Historic Costume Simulation and its Application

This study highlights the potential of new technology as a means to provide new possibility for costumes in fragile condition to be utilised. The aim of this study is to create accurate digital duplicates of costumes from historical sources, and to explore the possibility of developing them as an exhibitory and educational method applying 3D apparel CAD and new media. To achieve this, three attributes for qualities of effective digital costumes were suggested: faithful reproduction, virtual fabrication, and interactive and stereographic appreciation. Based on these qualities, digital costumes and a PC application were produced and evaluated

Costume Design for \u3cem\u3eVolpone\u3c/em\u3e by Ben Jonson

This poster presentation provides information about my final design for the Linfield College Theatre Program’s Costume Design course taught by Laurel Peterson during the 2016 fall semester. I created an unrealized design for Ben Jonson’s Volpone written in 1605. Jonson uses the immorality of the play’s characters for comedic effect and to make a social statement. Taking place amongst the Italian upper class, the play focuses on the scheme of the con artist, Volpone (the fox), who manipulates his victims (also with animal namesakes) into making him even wealthier. Jonson mocks the ultra rich and their vices through outlandish characters and situations. With the costumes, I aimed to reinforce the excessive classism and decadence illustrated in the play. My design approach combined elements of traditional Italian Commedia costumes with pieces of early seventeenth-century period dress, as well as some of the animalistic qualities associated with the characters, to create opulent costumes that support the comedic dialogue and absurd characters. As they shamelessly indulge in their antics, the costumes help the audience see the frivolity and duplicitousness that Ben Jonson mocks. This project was presented at the 2017 Kennedy Center American College Theatre Festival Costume Design Competition in Denver, Colorado

Atmospheres of choreographic design

The artistic and technical investigations of the Design and Performance Lab, based at Brunel University in London (UK) and co-directed by Johannes Birringer and Michèle Danjoux, have encompassed research into how costumes and specially designed body-worn technologies affect movement expression. They have also addressed the question of designing costumes for use in performative or proactive environments which themselves are conceived as formative, not built or constructed in a stable form.https://metabody.eu/wp-content/uploads/2020/11/METABODY-JOURNAL-1.pd

Dear Brutus (1972)

Playwright: J. M. Barrie Director: Hal J. Todd Costumes: Joseph P. Allan Academic Year: 1971-1972https://scholarworks.sjsu.edu/productions_1970s/1091/thumbnail.jp

Terra Nova (1984)

Playwright: Ted Tally Director: Howard Burman Set Design: Paul Vierra Costumes: Eliza Chugg Academic Year: 1984-1985https://scholarworks.sjsu.edu/productions_1980s/1056/thumbnail.jp

Barefoot in the Park (1977)

Playwright: Neil Simon Director: Brian Ogata Set Design: Donamarie Reeds Costumes: Jessie Scott Academic Year: 1976-1977https://scholarworks.sjsu.edu/productions_1970s/1089/thumbnail.jp

Simply Maria (1994)

Playwright: Josefina Lopez Director: Pamela Salazar Costumes: Ronald D. Frausto Academic Year: 1993-1994https://scholarworks.sjsu.edu/productions_1990s/1029/thumbnail.jp

Antigone (1984)

Playwright: Sophocles Director: Henry Hoffman Set Design: Rob Koontz Costumes: Elizabeth M. Poindexter Academic Year: 1984-1985https://scholarworks.sjsu.edu/productions_1980s/1037/thumbnail.jp