Costume Crafts and Millinery  

 

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Wing Articulation

Wing Articulation

These fitting photos show the range of motion that can be achieved by the actor making subtle arm movements which pull the cables and extend the hinges.

Internal Structure

Internal Structure

The blue line represents the cable that passes through the lower pipe. When pulled, the cable lifts the upper pipe, extending the hinge.

Hinge Structure

Hinge Structure

I used a bolt and sliding door hardware for the hinge structure, which provided a sturdy and reliable channel for the cable.

Bodice apparatus

Bodice apparatus

The "bones" of the wings are connected to two plates of plastic which sandwich around a sturdy denim bodice. The bodice has a large button hole to allow harness hardware to pass through.

Feather Fabrication

Feather Fabrication

I created the "feathers" by folding and sewing a synthetic canvas fabric that was rigid yet lightweight, easy to sew, and much more flexible and affordable than natural feathers.

Angel's Entrance

Angel's Entrance

Angels in America / Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Wing Movement Onstage

Wing Movement Onstage

Angels in America / Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Articulated Angel Wings

Design and Construction

I worked with the costume designer for Adelphi University's production of Angels in America: Millenium Approaches to design and construct  a pair of angel wings for the play's final scene.  

 

The main structure of each wing consists of two hinged PVC pipes, which are attached to a bodice that distributes their weight across the actor's torso, and also supports her body through her blocking. Movement is controlled by cables looped around the actor's hands which, when pulled slightly, extend the hinge. 

 

I also draped and constructed the Angel's dress to accomodate the structure of the wings and harness hardware. 

Headpiece Construction

Headpiece Construction

Metropolitan Opera - COSI FAN TUTTI / Costume Design by Laura Hopkins / Supervisor Janet Linville

Wire Frame

Wire Frame

Frame Wrapped in Maline

Frame Wrapped in Maline

Frame Covered with Nylon Net

Frame Covered with Nylon Net

Attaching to Hat Base

Attaching to Hat Base

Fosshape support to wire frame, connected to felt cap base with stretched brocade covering

Sequined Motifs

Sequined Motifs

Motifs were cut from fabric yardage and backed to satin-covered Fosshape, then sewn to both front and back of wire frame.

Showgirl Headpiece for Metropolitan Opera

Construction 

I constructed this headpiece for the Metropolitan Opera's new production of Cosi Fan Tutti as a Costumemaker in the Crafts and Millinery shop.  The base is a felt skull cap covered in brocade with an elastic and Velcro back closure. I trued-up a pattern from a mock-up and used it to crate a wrapped wire frame, which I then wrapped with maline as an anchor for sewing a double layer of nylon net. I created backing structures for the sequin motifs out of satin-covered Fosshape and sewed them to the front and back sides of the frame, and sewed on beaded fringe trim. 

The main challenge of this project was maintaining flatness and symmetry while creating and manipulating the wire frame. 

Shu Ta Mask

Shu Ta Mask

GOOD PERSON OF SZECHWAN at Adelphi University / Directed by Maggie Lally / Materials: Paper board mask base, plaster gauze, printed paper, paint, ModPodge

Old Prostitute Mask

Old Prostitute Mask

Good Person of Szechwan at Adelphi University / Directed by Maggie Lally / Materials: Paper board mask base, plaster gauze, fabric, paint, jewelry findings, ModPodge

Bonze Mask

Bonze Mask

Good Person of Szechwan at Adelphi University / Directed by Maggie Lally / Materials: Paper board mask base, plaster gauze, fabric, paint, ModPodge

DSCN2259.JPG

DSCN2259.JPG

Sketch for Donkey Headpiece

Sketch for Donkey Headpiece

TE DEUM FOR YOUNG COMEDIANS at Adelphi University / Directed by Kerry Prep

Wire and Raffia Donkey Headpiece

Wire and Raffia Donkey Headpiece

TE DEUM FOR YOUNG COMEDIANS at Adelphi University / Directed by Kerry Prep

Wire and Raffia Donkey Headpiece

Wire and Raffia Donkey Headpiece

TE DEUM FOR YOUNG COMEDIANS at Adelphi University / Directed by Kerry Prep

Prince Mask

Prince Mask

HOPPER at Adelphi University / Directed by Maggie Lally / Materials: plastic mask base, Wonder Flex, paint

Prince Mask

Prince Mask

HOPPER at Adelphi University / Directed by Maggie Lally / Materials: plastic mask base, Wonder Flex, paint

Process for Prince Mask

Process for Prince Mask

HOPPER at Adelphi University / Directed by Maggie Lally / Materials: plastic mask base, Wonder Flex

Werewolf Mask and Hat Ensemble

Werewolf Mask and Hat Ensemble

HOPPER at Adelphi University / Directed by Maggie Lally / Materials: paper board mask base, ModPodge, hot glue, paint, baseball cap, faux fur, millinery wire, fabric

Werewolf Mask and Hat ensemble

Werewolf Mask and Hat ensemble

HOPPER at Adelphi University / Directed by Maggie Lally / Materials: paper board mask base, ModPodge, hot glue, paint, baseball cap, faux fur, millinery wire, fabric

Masks and Headpieces
Design and Construction

I designed and fabricated a series of masks for Adelphi University's production of Brecht's Good Person of Szechwan.  In Brechtian theatre, these masks represent the characters' loss of identity to their environment. Each mask is made out of materials from a character's livelihood, such as money, jewelry, sack-cloth, and combs. Awards: KCACTF 2013 Region 2 winner in Allied Design; national finalist. 

 

I designed and fabricated a donkey headpice for Adelphi University's production of Te Deum for Young Comedians, an original production which combined imagery from Catholic, Pagan, and tribal traditions. It is constructed from milliner's wire and raffia. 

 

For Adelphi University's production of Hopper, a new musical, I created a series of masks for a Halloween party scene. They needed to allow the actors good visibility to dance safely, and be comfortable and sturdy enough to survive the run of a physically demanding poduction. 

Punching Bag Costume Fabrication

Punching Bag Costume Fabrication

HOPPER / Directed by Maggie Lally / Lighting Design by Debra Dumas / Scenic Design by John McDermott

Mock-Up fitting for Punching Bag

Mock-Up fitting for Punching Bag

Mock-Up fitting for Punching Bag

Mock-Up fitting for Punching Bag

Interior structure and finishing

Interior structure and finishing

Process for Punching Bag

Process for Punching Bag

All possible steps were completed before attaching the body to the top oval to create a cylinder. Steel boning at bottom edge helps maintain shape. Suit closes with Whopper snaps at center back. Pocket access at side seams to allow blocking. Internal elastic suspenders later added for support.

Sea Turtle headpieces

Sea Turtle headpieces

Costume Design by Christine Darch for Ballet Hawaii THE NUTCRACKER / Headpieces constructed from Spandex, upholstery foam, paint, sew-on stones, and Marabou feathers.

Turtle Rendering by Christine Darch

Turtle Rendering by Christine Darch

The Costume Designer provided me with her selected materials and rendering for the headpieces.

Sea Turtle Dancers

Sea Turtle Dancers

Costume Design by Christine Darch for Ballet Hawaii THE NUTCRAKER / Cosntructed headpieces based on designer rendering.

"Mascot" style Costumes 

Design and Construction (Hopper)

Construction (Ballet Hawaii's The Nutcracker)

Hopper at Adelphi University required a character to be dressed as a punching bag. I designed this costume and constructed it out of upholstery foam, knit fabric, webbing, elastic, and steel boning. The main goal of this costume was to be silly and humorous, but it also had to facilitate and withstand a great deal of physicality and dancing. 

I constructed a set of five sea turtle headpieces for Ballet Hawaii's production of The Nutcracker to the specifications of Costume Designer Christine Darch. Since they would be worn by children, they had to be both comfortable and sturdy. I used layers of upholstery foam and Spandex to build up the beak and scale shapes, and painted details onto the eyes and noses. Working as one of several off-site makers, it was important for me to stay true to the rendering and make the headpieces easily adjustable. 

Nymphs Hoop and Pannier Construction

Nymphs Hoop and Pannier Construction

Metropolitan Opera - RUSALKA / Costume Design by Mara Blumenfeld / Supervisor Amanda Rodd / Photo from Metropolitan Opera Instagram

Forming the Structure

Forming the Structure

Nylon rods cut and shaped to pattern using a heat gun, and encased in leather piping.

Framework

Framework

Each set was customized and proportioned according to dancers' measurements. Rods were suspended from leather/Petersham belt with nylon cords.

Draping

Draping

Multiple fabrics were organically cut and draped throughout structures and hand-sewn.

Foliage

Foliage

Artificial foliage was arranged organically and anchored to hoop structure.

Nymph Panniers

Nymph Panniers

Nymph Panniers

Nymph Panniers

Panniers and Hoops for Metropolitan Opera

Construction

This project was for the Nymph sister characters in the Metropolitan Opera's production of Rusalka. I assisted in the process with construction, alterations, and finishing of the sets of panniers and hoops. The main structure consists of heat-shaped nylon rods suspended from a belt. Net fabric was then draped onto the skeleton and arranged with artificial foliage to create unique, organic forms. A major challenge was maintaining the proportions of the rod spacing across each performer, and making sure that they hung parallel. We also worked to ensure that the hoops and panniers could move gracefully with the performers through their choreography, strategizing how to best utilize the rods as anchors for decorative materials. 

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Wire and Raffia Donkey Headpiece

TE DEUM FOR YOUNG COMEDIANS at Adelphi University / Directed by Kerry Prep