Part One: Hadestown project.

01

EDIE costume in film HOGG 2021

BRIEF

analyisis

from reading through the project brief i know i need to investigate into the 5 themes, find one I'm interested in and then explore that further finally, producing a final design of a garment, outfit or accessory

02

MINDMAP

03

INVESTIGATION OF DESIGN POSSIBILITIES - CINEMATIC

04

MINDMAP

I've created a few different Mind maps to help me. i did this digitally as well as physically, i found digitally was easier because its easier to edit.

INVESTIGATION OF DESIGN POSSIBILITIES - CINEMATIC MOODBOARD

Mood boards are a visual form of exploration into a theme, i decided to make a Mood board of costumes in on screen musicals because when exploring my theme of cinematic i was very interested in costumes designed for performance in film.

04

05

WORK EXPERIENCE

WORK EXPERIENCE

Presentations are communication tools that can be used as demonstrations, lectures, speeches, reports, and more.

Presentations are communication tools that can be used as demonstrations, lectures, speeches, reports, and more.

05

06

To consider

how will i research this

Primary or secondary

research deadlines (20th april) 1st March

what will the aesthetics of my final outcome be

design work, mood board , colour-ways, research into colour

primary and secondary

what decorative techniques are most effective

textile samples

primary

internet based research and construction methods

secondary

how do i ensure my project is ethical

internet based research

secondary

how do i ensure my designs fit the characters

script analysis into cultural, environmental, financial and phycological factors.

whats the budget of my project

research into productions

primary

primary

1st March 17th march

22nd March

1st March

DIRECTING MY RESEARCH

how long does the product/ products need to last

22nd March

TIMELINE

07

Task 3: finalising ideas -create lineups -create flats -create character profiles ect

Task 2: research -investigating productions -colour in film -speciality costumes -period costumes 21st Jan

8th March

Task Task2:2:

continue research developing ideas: - choose script, analyise characters use textiles and design sample.

5th April

20th april

deadline for sketchbook

TIMELINE

start of project work on Task one: -mindmaps -mood-board -timeplan -project proposal

15th Feb

VISUAL COMMUNICATION

COLOUR IN FILM

Colours are a massive part of film making and my theme cinematic. Directors use colour to elicit psychological reactions , draw Elicit psychological reaction ,Draw focus to significant details ,Set the tone of the movie, Represent character traits or Show changes or arcs in the story. The most common way of doing this is through clothing. Often directors also give certain characters specific colours that represent them or a theme this way the audience recognises any colours that stand out or when the characters colour changes in saturation.One example of there this is used is in the film blue is the warmest colour, as the protagonist is at her happiest and most in love with a character with blue hair she is surrounded with deeply saturated bright blues but as the film progressed then blues become less saturated until in the final scene she wears a deep dark blue dress surrounded by grey tones.From this it shows that colour is a powerful tool and by considering hue, saturation and brightness Of colour in film its easy to communicate certain emotions/ reactions.

04

Wes Anderson is a film director who creates cartoonish worlds from fantastic mr fox to the grand Budapest hotel. The reason his technique of using colour is so iconic is because he uses it in a untraditional way. Often bright saturated colours trigger a sense of happiness or joy whilst desaturated dark colours evoke a more serious tone. However, in Anderson’s work he uses these bright cartoonish worlds with bright saturated colours to cover serious and often upsetting topics. In Wes Anderson’s Grand Budapest hotel the tones shifts throughout from both darker colours in some scenes to to a bright saturated colours in other scenes, this is what makes his work unique and a visual effective.

From researching uses of hue saturation and brightness in film as well as looking into Ephesus Anderson’s work I know now the importance of colour in films and how I can use clothing to indicate deeper psychological themes.

09

MOODBOARD

VISUAL COMMUNICATION

10

MATERIALS AND MOVEMEENT

why fabrics contribute to visually communicating with the audience: It is important to consider when designing Costumes what fabrics are suitable, especially when designing for performance because you must consider: practicality-what allows freedom of movement for the performer, aesthetics- designing for the show & characters, as well considering how the fabric will interact with the performance, for example, reams of tulle and flowing georgette would create a dramatic effect whereas a tight/ smaller silhouette might indicate a more intimate emotion with the audience fabrics commonly used in dance include: Georgette, a sheer lightweight crepe fabric originally made from silk.

-Lycra, aka Spandex /elastane is known for its easter elasticity commonly used in Sportswear -Mesh, or tulle is a lightweight stiff netting commonly used for ballet tutus -Stretch satin, a Slinky, lightweight softly draping fabric a mix of silk and elastane What all these fabrics have in common is that they allow movement and are all lightweight. I’ve found through researching online on dance costumes they are commonly a combination of tight stretch fabric as the base of the costume additionally a flowing lightweight fabric such as mesh or georgette that provides plenty of drape to accentuate the dancer's movements and add drama.

To the right is a dance sequence with Cyd Charisse and gene Kelly, whom were well known for there 'dream sequence' dances on screen, i've included this in my research in materials and movement because of how effectively the costumes create a dream like sense of reality, the performers use Charisse's long train in the routine and production even times a fan to blow the train in time with the climax of the song, its a great example of using fabric to emphasise movement.

INTERVIEW

11

‘Costume is often understood as a visual medium - it is, after all, one of the first things that we see on stage during a performance. However, the other sensory aspects of costume are sometimes just as important - how a costume sounds, how much it weighs, matters hugely to the actor - and often to the audience too... They not only indicate the world of a character, they must also be worn by an actor who, as well as being concerned by how they look, cares deeply about how they feel - the weight and texture, even smell, of objects all feature in how an actor occupies - and is occupied by - costume on stage.

This is not just the pragmatic question of whether actors can faint, die, or crawl in their clothes, it's also a question of whether they feel right in them. The physical experience of costume matters deeply for the actor's characterisation - even before they get onto the stage.’ - national theatre costume department

I decided to ask a dancer what fabrics/ features they look for in costumes to help me understand how to make performers comfortable and able to do their work effiently.

INTERVIEW

12

Questions

From asking Lucy questions I now know she prioritises safety as well as the aesthetics of Costume. she stated that the requirement of a costume that she will buy depends on the performance which she needs to do for example In ballroom she might have to consider length of her dress where As In Other dances that include lots of lifts she must consider the weight of her costume so she is able to perform efficiently.

This interview was helpful because now I know In order to make a Actor, singer, dancer et cetera comfortable and able to do the job well, I must understand what they are doing in their performance.I would also like to now investigate Into the ways that different dance companies design their costumes for example I’d like to look into Cirque du Soleil.Reason I want to investigate Cirque du soleil is because Of this new knowledge that I’ve gained from Lucy’s interview I know that the company must have to consider the movements that the performers do and in a show like cirque du soleil which require complete freedom of movement.

13

From reading ‘designing costume for stage and screen’ by Deirdre Clancy I've learned about different areas of costume design as well as how to do it effectively. I would like to include some of her findings that are detailed in her book within my research for my project. In a chapter named communicating with the audience Clancy details what to dissect in a character and what key four things need to be considered (writing in boxes is from her book) :

ANALYISING CHARECTER

Information ‘A good costume tells the audience about the status, relative wealth,age,profession,or trade, attractiveness,temper and underlying psychic state of each character in relation to the others.’ factors like this can impact other things if or example, how they spend their day, or I’d a character would spend money on clothes even their age can indicate their heyday and what they might think is fashionable.

Sexual attraction ‘A costume can help project the relative sexiness (or otherwise) of characters. It is absolutely crucial to get this bit right, given that relationships are main subject of many plays. The audience must really understand why most of the characters want to go to bed with ‘A’ but wish to avoid having anything to do with poor ‘B’’ -

-knowing things like this help tell the audience the story without actually telling them, what two characters are having an affair or attracted to each other et cetera.

Audibility ‘Although this is less of an issue in film, a real psychological problem exists on the stage when actors are clutters with complicated or overly fussy period costume. It is said that this can make it more difficult to hear or at least concentrate on the actors line’ .

-it’s important to make sure the performer can perform, and that the character is wearing the clothes not the other way around otherwise it will take the attention away from the performance. .

Aesthetics ‘Every production needs an underlying concept -a stylistic scheme or intellectual world view that defines the overall ‘look’ of the play’ if all the costumes go well together and ‘make sense’ together they are more likely to blend in and not be noticed by the audience at all which most the time is the goal of costume design.

LOOKING INTO THE WORK OF OTHERS

from reading D.Clancy’s book ‘designing a costume for stage and screen’ I not only found it incredibly helpful to know the importance of information, sexual attraction , audibility and aesthetics but I also found out about the ‘four stands of costume design’: Contemporary clothes, Period costume, Post-modern costume and Showbiz glitz so wanted to show this information in my research and highlight the parts of her writing I find useful.

where is contemporary costume most often found: 'Contemporary stage and tv drama generally aim for much broader viewer identification by buying middle-market clothing directly off the peg… this is especially true of tv soaps, dramas with an element of a documentary about them or any production where the actors are intended to look like ordinary people in the everyday world.'

CONTEMPORY CLOTHING

Contemporary clothing is one of the most common forms in costume, this is most likely because of how accessible contemporary costuming is, D Clancy notes: It is undoubtedly easier to keep within a small budget if you use clothes from the last ten years or so when done right it can be incredibly effective for example Deirdre Clancy mentions in her book: A strong colour scheme is very important when using modern clothes if the overall effect is not to look untidy. A good example- Peter Brooke's Theatre of Cruelty’ the director was so frustrated with the incoherent costume scheme that eventually the cast was told to turn up for the final rehearsal in their own clothes as long is it was red! and it was said to work very well.

Mozarts Cosi fan tutte 2011

Period costuming is more 'respected' in the costuming community I think the contemporary costume is massively undervalued and discredited for how good it can be at use in production. Its also quite difficult for costumers to accurately represent because it can be incredibly difficult to make characters look like everyday people because you not only have to be aware of trends in contemporary clothes but also what people who wouldn't know what the trends are/ aren't in a position to buy new clothing would realistically wear, all keeping in mind that it should visually engage the audience and have an overall theme.

14

LOOKING INTO THE WORK OF OTHERS Deidre says in her book “Many contemporary directors and designers feel that period costumes are by definition fussy and therefore are both distracting and irrelevant to the strip down non-referential of static of post modern theatre old-fashioned in more ways than one if this is the case with you and your director a fruitful avenue to explore might be the new period non-specific or Timeless style of costume” She states that “the appearance of the costume is dictated by an Intellectual concept” And then going on to talk about American minimalism “a more recent infusion in this area [post modern costumes] American minimalism has led to the current taste depersonalised or deliberately and inexpressive use of costume” Deirdre Clancy goes on to explain the way that you are taught as a costume designer, “everything put on stage without exception becomes a focus for the audience setting up resonances Just by virtue of being on stage” Some believe that the best way of doing this, as she puts in her book “de-individualise Costumes” So that the costumes become almost “invisible” And something that the audience’s attention wouldn’t be brought to.

POSTMODERN COSTUMES

below : this is also described as post modern fashion, by iris van herpen

Google definition

below:Robert Morris,Untitled 1965, reconstructed 1971, Tate ©ARS, NY and DACS, London 2021

15

LOOKING INTO THE WORK OF OTHERS

PERIOD CLOTHES

Another strand of costume design includes period clothing. This is a wellrespected strand of costume design within the costuming community. D. Clancy put in her book “it ranges from hyper historical museum ready approach of some film and tv costume dramas to films or plays exploring historical subjects rather looser Operatic tradition.” She uses her work on Madness of King George III as an example, as it shows how she designed for a period play. She did say that “There are many projects Where it would seem that nothing but the costumes of the era will do” This shows just how impactful costumes can be to the perception of an audience of characters and themes. The best way to clearly demonstrate to an audience the era that the play/film is set in Is to reflect the characters class as well as personality.

16 Dierdre Clancys costume design for the character Fitzroy in The Madness of King George III at The Old Globe Theatre, San Diego.

Additionally, the easiest way to show what era that the subject matter is set is to use well-known shapes and Silhouettes of the time. D.Clancy explains “An approach I find often works is to take the shape of the appropriate period style and strip of all decoration” this way you can focus on ‘shape and simplification’. A different approach to period costuming is to either change the period (changing the period of clothing but not the period of the story) or alternatively have what’s called a double period costume Deirdre Clancy explains that in this, “the works are written in one period, using the language, social conventions and musical forms of that era, but are set in an earlier, usually far more primitive time”

LOOKING INTO THE WORK OF OTHERS

17

SHOWBIZ GLITZ

The final strand of costume design is showbiz glitz Deirdre calls it “good old fashion show business glamour. This is perhaps the aspects of costume which is the easiest for the audience to enjoy it is certainly the most entertaining. These costumes are supposed to create a superb spectacle and have the broadest popular appeal. These costumes are meant to stand out and take a massive presence on the stage Deidre states that “it’s a rare designer who is equally effective at both ends of the costume spectrum” for example it’s quite difficult to be able to Have the skills that allow you to effectively design contemporary costumes that are realistic for one play whereas for a big musical number design extravagant sequinned garments. These showbiz costumes range from 1930s showgirls to designing something more resembling Glam rock.

LOOKING INTO THE WORK OF OTHERS

18

Westside story is a musical inspired by the story of Romeo and Juliet, set in the 1950s (released in 1961) The musical explores a rivalry of two gangs, the sharks and the jets within the upper east-west side of New York City: a multicultural working-class neighbourhood. The rivalry stems from racial profiling and insults that cause the sharks, immigrants from Puerto Rico, to be discriminated by society, the police and have unequal opportunities whilst the jets are consumed by the racial stereotypes they’ve been manipulated into believing that the sharks want to steal their lives, their ‘turf’ the directing, music, set and costume design is all a representation of this.

WEST SIDE STORY

The costumes fit all the criteria that I’ve previously researched: *colour, theme and character. They are designed by Irene Sharff who also worked on Cleopatra, funny girl, hello dolly, the king and I, guys and dolls and many more.

Sketches I did on procreate whilst watching west side story including a continuous line drawing.

LOOKING INTO THE WORK OF OTHERS

WEST SIDE STORY

Irene Sharaff is recognized as one of the most celebrated costume designers for Broadway and Hollywood. After training in fashion illustration, she assisted noted designer and costume historian Aline Bernstein. Like her mentor, she was able to combine her knowledge of historical detail into the requirements of each individual project. Praised for her manipulation of color and historic detail, Sharaff costumed over 50 Broadway plays and musicals and received 8 Tony™ nominations, winning for The King and I, as well as dance works for Jerome Robbins and George Balanchine. Equally at home in Hollywood, she earned 15 Oscar™ nominations, winning for West Side Story. She received the Theatre Development Fund’s Lifetime Achievement Award in 1993. That service organization has also established an annual Irene Sharaff Awards program which honors Lifetime Achievement, a Young Master, and a Master Artisan (costume shop, millinery, shoemaker, etc.) for their contributions to the field.

-artsandculture google

Her work in west side story is so iconic because of her *clear colour scheme she creates between the two rivalry gangs: the jets cool muted tones of blues, yellows and oranges whilst the sharks wear vibrant reds, pinks and purples. This is a very intentional move from sharaff this is evident in scenes with Tony and Maria. In the love song that Maria and Tony sing when he sneaks to see her in the night, Maria wears a beautiful flowing lavender night dress whilst tony is dressed in a stiff yellow jacket. Yellow and purples are opposites on the colour wheel and contrast so much that they go together perfectly, just like Maria and tony. Later in a scene where they act out getting married Maria wears the jets signature yellows colour showing her affection for tony.I want to bring this effective technique of a clear colour scheme into my designs.

19

LOOKING INTO THE WORK OF OTHERS

20

Chicago is the longest-running American musical in Broadway history. Chicago (2002) was critically acclaimed and won 6 academy awards including best picture. It is an adaptation of Maurine Dallas Watkins 1926 play which is based on the true story of Beulah Annan’s murder trial fictionalised as Roxie hart. The story is set in the 1920s jazz age And explores themes of celebrity scandal and corruption. The film takes place in two worlds, the real world and the world of Roxie's imagination. Robert Ebert, an American film critic explains “ instead of interrupting the drama with songs,[they] stage the songs more or less within Roxie's imagination, where everything is a little more supercharged than life”

CHICAGO

you can see here the difference between the two worlds with the use of costumes and lighting.

The costumes are designed by Colleen Atwood who also designed for Memoirs of a Geisha" Tim Burton's Alice in Wonderland, Into the Woods and many more. I admire her work on Chicago because although not historically accurate She explains about her work on Chicago “after talking with rob [Marshall, the director], I understood that the main goal was to separate the world of imagination from the world in which the characters lived. My initial direction and inspiration came from watching each dance number play out in rehearsal so that I could see what kind of movement went with each song” this links back to the research that I did on materials and movement C.Atwood needed to know how to make each costume practical for the rigorous dance numbers take after take. Atwood also stated that she used colour to separate these two worlds, in real life, Roxie wears dull skin-tone shades whilst in her fantasies, she wears bolder colours and styles, this use of colour clearly separates the two worlds and tells the story of Roxie's delusion and hunger for fame and admiration effectively and beautifully.

LOOKING INTO THE WORK OF OTHERS Chicago (2002) - Renée Zellweger as Roxie Hart in her real life wearing dull skintoned clothing.

Velma Kelly From Chicago | Catherine zeta-jones,

Below, The inspiration for Velma Kelly in "Chicago", Belva Gaertner.

CHICAGO

Roxie Hart in her fantasy wearing a showgirl costume made of tulle and satin, completely embellished with silver sequins, diamanté and beaded fringes. The outfit was completed by silver pumps and tulle gloves

From watching and analysing the costumes in (Chicago 2002) I understand how historical accuracy although important is not always necessary to tell the story and can also get in the way of performance or themes for example if Atwood based all her costumes on accuracy a modern audience may not get the same ‘shock factor’ that was originally intended by the showgirls costuming in 1920.

Therefore I will take this into consideration when designing my costumes for a film adaptation of a play.

21

LOOKING INTO THE WORK OF OTHERS

CHOOSING A SHOW

22

MY CHOSEN SHOW

17

I’ve decided through my research into designing for performance that I want to create a range of designs suitable for an on-screen musical. I would love to adapt an on-stage musical to film just like in the examples I looked into, so I made a mind map of modern musicals, a mix of ones in process of being adapted to film, ones that have not yet left the stage etc. From highlighting points in my mind map, the musical ‘hades town’ was the most compatible with what I wanted to achieve and had the most potential to explore modern parallels within the Greek mythology musical and modern life. Hadestown adapts the myth of Orpheus and Eurydice, as well as Hades and Persephone's relationship however, in a Great Depression-era, inspired postapocalyptic setting. The tale has been told many times before and passed down through the years, I chose Hadestown because it has not yet been adapted to film and I feel like there is a lot of potential in using this story and create costumes that represent these characters in modern-day. For example, a powerful god-like hades might parralel to a smart businessman in modern life- seen here in a fanart image of the characters in the show Orpheus leading Eurydice from the Underworld, Jean Baptiste Camille Corot, 1861, The Museum of Fine Arts Houston,

WHY HADESTOWN?

via Google Arts and Culture (left); Orpheus and Eurydice, Carl Goos, 1826, National Gallery of Denmark (right)

https://shrylia.tumblr.com/post/184164402123/way-down-under-the-ground

Hades and Persephone

Orpheus and Eurydice