Whereas most designers create artistic impressions of a costume, Alix Stone often produced outline drawings, which stress the construction of the costume - the essential outlines and annotations that the costume makers need to ensure that the cut of the costumes will be correct. This is particularly important in recreating period dress. Suitable fabrics can then be chosen, but the artist has no need to indicate more than an idea of the texture or pattern on the design. Everything is subservient to the construction. These are designs in the sense of a blueprint or plan for a product. Unusually, Stone often also drew groups of characters, giving a sense of how costumes related to each other.
Although theatre designs are often considered works of art and are sought after by museums and private collectors, their artistic worth or decorative qualities are secondary to whether they 'work' on stage. The success of a costume design cannot be judged until it is translated into fabric, texture and decoration by the costume makers and seen as part of the whole stage picture. Some designers are very knowledgeable about costume making and produce very detailed designs, with notes on fabrics and making techniques, others create an 'atmospheric' drawing, which gives the feeling of the costume, and they then either work closely with the costume maker to realise their concept or have trusted makers who know their work and can create the effects they have in mind.