Aspire - Indiana University South Bend

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Dressed for the Stage By Aimee Cole // Photography Dean Cates 26
The costumes that sweep across the stage in every theatre performance begin as little more than wisps of inspiration. The final product blooms from the costume designer’s vision, a whirlwind of sketches and fabric samples. At the IU <strong>South</strong> <strong>Bend</strong> theatre costume shop Visiting Lecturer in Costume Design Sallie Hanson, Visiting Lecturer in Theatre Aimee Cole, and their team of theatre majors work to create costumes for four productions each year. The budget of the show, time available, and skills needed to create collection, rented, or purchased, then are fit to the actors, and alterations are made. With a large cast and only five weeks to prepare, most of the women’s bustle period dresses were rented, and the chorus costumes were purchased. The costume shop constructed three bustled dresses, the women’s hats, the men’s sailor shirts, and one military uniform. The remaining costumes were pulled from existing stock. Creating costumes from scratch is a lengthier process. First, a pattern is created using the detailed measurements of the actor. Patterns can be created by Costume shop staff duties vary by show and skill level. The assignments range from stitching the costumes to assisting the pattern maker with fabric preparation and pattern. Those ready for the challenge are assigned as pattern makers or cutter/drapers. Costume shop employees also work in millinery, crafts, painting, and dyeing. In addition to the employed staff, each semester students are required to complete 20 hours of production work as part of their course work. The most intense part of the process occurs just days before opening night at dress rehearsals. As the costumes a costume, determines where it comes from. Costumes are pulled from existing stock, rented, purchased, or built. The costume designer’s challenge is combining costumes from different sources to create a cohesive look for the production. The 2012 spring musical, H.M.S. Pinafore, is a fine example of using multiple costume sources. More than 50 performers were cast in the production. The process begins when the actors are cast and their measurements are taken. Costumes are pulled from our modifying a commercial pattern, draping fabric onto a dress form that most closely matches the size of the actor, or by flat patterning. The costume technician must work closely with the designer through every step of this process in order to maintain the designer’s vision. Some costumes begin with a mock-up constructed of inexpensive muslin. This allows the pattern maker to achieve the desired fit of the garment and make changes before the more expensive final fabric is cut. The designer determines the finishing touches for the garments — button selection, trims and accessories. and set come together, the actors rehearse their costume changes and adjustments are made. The costume staff is involved with the production through the final performance and strike. Costumes are pressed and inventoried daily, and repairs and laundry are completed as needed. After the final performance, costumes are cleaned and returned to stock or shipped back to the rental house. Then, a few days of downtime arrive — just enough to tidy the costume shop, sweep the floors, and prepare for the next show.
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