Anthony 'Toni' Gary
Rendering provided by Costume Designer Olivera Gajic for Hippolyta in A Midsummer Night's Dream. This project consisted of blending tailoring techniques and vest techniques for silk satin fabric Draper: Arden Donnelly First Hand: Alyssa Pietrzyk
Reserch images provided by Costume Designer Olivera Gajic for Hippolyta in A Midsummer Night's Dream.
Back View
Rendering provided by Costume Designer Olivera Gajic for Hippolyta in A Midsummer Night's Dream. This project consisted of blending tailoring techniques and vest techniques for silk satin fabric Draper: Arden Donnelly First Hand: Alyssa Pietrzyk
Rendering provided by Costume Designer Olivera Gajic for Puck and the Fairies in A Midsummer Night's Dream. Depending on the fairy, old petticoat were repurposed and bustled or petticoat tails were made and fasted onto pants.
Pinning heart patches onto fencing jackets and sititching them on.
Creating a tail and making a buttonhole for the fencing jacket's strap buckle to go through for easier dressing.
Rendering provided by Costume Designer Olivera Gajic for Puck and the Fairies in A Midsummer Night's Dream. Depending on the fairy, old petticoat were repurposed and bustled or petticoat tails were made and fasted onto pants.
Research images provided by Costume Designer Amy Best for the character of Old Sheep in Charlotte's Web Draper: Arden Donnelly First Hand: Alyssa Pietrzyk
Fabric Swatches
Final fitting photot
Research images provided by Costume Designer Amy Best for the character of Old Sheep in Charlotte's Web Draper: Arden Donnelly First Hand: Alyssa Pietrzyk
Research images provided by Costume Designer Amy Best for the character of Goose in Charlotte's Web First Hand: Alyssa Pietrzyk
Fabric Swatches
Fitting Photo
Research images provided by Costume Designer Amy Best for the character of Goose in Charlotte's Web First Hand: Alyssa Pietrzyk
While these alterations are simple enough, taking the side seams and shoulder in, the dress had a lot of style lines and darts that had to be adjusted or completely seam ripped before taking away the excess. Also the actor's right shoulder of the dress has to be quick-rigged to rip every night.
After the alterations, the style seams need to be matched.
While these alterations are simple enough, taking the side seams and shoulder in, the dress had a lot of style lines and darts that had to be adjusted or completely seam ripped before taking away the excess. Also the actor's right shoulder of the dress has to be quick-rigged to rip every night.
To create the fur vest for this character, we had to take an old fur coat and do some major reconstruction all by hands because of the type of fur and the thickness of the leather, padding, and age of the garment. First to do was to remove the torn collar, adjust the neckline, remove the sleeves and use that fur to extend then length of the coat (with one side longer), alter the armscyes, create a patchy lining. Lastly, we gave the coat a "mangy" haircut, add trinkets, and drip paint on the coat
To create the fur vest for this character, we had to take an old fur coat and do some major reconstruction all by hands because of the type of fur and the thickness of the leather, padding, and age of the garment. First to do was to remove the torn collar, adjust the neckline, remove the sleeves and use that fur to extend then length of the coat (with one side longer), alter the armscyes, create a patchy lining. Lastly, we gave the coat a "mangy" haircut, add trinkets, and drip paint on the coat
This sketch shows the different types of umbrella hats worn by "Shimeus". We took multiple umbrella hats and for some of them we cut down the wires, replaced headbands and painted them to match the costume color scheme and mood of the character
This sketch shows the different types of umbrella hats worn by "Shimeus". We took multiple umbrella hats and for some of them we cut down the wires, replaced headbands and painted them to match the costume color scheme and mood of the character
Photo provided by Seth Freeman Production: Berta, Berta 2018 Costume Designer: Sarita Fellows Item: Night Gown
Taking in darts to make the bodice look form fitting even when unbuttoned.
Provided by Seth Freeman
Photo provided by Seth Freeman Production: Berta, Berta 2018 Costume Designer: Sarita Fellows Item: Night Gown
Production: Thirst 2018 Costume Designer: Trevor Bowen Item: Pants and Tactical
Photo provided by Seth Freeman
Production: Thirst 2018 Costume Designer: Trevor Bowen Item: Pants and Tactical
Production: You Can't Take It With You 2018 Costume Designer: Makcenzie Dunn Item: Tutu
Before, with the body form covered.
Back View
Production: You Can't Take It With You 2018 Costume Designer: Makcenzie Dunn Item: Tutu
John Proctor's Leather Vest
Paint Treatments
Neck line/Center Front Embellishments; Leather layers and Grommets
Production: The Crucible 2017 Costume Designer: J. Theresa Bush Item: Brown Leather Vest
Finished Product Painted with FIebing's Leather Dye: Ox Blood with an overcoat of Meltonian Color Spray: Cordovan Leather Plackets with grommets with leather lacing.
Production: The Crucible 2017 Costume Designer: J. Theresa Bush Item: Brown Leather Vest
Cleante (Right) and Orgon (Left)
Production: Tartuffe 2017 Designer: Jacquelyn Loy Item: Doublet, Breeches and Collar
Back
Production: Tartuffe 2017 Designer: Jacquelyn Loy Item: Doublet, Breeches and Collar