This panel addresses innovation in costume practices and methodologies from three perspectives. Explorations and advances in definitions and boundaries of costume will be presented in the contexts of curation, technology, and costume collections. The panel will respond to considerations related to current developments in costume practice and to the use of technology to advance research and artistic decision-making.

Speakers

DONATELLA BARBIERI
Encounters and Exchanges, Costume Design Innovation in an International Context
This richly visual presentation reflects how, over the last two decades, an engagement with the international community of costume designers has facilitated the advancement of methodologies and created new practices in performances devised around costume. Barbieri will draw in particular from PQ’99, Scenofests(since PQ’03), while also mentioning selected aspects of Costume in Action at World Stage Design 2013, demonstrating how they continue to influence innovation in performance practice. She will bring together elements from a number of practitioners, curators and performers from across the globe.

Donatella Barbieri has pioneered methodologies for performance-making through costume in her practice, teaching and writing, and as a scenographer with a practice stretching back over a three decades. She has developed the Encounters in the Archive project at the V&A Museum. Curator of the costume workshops at the PQ’11 and at the Costume in Action project at World Stage Design 2013. She is the author of Costume in Performance (2017) and editor of Studies in Costume & Performance (2016), the first research journal on performance costume.

ANNIE CLEVELAND
Transforming Creativity, Execution, and Communication through Digital Costume Design
Cleveland, a professional designer and professor, will describe her development and demonstrate how working in a digital medium can enhance the creative process and develop more accurate and detailed rendering techniques. In addition, she will show how digital design can aid in collaboration with the rest of the production team by enabling quick communication and efficient revision. The techniques presented are based on her bookDigital Costume Design and Rendering: Pens, Pixels, and Paint (Costume &Fashion Press/Quite Specific Media, 2014).

Annie O. Cleveland is an Americandesign professional, author and costume design professor. In 2009, she received a Fulbright grant to teach at National Taiwan University. She published Digital Costume Design and Rendering: Pens, Pixels, and Paint, a textbook and resource for learning digital design rendering techniques, in 2014.Cleveland is currently touring the country conducting Master Classes in digital design for theatrical costume, scenic, and lighting designers at university theatre departments.

LAURA CROW
The Virtual Costume Museum Project
The presentation will propose a discussion about the development of an on-line resource for costume research with 8000 still images of primary source material, 300 3-D images of women’s garments from 1800-2000 and 700 textile samples. Showing how to navigate from one image to another, Laura Crow will show how the virtual museum can be used by professional designers, academics and students for two-dimensional and three-dimensional research. Crow will also highlight how new technology can allow the museum to continue to grow. The website address is.

Laura Crow has been designing costumes for Broadway, off Broadway, film, and opera and was a costume design Professor at University of Connecticut, USA, since 1994. Her costume designswere exhibited at PQ five times and at WSD three times. Recently, she exhibited in Costume Design at the Turn of the Century: 1990-2015, in Moscow, and in Curtain Call: Celebrating a Century of Women Designers, in New York.She is a founding member of the OISTAT Costume Design Group.
  

Related Events

Performance Design Commission
Costume Design Group (CDG)

COSTUME PROGRAMME AT SCENOFEST
Curators: Simona Rybáková, Rosane Muniz and Sofia Pantouvaki(OISTAT CDG)
With special thanks to CDG member Margaret Mitchell for the final shape of the texts