For anyone stepping into a theatre, the transformation from light to dark, from reality to fantasy is like stepping into another world – a world created purely to indulge the senses. But how many of us ever fully appreciate the components that fuse together an environment of intrigue and entertainment?
One such facet of a live performance is the all-important costumes. But is costume design fashion, art, craft or merely playing dress-ups?
Christchurch Production Manager Rob Peters has a strong opinion on the importance of costume design and construction and has extensive expertise in theatre production to back it up. “Costume construction is craft not art. Art is static – art is something someone does and puts in an art gallery - costumes are a living being and are one part of a whole work.”
Echoing his sentiments is Alistair McDougall, a designer and wardrobe supervisor who has designed and constructed for opera, musical theatre, ballet, dramatic theatre, film and even corporate mascots. “Costuming is of a period whether old or new. The scale is very different. A costume is part of an overall design look – fashion is stand-alone and doesn’t have to look correct in the context of a stage. Fashion is an individual’s choice and what may be fashionable to you may be completely different to me. Costume design is a production’s choice. In a live performance you can’t hide. You don’t get a second take.”
But lets face it, whether fashion, art or craft, the result is still a pretty frock, an avant-garde outfit or a penguin suit – how different to the fashion industry can the theatre design process really be?
“Designing for fashion vs. theatre is technically very different”, said Alistair. “Most costume designers provide a feel or concept, whereas in fashion a full specification drawing would be supplied. Fashion has a rigid process, using prototypes. Costume making is much closer to couture – every piece is made as a one-off. There are also certain aspects which you are aware of when producing for the stage which don’t apply in fashion – you will never see white because under lighting it flares. There are theatre rules which make you very aware of everything else around you.”
Perhaps one strong similarity in the costumes as couture paradigm is the requirement of a design to work specifically for one person, or character. In most instances, no two costumes on a stage are identical and are tailored to each performer to cater to their specific needs. As far as the actors are concerned, the costume component of any show is therefore probably considered of 90% importance to the whole production. The costumes are part of their character so it is a very important thing from an actor’s point of view. “If an actor feels comfortable in a costume, make up and hair, then it will positively affect their performance. If they have problems with their costume you can see it on stage – the way they stand, the way they walk, the way they act. It is essential that they feel comfortable – a bad costume can really affect their performance,” said Rob.
So if costume design is the theatre’s couture, how does a great design concept become a reality?
This is where the combined expertise of a production manager and wardrobe supervisor swings into action. “An indication of craft is being able to interpret the look and the requirements of the designer and then producing it in a cost effective way and actually achieving it,” said Rob. “The goal is to achieve 100% of what they require. We always have to compromise on something but we are still able to do what we have to do to a high level. You can’t compromise on the quality. There has to be an authenticity of style. In theatre a huge part of a designer’s craft is you have to understand the theatrical process. The skill set has to take into account the lighting, set, singers. Once you are in the theatre you have no time to rectify things and you shouldn’t have to. Alistair is a massive interpreter – his job is translating a vision into reality.”
What perhaps reinforces the differences between costume and fashion are the materials used – or perhaps not? Call me old fashioned but with the odd exception I tend to prefer clothing made of fabric, wool, leather or for shock factor perhaps rubber? But high-density foam, glue, vinyl, rivets, metal and floor lino are all relatively commonplace in the sewing rooms of a wardrobe department. “Raw leather can be achieved by painting and nuggeting canvas. A lot of fabrics are hand dyed and sprayed to create the exact colours required – they are often just not available.” For a recent opera project, time restraints, practicality of movement and expense meant that making suits of armour for an entire chorus out of metal was not possible. Alistair’s ability to think outside the box saw an intricate weaving of foam, spray painting and even curtain tape transformed into authentic looking armory for the cast.
It would seem then that creativity, collaboration and dedication are key factors in producing costumes for the theatre. “Fashion and fine art (i.e. painting or sculpting) are just a singular person producing something without a context – without having to adhere to a look or the restraints of what it is going to be used for,” said Rob. “That’s what sets theatre apart from fashion and fine art in my opinion - that theatre crafts are a team effort. If fashion is a close-up then costume making is a part of the whole landscape painting.”
So perhaps costume design is, after all, its own art form but one which can only be appreciated as a part within a larger work – the work of the stage. With both men collaborating on a new project – Southern Opera’s next production ‘The Magic Flute’, audiences will have the opportunity to make up their own minds about the fashion vs. art debate. Or perhaps in the very least, the next time you go to the theatre, take a moment to contemplate the myriad of costumes on display, all created to enhance your enjoyment of that wonderful world of theatre.