author rights, education, and sustainability, as these are key to artistic creation in the film industry. Fair working conditions ensure pay, security, and a creative environment. Author rights protect artists' work, ensuring fair compensation and better conditions. Education equips artists with skills, promotes awareness of rights, and supports development. Sustainability ensures long-term resources and stable conditions for environmentally conscious, future-focused work.
We believe that diversity, equality, and sustainability at various levels can only flourish within the framework of a free democracy, which is why we are also politically involved in this regard with the European Filmmakers for Democracy initiative.

Working
Conditions

Discussing working conditions is often one-sided: those with excessive workloads complain, while newcomers romanticize the industry. Employers often seek the easiest path, overlooking the fact that social sustainability begins with each project and contract. While creative professions remain appealing, the focus is shifting towards filmmakers' health and well-being, sometimes overshadowing artistic or economic success. Employers are being held accountable for fair, socially just practices. Addressing issues like toxic conditions and abuse of power requires systemic change, not just individual responsibility. Solidarity among filmmakers is key, as fear of losing jobs prevents many from standing up for their rights.

“The cultivation and deliberate promotion of competition between individuals, which is harmful to everyone, is a classic disciplinary measure to disenfranchise people. DIVIDE ET IMPERA - Divide and conquer is an old rule that has worked for centuries. Filmmakers must learn to act in solidarity and break the isolation. It is up to each and every one of us to do this.“ (Kurt Brazda, IMAGO)

Challenging Working Conditions in Filmmaking

Long hours, low wages, little compatibility with a family or children, and obscure regulations are common issues in the filmmaking industry across Europe. As a European Federation of National Filmmakers Associations, ARTSCENICO aims to discuss and improve these challenging working conditions.

Open Forum Discussions

Since 2022, ARTSCENICO has held recurring OPEN FORUM events to inform and discuss the different working conditions in member countries. Representatives report their actual situations, fostering discussions to find ways to improve work environments across Europe.

Attracting Young Talent and Balancing Work and Family

How can we attract young talent to an industry that is currently unwelcoming? How do we balance family life while working long hours, often away from home for weeks? These are critical questions we need to address. Additionally, we must negotiate fair wages, necessary assistance, tools, commuting costs, and holidays.

Enhancing Negotiation Strength and Legal Support

Strengthening our negotiating position and enforcing better legal and financial security are essential. We need to discuss how a European legal framework can support our position in national negotiations and interactions with industry management and funding bodies.

Collaboration with Member Associations

We maintain close contact with our member associations across Europe and partner federations globally. Initiatives from our members and partners often have cross-border relevance, such as the strong stance against misconduct from our German member VdRSD and efforts by Danske Scenografer in Denmark to fight for fair shares against streaming services.

Addressing AI, Public Awareness, and Gender Bias

The British Film Designers Guild has addressed concerns related to AI in filmmaking. The Italian ASC hosted a conference on the "Magic of Cinema – Behind the Camera," bringing international filmmakers together to highlight the often-unseen aspects of our work. Gender bias and its impact on working conditions and family compatibility are also critical issues, with studies organized by the European Audiovisual Observatory.

Advocacy and Information Sharing

Our partner FERA published an open letter to EU Institutions regarding the impact of the EMFA Regulation proposal on cultural audiovisual policies. Legal frameworks are fundamental to securing our rights and claims. We regularly update our member organizations on relevant news and findings through our quarterly ARTSCENICO Bulletin, to which you can subscribe for the latest developments in our diverse and creative crafts.

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Authorship
rights

ARTSCENICO aims to define production and costume designers as co-authors of a film. However, the complexity of authorship definitions across countries means this is not a simple task. As a first step, we must identify the status quo of how each country defines authorship for filmmakers. In 2022, ARTSCENICO hosted the first Conference of Audiovisual Authors in Madrid, collaborating with various European associations representing composers, sound producers, screen directors, film editors, and cinematographers.

This conference brought together all authors involved in film work to discuss copyright issues, especially the impact of streaming service productions on rights transfers and remunerations.Without audiovisual authors, there would be no film or series, and no revenue for streaming services or production companies. It is imperative for authors to receive fair evaluation and remuneration for their contributions.
ARTSCENICO remains committed to open discussion and exchange, positioning itself as part of the authors' representatives in Europe.In 2019, the EU aimed to modernize copyright laws and secure better remuneration for online content creators through a general copyright reform. Despite the EU member states' majority approval of this controversial reform, the question of uniform participation remains unsettled in the national film industries. Definitions of (co-)authorship in the European film sector still vary widely.

Main Topics of Discussion

Copyright law is a very complex and multifaceted topic, which varies from country to country. ARTSCENICO initially tries to act as an information hub and to bring together the different trends and approaches in the respective changes.In 2022, ARTSCENICO hosted the first Conference of Audiovisual Authors in Madrid, collaborating with various European associations representing composers, sound producers, screen directors, film editors, and cinematographers. This conference brought together all authors involved in film work to discuss copyright issues, especially the impact of streaming service productions on rights transfers and remunerations.
At this point, we will only show an excerpt of the most important topics in this field.

Current EU legislation

Current EU legislation is insufficient for the evolving streaming and on-demand platforms.

National laws on audiovisual authorship vary significantly, complicating rights clearance and licensing.
Members face difficulties negotiating fair shares of online exploitation due to weaker bargaining positions and opaque data from streaming services.
Creative authors are often pressured to sign contracts outside European laws, undermining the benefits of European legal frameworks.
Tensions exist between film creatives, producers, broadcasters, and streaming companies, which may relocate productions to circumvent beneficial laws for filmmakers.
Buy-out practices lead to unfair work-for-hire situations, denying individual contributions of cinematographers, composers, designers, screenwriters, and sound designers.

Goals for Strengthening Author Rights

To enhance the position and fair compensation of audiovisual authors, the following goals were identified:

Promote the implementation of the EU Directive 2019/790 for fair remuneration, transparency, and contract renegotiation.
Utilize opportunities for Collective Bargaining Agreements recently included in European legislation.
Scrutinize the transparency and fairness of streaming services.
Raise awareness of the impact of streaming services on local creative ecosystems, with considerations for public funding to support cultural diversity.
Create a network for knowledge exchange among members.
Build a unified community of European audiovisual creatives for solidarity and mutual support.

Explore further

For more information on national efforts towards fair rights and remuneration of audiovisual authors, and to get an overview of the current discussion on copyright in Europe, we would like to refer you to the German organization Initiative Urheberrecht.

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Sustainability

The European film industry is a major contributor to the climate crisis. ARTSCENICO aims to unite filmmakers across Europe to improve working conditions, education, and authorship rights while also taking responsibility for the environment. Sustainability must be a collective effort, not just individual action. Every step in film production—planning, designing, making props and costumes—produces emissions. Though resource-intensive, our strength lies in the creativity and collaboration of many. Filmmakers can lead teams, reuse materials, share recycling methods, and promote sustainable practices, supported by European regulations and funding conditions.

Sustainability in the Art Department

Sustainability in Costume Department

The facts are clear: A feature film produces an average of 15 tonnes of set and furniture waste. Travel required by film crews, catering, and video streaming must be added to get an idea of the impact a film can have on the environment. According to a study by the Ecoprod collective with the firm Workflowers - published in November 2020 - the audiovisual sector in France alone emits 1,705,560 tonnes of CO2 in one year. This is equivalent to roughly 700,000 Paris - New York return flights. 

Where does sustainability start?

When we are taking the pen, the paper, the tablet, and doing the first sketches or looking for locations!
We know that in the arts, we need freedom to imagine the impossible. Against common opinion, sustainability does not hinder creativity or the freedom of imagination. It’s merely a part of the challenge: to imagine the (seemingly) impossible.

What does ‘Green Art Department’ mean?

The Green Art Department begins with location scouting!

Research and discovery of locations for the realization of several sets
Organization of the team, needed storage, offices, etc. locally/ in close proximity
Involvement in the Production
Choice of financing with an included green filming protocol
Communication of the budgetary consequences of sustainable materials- negative as well as positive! Don’t forget the carbon footprint advantages!
Selective collection of waste as part of the production’s responsibility in offices, on location, and set.
Leadership’s communication supports the will to change!

Eco-design includes

Usage of environmentally friendly materials

Respect for chosen materials (size, capacity, surface…)
Plans for dismantling (separation of the raw materials)
Involvement of service partners (construction crew, graphics, prop builders...)
Calculation of requirements (furniture, props, etc.)
Preference for rentable props, furniture, and decoration instead of buying
Research and trial of regional shops/renters instead of e-commerce
Cross-production warehouse management – Store management
Reduction of the aftermath
Research and planning of recycling or reusage of construction, equipment, and props after filming,
Zero Waste as the main goal
Selective collection of waste including information of staff about the sorting policy: display signs
Containers for paint water, wood, etc.

What can you do?

Each association in each country - as a group of professionals - should

partner with the institutions in place to

Establish advice on how to make sustainable films, including sustainable sets and costumes
Understand the carbon footprint calculator (there are several on the market, for example, wearealbert, CarbonClap, MFG Rechner...)
Create a manual/handbook that everyone can use and find inspiration.

We are experts in our fields, and we shouldn’t let others decide when to analyze or prioritize the sustainability of the projects we work on. There are no miracle solutions, but combinations of known processes with new materials, old techniques used in new ways, and last but not least the help of virtual tools. Each country may have its film industry, structures, and methods, but we can connect, communicate, and exchange.

Besides unity among European Production and Costume Designers, Artscenico wants to raise awareness of the importance and urgency of a sustainable Art Department among productions, producers, and production managers. This can only be achieved through a profound change in our mentalities, and by taking sufficient time to prepare and dismantle. Eco-design doesn't necessarily cost more, but it does require a willingness on the part of Production Designers, but even more so Producers and Directors.

Explore further

https://www.ecoprod.com/en/...
https://wearealbert.org/production-handbook/
https://www.green-motion.org/oekologische-standards/
https://www.green.film/greenfilm-research-lab/
https://www.cineregio.org/publications/green_regio_report_2020/

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The environmental impact of the wardrobe department in filmmaking is often underestimated, yet it encompasses various stages from sourcing materials to waste management. As part of the textile industry, costume design significantly influences society and contributes to pollution. Despite its potential carbon footprint, the wardrobe’s impact is overlooked in industry studies.
Understanding the direct and indirect damages associated with costume production, such as excessive textile consumption and pollution, is crucial. The French Film Association of Costume Designers (AFCCA) has initiated efforts to promote eco-responsibility within the sector, aiming to inform and unite professionals towards reducing our carbon footprint. While awareness is essential, accountability must also be embraced at all levels. In France AFCCA has developed a concise guide for eco-responsible practices, emphasizing the importance of collaboration with directors and production teams to foster a circular economy. The guide addresses key principles: Refuse, Reduce, Reuse, and Recycle.

Every day

The world uses an estimated 80 billion pieces of clothing every year, a 400 percent increase from two decades ago.
Buying just one white cotton shirt produces the same amount of emissions as driving 35 miles in a car.
Textile production contributes more to climate change than international aviation and shipping combined.
The fashion industry is responsible for 10% of annual global carbon emissions.
Half a million tons of plastic microfibers are dumped into the ocean every year, the equivalent of 50 billion plastic bottles.
Around 300,000 tons of textile waste ends up in household black bins every year, sent to landfills or incinerators. And, because of the complexity due to the almost systematic use of fibers mixing natural and synthetic, only 1 % of the enormous mass of textiles generated eventually gets recycled.
In 2020, textiles were the 3rd source of water degradation and land use: 79 billion m3 of water was used in 2015, more than 1/3 of the water needs of the entire European economy and responsible of 20% of global drinking water pollution, due to dyes and finishes.

Refusing over-production and unnecessary purchases, along with reducing the environmental impact of materials and practices are crucial steps. Prioritizing rental or second-hand options, choosing eco-friendly textiles, and minimizing waste generation are practical strategies. Collaboration with eco-responsible suppliers and adopting sustainable techniques are also encouraged.Reuse and recycling play vital roles in minimizing our carbon footprint. Costume rental companies, local craftsmanship, and repair initiatives contribute to sustainable practices. Reusable textile covers and equipment rental further support eco-friendly operations. Additionally, efforts to conserve energy and natural resources, such as water-saving measures and recycling textile waste, are essential.Looking ahead, collaboration with productions and institutions is key to implementing eco-responsible practices comprehensively. Addressing waste management, infrastructure sustainability, and integrating carbon accountability into industry standards are critical goals. we advocate for inclusive evaluation tools that accurately measure the wardrobe department's carbon footprint.Ultimately, achieving these goals requires collective expertise and commitment. Together, we can harness our collective strength to create a more sustainable future for costume design in filmmaking.

Let’s ask ourselves the following questions when we start a project:

What do we really need?
What can be bought second-hand or rented?
If I buy it, where does it come from?
What are the practices that we can optimize daily?
What amount of waste is produced by the wardrobe and what to do with it?
Can we change our transportation habits?

Nothing can be achieved without re-thinking our collective drive to creativity and becoming ever more creative to minimize our Carbon Footprint.

From our first contacts with a film or series, and with the help of Production

and Line Producers, we might consider such questions as:

will there be sequels?
what can be retained and stocked for those eventual future sequels?
do stocks already exist?
preparing the ground for recycling on final wrap (Give, sell, store, etc…)

What does ‘Green Art Department’ mean?

The Green Art Department begins with location scouting!

Research and discovery of locations for the realization of several sets
Organization of the team, needed storage, offices, etc. locally/ in close proximity
Involvement in the Production
Choice of financing with an included green filming protocol
Communication of the budgetary consequences of sustainable materials- negative as well as positive! Don’t forget the carbon footprint advantages!
Selective collection of waste as part of the production’s responsibility in offices, on location, and set.
Leadership’s communication supports the will to change!

Why & how to REUSE and RECYCLE?

Using and enabling the reuse by others is a virtuous circle on top of reducing our Carbon impact significantly.

Regarding wardrobe:

Costume rental companies contribute to the transmission and proper conservation of costumes. They are also very active in the rental of contemporary costumes
Using local and artisanal craftsmanship is a real key, thereby maintaining employment and handicrafts and allowing rare know-how and jobs to continue
Repairing and restoring are most important, promotion and training for this are given via Le Conservatoire Européen du costume: www.cecostume.fr
recycling through homeless associations, selling onto rental houses, many circular economy solutions exist
fabrics issued from un-used ends from the luxury fashion industry, such as NONA source: www.nonasource.com
the constant evolution in textile recycling possibilities

Concerning protection covers & wardrobe room equipment:

Wardrobe Departments use tons of plastic covers and containers simply for the transport of costumes.AFCCA proposes 2 suppliers of rental, re-usable textile covers
HOOSS eco-cover: https://hooss.co/
Mahoussecostaud: https://www.instagram.com/mahoussecostaud/

Wardrobe room equipment such as sewing machines, cutting tables, ironing stations, washing and drying machines, hangers, and rails need to be available for rent and passed on from film to film. Buying any of this equipment new, for each new production, is absurd; rethinking this current policy represents an urgent need.

Concerning consumption of energy and natural resources

Dyes, machine washing, or aging - all require and pollute resources. An inspirational example of reducing Carbon footprint is the efurbishing of the Studios at Bry-sur-Marne. They enabled a rain-water recovery system for the use by the Costume Designer for the latest « Asterix and Obélix » film, on which they used only natural dyeing pigments and reused the dyeing waters for costume breakdown. Re-using of water from drying machines has now become a possibility as well.

Inspired by Circular Economy we need a better understanding of all our options. AFCCA is working on establishing a list of companies capable of transforming hitherto waste textiles.

Our Goal

Our goal is to unite the Associations, Cinema studios, and costume rental houses with whom we work to reflect and look for greener solutions and, collectively, to meet with the Deciders, Studios, and Producers to discuss

Waste management

Eco-Costumes AFCCA is putting forward the need for Film Productions to include in their Carbon Footprint evaluations regarding

‍

material waste during the preparation and finishing of Wardrobes (an aspect that can be ignored when applying the Carbon calculations demanded by the AGEC law)
plastic protections and recyclable shoes and clothes – sometimes found simply dust binned for landfill
industrial cleaning and dye-polluted water simply washed down the drain rather than collected for specific treatment

Infrastructure

The Carbon Footprint aspect concerning the installation of our Wardrobe Rooms is far too rarely thought through to be ecologically sound. In France, our wardrobe needs and the Line Producers and Runners who prepare our workspace are coordinated by each of its separate considerations, notably concerning the meeting of ecological standards. We want costume runners to receive training in optimizing Green standards in our wardrobe rooms.

Costume department Integration and Carbon Accountability as part of the AFNOR norms.

In France, the CNC has developed a « Plan Action », known as « AFNOR SPEC 2308 » (normalisation.afnor.org), designed to accelerate our cinema professions towards a diminishing carbon footprint accountability. As of 2024, any CNC film subsidy will be subject to meeting AFNOR SPEC 2308 conditions.

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OUR MEMBERS

OUR MEMBERS

SPONSOR

Rosco, London

Groupe TSF, Paris

Euro-Costume, Paris

Cornejo, Madrid

Angels Costumes

Theaterkunst

TIRELLI TRAPPETTI COSTUMI DAL 1964 S.p.A., Rome

Delikatessen Requisitenfundus

Become a new Sponsor

New Sponsor

Become a new Sponsor

Delikatessen

How to become a sponsor ?

Heading 3

NETWORK

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

PDC

NETWORK

Our Focus Topics

WORKING CONDITIONS

Working Conditions

Challenging Working Conditions in Filmmaking

Open Forum Discussions

Attracting Young Talent and Balancing Work and Family

Enhancing Negotiation Strength and Legal Support

Collaboration with Member Associations

Addressing AI, Public Awareness, and Gender Bias

Advocacy and Information Sharing

Authorship Rights

Authorshiprights

Sustainability

Sustainability

Sustainability in the Art Department

Sustainability in Costume Department

Where does sustainability start?

What does ‘Green Art Department’ mean?

Eco-design includes

What can you do?

Let’s ask ourselves the following questions when we start a project:

What does ‘Green Art Department’ mean?

Why & how to REUSE and RECYCLE?

Concerning protection covers & wardrobe room equipment:

Concerning consumption of energy and natural resources

Waste management

Eco-Costumes AFCCA is putting forward the need for Film Productions to include in their Carbon Footprint evaluations regarding

Infrastructure

Costume department Integration and Carbon Accountability as part of the AFNOR norms.

Sustainability in the Art Department

Sustainability in the Costume Department

Education

Education

Importance of Comprehensive Education

Best Practices for Art Department Education

Benefits of Standardized Education

FILM & DEMOCRACY

FILM & DEMOCRACY

BULLETIN

New Board 2025/27

German GEMA prevails in court against OpenAI

Yvonne Blake Award

VG Bild-Kunst Awards for Production & Costume Design

Designing a collective Future

Working
Conditions

Authorship
rights