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Costume design

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See also stage clothes.
Costume design for Gianetta - The Gondoliers

Costume design is the fabrication of apparel for the overall appearance of a character or performer. Costume is specific in the style of dress particular to a nation, a class, or a period. The most basic designs are produced to denote status, provide protection or modesty, or simply decorate a being.[1] Costume design is a tool to express an art form, such as a play or film script, dance piece, or opera. Costumes may be for a theater or cinema performance but may not be limited to such. Costume design should not be confused with costume coordination which merely involves altering existing clothing, although both create stage clothes.

Four types of costumes are used in theatrical design, Historical, fantastic, dance, and modern.[2]

Brief History

The earliest use of costume began as a ritual of hunting and gathering. The earliest mask was of an animal skin worn on the head after a kill by the primitive hunter. Ritual sacrifices were performed to honor Gods who would in turn provide fertility, health, and so on. The village festivals and processions in honor of Dionysus "See also Dionysia amongst the ancient Greeks, are believed to be the origin of theatre, and therefore theatre costume. The sculpture and vase paintings provide the clearest evidence of this costume. [1] Because of their ritualized style of theatre many masks were used giving each character a specific look and they varied depending if they were used for comedic or dramatic purposes. Some masks were constructed with a cheerful as well as a serious side on the same face in an attempt to indicate a change in emotion without a change of mask. [3] The same is true for the Romans, who continued the mask tradition, which made the doubling of roles easier.

During the late Middle Ages in Europe, dramatic enactments of Bible stories were prevalent, therefore actual Christian vestments, stylized from traditional Byzantine court dress, were worn as costumes to keep the performances as realistic as possible.[1] Stereotypical characterization was key when clothing performers for this style of theatre. In most instances actors had to supply their own costumes when playing a character found in daily life. [4]

Later, in Elizabethan performance during the 1500-1600s in England, costume became the most important visual element. Garments were very expensive because only the finest fabrics were used. The majority of characters were clothed in Elizabethan fashion, otherwise the costumes could be divided into five categories; "Ancient", which was out of style clothing used to represent another period; "Antique", older additions to contemporary clothing to distinguish classical characters; Dreamlike, "fanciful" garments for supernatural or allegorical characters; "Traditional" clothing which represented only a few specific people, such as Robin Hood, or "National or Racial" costumes that were intended to set apart a specific group of people but did not tend to be historically accurate. [5]

Historical costumes of Le Cateau Cambrésis, France

Design Process

The costume design process involves many steps and though they differ from genre to genre a basic method is commonly used.

1.) Analysis: The first step is an analysis of the script, musical composition, choreography, etc. Parameters must be established:

  • Indication of events happening before the piece took place if applicable
  • Geographical location
  • Day, month, year or specific season
  • Who the characters are regarding relationships and socio economics, government and religious rule, and ethical conduct, marriage or family.
  • The function of each character in regards to protagonist, antagonist etc.
  • Dialogue mode of text
  • Texts action in sequence. This is used to create a Costume Plot or Action Chart, which lists which characters are in what scene.
  • Theme of the text

2.) Design Collaboration: An important phase in the process is meeting with the director and fellow designers. There must be a clear understanding of:

  • Script/Text
  • Budget
  • Time table/Calendar

3.) Costume Research: Once guidelines are established, the next step is to gather research.

  • A research outline is important to focus your attention, listing any questions necessary to complete your study.
  • Use primary sources for the majority of your research; Such as, museums, periodicals, newspapers, sculptures, paintings, etc.

4.) Preliminary Sketching and Color Layout: Once enough information is obtained to begin drawing, a preliminary sketch must be performed. Successful preliminary sketching conveys an accurate depiction of:

  • Line, which will show the silhouette of the targeted piece of clothing
  • Proportion, of not only the garment but also the actors body.
  • Detail, of not specifics but general ideas. Such as the indication of what type of fabric or pattern may be used.
  • A color layout, using either fabric swatches, or paint samples needs to be represented.

5.) Final Sketches: The final costume sketch can be completed in any medium but must include:

  • Name of text
  • Name of character/actor
  • Scene(s) in which costume is represented
  • Signed signature of artist
  • Swatch of fabric if being constructed

[6]

Production Process

Once the show is designed, it is necessary to plan where the items will be sourced. There are four options. Garments can be:

  • Pulled, which refers to searching through a costume shops stock
  • Rented
  • Shopped
  • Constructed, or also known as made to order.

There are two ways a garment can begin to be constructed; either pattern drafted or draped, and many times both methods will be used together. Pattern Drafting begins by using a set of basic pattern blocks developed from the actor’s measurements. They are drawn out on paper first, then transferred to fabric, and sewn together to test fit. [7] "See also Pattern (sewing) Draping involves manipulating a piece of fabric on a dress form or mannequin that have measurements closely related to the actors. It is a process that takes a flat piece of cloth and shapes it to conform the fabric to a three-dimensional body by cutting and pinning.

See also

References

  1. ^ a b c Eubank, Tortora, Keith, Phyllis G. (2005). Survey of Historic Costume. New York: Fairchild Publications. p. 1.{{cite book}}: CS1 maint: multiple names: authors list (link)
  2. ^ Grimball and Wells, Elizabeth B. and Rhea (1925). Costuming a Play: Inter-Theatre Arts Handbook. The Century Co. p. 6. ISBN '''000-00000'''. {{cite book}}: Check |isbn= value: invalid character (help)
  3. ^ Brockett, Hildy, Oscar G., Franklin J. (2007). History of the Theatre. USA: Pearson Education Inc. p. 53. ISBN 0-205-47360-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
  4. ^ Brockett, Hildy, Oscar G., Franklin J. (2007). History of the Theatre. USA: Pearson Education Inc. p. 96. ISBN 0-205-47360-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
  5. ^ Brockett, Hildy, Oscar G., Franklin J. (2007). History of the Theatre. USA: Pearson Education Inc. p. 125. ISBN 0-205-47360-1.{{cite book}}: CS1 maint: multiple names: authors list (link)
  6. ^ Covey, Ingham, Liz, Rosemary (1992). The Costume Designer's Handbook. Portsmouth, NH: Heinemann. pp. 15–100.{{cite book}}: CS1 maint: multiple names: authors list (link)
  7. ^ Covey, Ingham, Liz, Rosemary (2003). The Costume Technician's Handbook. Portsmouth, NH: Heinemann. p. 98.{{cite book}}: CS1 maint: multiple names: authors list (link)
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