COSTUME DESIGN

Costume design is the envisioning of clothing and the overall appearance of a character or
performer.

Costume may refer to the style of dress particular to a nation, a class, or a period.

In many cases, it may contribute to the fullness of the artistic, visual world which is unique to
a particular theatrical or cinematic production.

The most basic designs are produced to denote status, provide protection or modesty, or
provide visual interest to a character.

Costumes may be for a theater, cinema, or musical 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, fantastical, dance, and
modern.

HISTORY OF COSTUME DESIGN

Village festivals and processions in honor of Dionysus (Dionysia) amongst the ancient Greeks,
are believed to be the origin of theatre, and therefore theatre costume.

The Dionysia was a large festival in ancient Athens in honor of the god Dionysus, the central
events of which were the theatrical performances of dramatic tragedies and, from 487 BC,
comedies. It was the second-most important festival after the Panathenaia. The Panathenaia was
an Athenian festival celebrated every June in honour of the goddess Athena.

The sculpture and vase paintings provide the clearest evidence of this costume.

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.

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.
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.

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.

"Ordinarily, fashionable garments were used in both comedy and tragedy until 1727,
when Adrienne Lecouvreur adopted the much more elaborate and formal court dress for
tragedy.
Her practice soon became standard for all tragic heroines"

Major actors began to compete with one another as to who would have the most lavish stage
dress.
Adrienne Lecouvreur (5 April 1692 20 March 1730) was a French actress, considered by
many as the greatest of her time. Born in Damery, she first appeared professionally on the stage
in Lille. After her Paris debut at the Comedie-Francaise in 1717, she was immensely popular
with the public.

This practice continued until around the 1750s when costumes became relevant to the
character again.

Art began to copy life and realistic characteristics were favored especially during the 19th
century.

For example, George the second, Duke of Saxe-Meiningen took personal interest in the theatre
andbegan managing troupes. He advocated for authenticity and accuracy of the script and
time period, therefore he refused to let actors tamper with their own costumes. He also made
sure the materials were authentic and specific, using real chain mail, armor, swords, etc. No
cheap substitutes would be allowed.
In August 1823, in an issue of The Album, James Planch published an article saying that more
attention should be paid to the time period of Shakespeare's plays, especially when it comes to
costumes.

James Robinson Planch (27 February 1796 30 May 1880) was a British dramatist,
antiquary and officer of arms. Over a period of approximately 60 years he wrote, adapted, or
collaborated on 176 plays in a wide range of genres including extravaganza, farce, comedy,
burletta, melodrama and opera. Planch was responsible for introducing historically accurate
costume into nineteenth century British theatre, and subsequently became an acknowledged
expert on historical costume, publishing a number of works on the topic.

In the same year, a casual conversation led to one of Planch's more lasting effects on British
theatre.

He observed to Charles Kemble, the manager of Covent Garden, that "while a thousand pounds
were frequently lavished upon a Christmas pantomime or an Easter spectacle, the plays
of Shakespeare were put upon the stage with makeshift scenery, and, at the best, a new dress
or two for the principal characters.

Kemble "saw the possible advantage of correct appliances catching the taste of the town" and
agreed to give Planch control of the costuming for the upcoming production of King John, if he
would carry out the research, design the costumes and superintend the production. Planch had
little experience in this area and sought the help of antiquaries such as Francis Douce and Sir
Samuel Meyrick. The research involved sparked Planch's latent antiquarian interests; these
came to occupy an increasing amount of his time later in life.

Despite the actors' reservations, King John was a success and led to a number of similarly-
costumed Shakespeare productions by Kemble and Planch (Henry IV, Part I, As You Like It,
Othello, Cymbeline, Julius Caesar). The designs and renderings of King John, Henry IV, As
You Like It, Othello, Hamlet and Merchant of Venice were published, though there is no
evidence that Hamlet and Merchant of Venice were ever produced with Planchs historically
accurate costume designs. Planch also wrote a number of plays or adaptations which were
staged with historically accurate costumes (Cortez, The Woman Never Vext, The
Merchant's Wedding, Charles XII, The Partisans, The Brigand Chief, and Hofer). After
1830, although he still used period costume, he no longer claimed historical accuracy for his
work in plays. His work in King John had brought about a "revolution in nineteenth-century
stage practice which lasted for almost a century.

In 1923 the first of a series of innovative modern dress productions of Shakespeare plays,
Cymbeline, directed by H. K. Ayliff, opened at Barry Jackson's Birmingham Repertory Theatre
in England.

Costumes in Chinese theatre are very important, especially in Beijing Opera.

They are usually heavily patterned and loud in color.

The standard items consist of at least 300 pieces and describe the actors character type, age and
social status through ornament, design, color and accessories.

"Color is always used symbolically:

red for loyalty and high position,

yellow for royalty, and

dark crimson for barbarians or military advisors."

Symbolic significance is also found in the designs used for emblems. For example, the
tiger stands for power and masculine strength.

A majority of the clothing, regardless of rank, is made out of rich and luxurious
materials. Makeup is also used symbolically and very important to the overall look.

In Japanese Noh drama masks are always used and the prominent aspect of the costume.

They are made of wood and usually used for generations.

There are five basic types; male, female, aged, deities and monsters, all with many variations.

The masks are changed often throughout the play.

In Kabuki, another form of Japanese theatre, actors do not wear masks but rely heavily on
makeup for the overall look.

Features are exaggerated or removed and for some of the athletic roles musculature is
outlined in a specific pattern.

Traditional costumes are used for each role, based upon historical garments that are
altered for dramatic effect. "Some costumes weigh as much as fifty pounds, and
stage attendants assist the actors in keeping them properly arranged while on stage"