Theoretical Design
Faustus: That Damned Woman - Chris Bush
Through the progression of this piece, I interpreted Faustus’ travels through time in tandem with Thomas Cole’s art series The Course of Empire (1833-1836). Moving through time, the costumes will progress from historical connections and the idea of tight-bound hysteria; through a darker Wiccan style influenced by flame, power, and guilt; until it finally lands on an earth-bound, grounded, harmony.
These ideas will translate visually through constriction in silhouette and monotonous color. Then, curling, burning effects within the texture of the fabric will emphasize the dark phase in the middle. Finally, a light, airiness in the weight of fabric, along with embroidery depicting elements of nature will represent the regrowth of Faustus back to humanity in harmony with nature at the end.
Zoot Suit - Luis Valdez
•Using inspiration from Frank Romero’s artistic style, the costumes in Zoot Suit will feature bold, graphic patterns with bright colors, evoking the emotion from Chicano mural art. This style reflects a celebratory, yet political statement rooted deeply in cultural influences. The ideal masculinity that Henry strives to replicate is seen in El Pachuco, wearing the most elaborate Zoot suit and living the essence of a shiny, sexy lowrider. The cultural differences will be represented mostly through pattern and color, but also heavily in hairstyle and makeup as well.
The Dream of Kitamura - Philip Kan Gotanda
A feeling of unease sits in the reader or viewer’s stomach throughout The Dream of Kitamura through the presence of Kitamura and the karma coming for Rosanjin. To translate this unsettling emotion in the characters, I will be using Japanese and Japanese American conceptual illustrations from various artists combined with Ukiyo-e art featuring disturbing imagery to inspire the lines and forms in the costumes.
Demons and monsters from Japanese folktales will be represented through patterns embroidered on the fabrics of the costumes, similar to the imagery typically found on Noh theatre costumes.
Les Femmes Savantes - Molière
Emphasizing the humor in Moliere’s The Learned Ladies is important through silhouette of the costumes. Replicating the rotund shapes of Biedermeier furniture and clothing, the characters will be just as visually stimulating and uplifting as their movements and clever verse. Keeping within the bulbous and over-the-top theme of Biedermeier fashion, each character will resemble ornately decorated perfume bottles from head to foot.
The combination of both furniture and perfume bottle will create a texture that focuses on simple shapes and lines with attention to the applique placed on top of it. That texture is only added to with the excessive prints and patterns reflected in the wallpaper, drapery, and upholstery of Biedermeier interiors.
On Striver's Row - Abram Hill
Referencing the artwork of Archibald Motley, this design will reflect the playful and chaotic energy of the Harlem Renaissance he captures in his paintings. The wild underground parties of the underground dance communities are represented in the characters Beulah and Joe which manage to slip into the upper classes and become the life of the party.
The class divide will be shown through structured line vs organic movement and pattern. There is also an attention to the actors’ abilities to move freely in their clothing. Characters like Ed and Dolly are physically held back from dancing in large movements due to their costumes while Joe, Beulah, and even Cobina don’t let their clothing hold them back and let the patterns and fabric fly freely.
Top Girls - Caryl Churchill
Top Girls has such strong themes reflecting women and their roles in society. The themes include feminism and independent success in contrast with motherhood and responsibility. Either choice has individual importance within the story as they would in reality. Using inspiration from feminist posters of the Red Woman’s Workshop made popular in the UK from 1974-1990, characters like Marlene will wear clothing with a more graphic impact. The tailored lines of a businesswoman’s suit with the famous shoulder pads of the 80s will make the shape more rigid, resembling men’s business clothing. In contrast, characters like Joyce that represent maternity and survival in her role as a woman will wear softer clothing such as sweaters and turtlenecks. Visually setting these women apart will help show different values of the women in this show and how they see their roles within society.
Real Women Have Curves - Josefina López
This project provided an opportunity to research more recent fashion history of the 1990s as well as Mexican culture study. There was also a focus on drawing a variety of body types.
