An Introduction to What a Costume Designer Does.

An Introduction to What a Costume Designer Does.

Examples of the Psychology of Dress

During the first four minutes of contact with a stranger, our understanding of that person s nature and personality will be based on three primary factors: 1. Appearance: 55% 2. Tone of Voice: 38% 3. What the person is saying: 7% Think about what you or the character wears!

They ask the same question about each character that every person asks themselves before they go off to school, work, a date, to an important life event, or just hanging around ---- What are your clothing choices communicating to all of us?

Costuming is not just about finding some clothes for an actor; it is about helping to tell a story, providing insight for the audience about the character and the production.

Where are they geographical location? Indoors or Out? Specific room in the house? When are they exact time period? time of the year? time of the day? What is the character s gender? character s age? socio-economic status? rank or social status? Occupation? (i.e. The basic Functions of a Costume) What is/are the character s Function? Relationships? Evolution or Progression? What is the character s Psychology/Personality? Optimistic/Pessimistic Honest/Dishonest Gregarious/Shy Responsible/Irresponsible Compassionate/Selfish Lazy/Driven Courageous/Spineless Affectionate/Distant Cultured/Uncouth Etc.,etc.,etc.

(i.e. The basic Functions of a Costume) Where are they geographical location? Indoors or Out? Specific room in the house?

(i.e. The basic Functions of a Costume) When are they exact time period? time of the year? time of the day?

(i.e. The basic Functions of a Costume) What is the character s gender? character s age? socio-economic status? rank or social status? Occupation?

(i.e. The basic Functions of a Costume) What is/are the character s Function? Relationships? Evolution or Progression?

(i.e. The basic Functions of a Costume) What is the character s Psychology/Personality? Optimistic/Pessimistic Honest/Dishonest Gregarious/Shy Responsible/Irresponsible Compassionate/Selfish Lazy/Driven Courageous/Spineless Affectionate/Distant Cultured/Uncouth Etc.,etc.,etc.

Where are they geographical location? Indoors or Out? Specific room in the house? When are they exact time period? time of the year? time of the day? What is the character s gender? character s age? socio-economic status? rank or social status? Occupation? (i.e. The basic Functions of a Costume) What is/are the character s Function? Relationships? Evolution or Progression? What is the character s Psychology/Personality? Optimistic/Pessimistic Honest/Dishonest Gregarious/Shy Responsible/Irresponsible Compassionate/Selfish Lazy/Driven Courageous/Spineless Affectionate/Distant Cultured/Uncouth Etc.,etc.,etc.

Personality Traits Negative Personality Traits Adventurous Affable Conscientious Cultured Dependable Discreet Fair Fearless Observant Impartial Independent Optimistic Intelligent Keen Gregarious Persistent Capable Charming Precise Confident Dutiful Encouraging Reliable Exuberant Helpful Humble Suave Imaginative Meticulous Obedient Trusting Valiant Laziness Picky Sullen Pompous Dishonesty Finicky Sarcastic Pompous Arrogant Cowardly Sneaky Rude Quarrelsome Impulsive Slovenly Self-centered Boorish Surly Unfriendly Unruly Thoughtless Stingy Bossy Vulgar Malicious Conceited Obnoxious

Playwright provides THEME Director provides the PRODUCTION CONCEPT The emotional feeling that pervades the experience of the play is the MOOD

The Theme, Concept, & Mood are supported by the costumes through: Style: manner or mode the costumes are created in to best interpret the mood & concept. Color: overall color scheme, including the individual characters and how all the characters look together. Scale/Shape: relationship to other objects; realistic or exaggerated, as well as historical period.

The Theme, Concept, & Mood are supported by the costumes through: Texture/Pattern: proportion of one texture to another or juxtaposed in groups; communicating emotion & status. Line: real or implied; historical reference and proportions. Light: reflective qualities of the fabrics or costume pieces

Factual Research History supporting character personality Ms. Cheveley An Ideal Husband

Art & Artist inspiring shape, line, color of design Evocative Research Sarah Chandler The Living

Taming of the Shrew: Commonwealth Shakespeare Company Dramaturgical Research Inspires Costume Concept All the male lovers after conversion in their found costumes backstage.

LOVE S LABOUR S LOST Costume Design 2010 Inspirational Costume Design Collage for Armando

LOVE S LABOUR S LOST Costume Design 2010 Katherine Before Curse Berowne Before Curse Katherine After Curse Berowne After Curse

Before After

Specifically how do Costume Designers manipulate the costume to support character? Fabric Choices Trims & Notions Anatomy of a Costume Construction Details Fit Hair & Makeup

Drape & Hand of Fabric Texture of Fabric Cutting Direction of pattern Using the wrong side of fabric Painting & Dyeing Other Fabric Manipulations: Distressing Texturing Movement of Trim Implied line of Trim

Company Duet

Understructures Collars Neckwear Bodices/Shirts Sleeves Vests Skirts/pants Dresses/Suits Outerwear Headwear & Hats Shoes Tights/hose/Socks/Stockings Gloves/Gauntlets Belts/Sashes Eyewear Jewelry Hair Accessories Armor/Weapons Hand Props: fans, muff, handkerchief, walking sticks/canes, bags, purses, umbrellas/parasols

Seams Pleats Tucks Gathers Zippers Buttons Padding Out Hems Lining Necklines Fabric Choice Drape Alterations Pressing

A Funny Thing Happened on the way to the Forum

Period Movement Period Modes & Manners Manipulation of costume to communicate personality

Period vs. Functionality Accuracy http://www.youtube.com/watch?v=spryygjg4sk Actor comfort (fit) Staging & Choreography Fabric Choices Period accuracy Staging Laundry & Maintenance Laundry and Maintenance Actor s True Body vs. Character or Period

Arsenic & Old Lace Research Board

Research Board Fabric Swatches for Funeral Dress

Thumbnail Funeral Dress Arsenic & Old Lace Abby Final Line Drawing Funeral Dress

The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design 4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories) 5. Include fabric swatches on each rendering 6. Have director sign-off on final designs

The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume

The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression

The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design

The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design 4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories)

The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design 4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories) 5. Include fabric swatches on each rendering

The primary purpose of a costume rendering is COMMUNICATION! 1. Renderings should illustrate best view of costume 2. Sell the design through character stance and facial expression 3. Use the rendering techniques, media, paper, & layout that will best support the mood of the production, as well as clearly illustrate the design 4. Clearly communicate construction information & details (seams, specific fabrics, trims, & accessories) 5. Include fabric swatches on each rendering 6. Have director sign-off on final designs

Rendering Techniques: Chose best media to communicate production style & mood Water color Photoshop & Corel Painter Collage Marker & Colored Pencil

Lysistrata: Athenian Men

The Costume Bible is your voice when you are not present in the shop & contains all vital information relevant to the production. It should include: Cast List Contact Info Schedules/Deadlines Budget Info Costume Plates Research Fabric Swatch Sheets Costume Paperwork Actor Measurements Fitting Notes Wardrobe Info Rehearsal Reports Additional Paperwork

Preliminary Costume Plot

Examples of paperwork for Costume Bible Detailed Character Costume Plot Millinery/Character Breakdown

Husband Rashomon Fabric Modification and use information for Costume Shop

Fabric, Dye, & Pattern information for Costume Shop

Mock-up with similar fabric, approve & fit on performers

Have you ever put on a costume and said, Now I feel like my character? That is because the costume designer did their job! They asked what would this specific character wear?