This thesis aims to establish two connections. The first one is that the drawing with the intention of creating stage costumes, namely as a preparation for the future work of producing the costumes, is a work of art itself, and this fact is the reason of the importance of this kind of drawing. The second one is the link between the phenomenon of the fashion costume and the clothes used on the stage, or, as we say today, the scene costumes. This binding is made in both directions, i.e., how the fashion, considered to be the clothing referred to specific time and place, can influence the creation of stage costumes, since this helps to compose the character in a way comprehensible by the public; and, in the opposing sense, the stage costume, which creates certain archetypes that become a reference in the imagination of the public. This resulted in the option to pay special attention to the Commedia dell´Arte, where the importance given to the clothes in establishing certain characters (Arlechino, Pantalone, Columbine), made them easily identified by the public, even to those with little knowledge of the Commedia, as well, in other way, the dissemination of some local or special fashion by other places, since some characters (i. e. the Innamorati) reflected the wear of high class of the epoch, and they had to be understood as this.