| Lesson 1 What Is Costume Design? | Core texts to be read before the lesson: - Eicher, Joanne. “Clothing, Costume, and Dress.” In The Berg Companion to Fashion,edited by Valerie Steele, pp.151–152. Oxford: Berg, 2010. Berg Fashion Library, 2010.
- Evenson, Sandra Lee. “Dress and Identity.” In the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives, edited by Joanne B. Eicher and Phyllis G. Tortora. Oxford: Berg, 2010. Berg Fashion Library, 2010. DOI: 10.2752/BEWDF/EDch10007
- Evenson, Sandra Lee. “Dress as Costume in the Theater and Performing Arts.” In the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives, edited by Joanne B. Eicher and Phyllis G. Tortora. Oxford: Berg, 2010. Berg Fashion Library, 2010. DOI: 10.2752/BEWDF/EDch10018
Learning objectives: - To define costume, fashion, and design terms and techniques.
- To develop an understanding of the process of costume design.
- To explore research methods for costume design.
Discussion questions: - What differentiates a costume from everyday dress?
- Which components are included in a costume?
- What are costumes expected to communicate?
- What are appropriate research methods for the design of contemporary costumes?
Activity: Designing a contemporary family (part I). - Each student will determine the members of the family they wish to design: the family must include at least one adult male, one adult female, and one child, and can be no bigger than six people.
- As a group, the class will decide the family’s location and the occasion for which they need costumes (such as a suburban park on a Sunday morning, or a fancy dinner in the city).
- Students will identify the age for each family member and list at least three descriptive adjectives (for example: “The daughter is fourteen and active, confident, and dramatic.”).
Assessment: - Students will compile a portfolio of research images appropriate to the family and their location and occasion. Each family member must be reflected in at least four research images.
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| Lesson 2 Applying Costume Research | Core texts to be read before the lesson: - Blausen, Whitney. “Theatrical Costume.” In The Berg Companion to Fashion, edited by Valerie Steele, pp.681–684. Oxford: Berg, 2010. Berg Fashion Library, 2010.
Learning objectives: - To consider other creative perspectives.
- To apply research to costume design.
- To interpret character through clothing choice.
Discussion questions: - How does exposure to other perspectives expand or alter creative ideas about costume design?
- How does research inspire costume design?
- What kind of information can we express through clothing choices?
Activity: Designing a contemporary family (part II). - Descriptions of family members and research will be shared and discussed with the class. Students are encouraged to ask classmates questions about character descriptions to stimulate each other to think more deeply.
- Students will do additional research (at least two new images per family member) based on class discussion.
Assessment: - Students will design costumes for each of their family members. Designs can be drawn or collaged.
- Note: As the primary purpose of the costume sketch is the clear communication of ideas, for students with limited figure-drawing skills, the instructor might find it valuable to provide a variety of true-proportion (rather than fashion-proportion) croquis for students to sketch on.
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| Lesson 3 Color and textiles | Core texts to be read before the lesson:
- DeLong, Marilyn Revell. “Color in Dress.” In The Berg Companion to Fashion, edited by Valerie Steele, pp.159–162. Oxford: Berg, 2010. Berg Fashion Library, 2010.
Learning objectives: - To understand the psychological and emotional effects of color.
- To recognize the color palettes of historical eras.
Discussion questions: - How does color affect emotion and perception?
- How does color indicate character traits?
- How can color differentiate characters from each other?
- How can color differentiate historical eras?
- How do costume designers choose colors for each character? For the production as a whole?
Activity: Designing a historical family (part I).
- Each student will select a historical period. The family designed in Lesson 1 (same descriptive characteristics and in the same location and at the same occasion) will now be set in this chosen era.
- Beginning with entries under the “Period” category of the Berg Fashion Library, students will research their chosen eras, with specific attention paid to colors for their family members.
- Students will list the colors typical of the chosen era and will compile a portfolio of images featuring examples of those colors. Note: The portfolio of images may extend to non-clothing items.
Assessment: - Students will create a color palette for their family, now set in a historical era. The palette must include at least two colors per family member. Colors could be presented by using paint chips from a local hardware store or swatches cut from magazines, among other possibilities. Students should not use textile swatches for this assessment.
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| Lesson 4 Evaluating Textiles | Core texts to be read before the lesson: -
Riello, Giorgio. “Materials.” In the Berg Encyclopedia of World Dress and Fashion, Volume 8, West Europe, edited by Lise Skov. Oxford: Berg, 2010. Berg Fashion Library, 2010. DOI: 10.2752/BEWDF/EDch8014a Learning objectives: - To understand the physical properties of fibers and textile fabrications.
- To evaluate the advantages and limitations in the performance and care of textile products for use in costumes.
Discussion questions: - How do fibers and textiles differ in terms of performance?
- How can fibers and textiles be indicative of certain time periods?
- How have fibers and textiles changed and evolved over time?
- How do the requirements of costumes affect fiber or textile choice?
Activity: Designing a historical family (part II). - Beginning with entries under the “Period” and “Textiles and Materials” categories of the Berg Fashion Library, students will research their chosen eras, with specific attention paid to textiles appropriate for their family members.
- Students will list the textiles typical of the chosen era and their characteristics and will compile a portfolio of images featuring examples of those textiles.
Assessment: - Students will swatch textiles for their family by visiting a fabric store or swatch library and selecting swatches of textiles that most closely match the historical textiles that were typical of their chosen era. Students must select at least two swatches per family member.
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| Lesson 5 Historically Set Productions
| Core texts to be read before the lesson: - Druesedow, Jean L. “Evidence About Dress in the United States.” In the Berg Encyclopedia of World Dress and Fashion, Volume 3, The United States and Canada, edited by Phyllis G. Tortora. Oxford: Berg, 2010. Berg Fashion Library, 2010. DOI: 10.2752/BEWDF/EDch3005
Learning objectives:
- To differentiate the eras in the evolution of historical dress.
- To identify and apply appropriate research methods for reference and study of historical dress.
Discussion questions: - What are appropriate research methods in terms of historical costume design?
- What is the difference between primary and secondary research?
- What does historical clothing indicate about the period in which it was created?
- How does historical clothing affect the wearer’s movement (how the person walks, stands, sits, and so on)?
Activity:
Designing a historical family (part III). - Beginning with entries under the “Period” and “Timeline” categories of the Berg Fashion Library, students will conduct primary research about their chosen eras, concentrating on clothing choices that represent both the period and the individual family member.
Assessment: - Students will compile a portfolio of historical primary-source research images appropriate to the family and their location and occasion. Each family member must be reflected in at least four research images.
- The portfolio must include the date and location of each image’s creation, the source in which it was found, and a list of character traits depicted through the clothing in the image.
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| Lesson 6 Interpreting Research | Core texts to be read before the lesson: - Jablon-Roberts, Sara. “Historical Costume Design.” In the Berg Encyclopedia of World Dress and Fashion, Volume 10, Global Perspectives, edited by Joanne B. Eicher and Phyllis G. Tortora. London: Berg, 2018. Berg Fashion Library, 2018. DOI: 10.2752/BEWDF/EDch1001514
- Cousins, Jennie. “Historical Dress in French Film.” In the Berg Encyclopedia of World Dress and Fashion, Volume 8, West Europe, edited by Lise Skov. Oxford: Berg, 2010. Berg Fashion Library, 2010. DOI: 10.2752/BEWDF/EDch8086
Learning objectives:
- To determine the differences between historical clothing and historically set costumes.
- To apply historical research to costume design.
- To understand the process of approaching historically set productions.
Discussion questions:
- How much do costumes for a historically set production need to look like the research?
- Does historical accuracy matter in costume design?
- What makes a costume different from a re-creation?
Activity:
Designing a historical family (part IV).
- Research will be shared and discussed with the class.
- Students will do additional research (at least two new images per family member) based on class discussion.
Assessment: - Students will design costumes for each of their family members set in the historical period they have chosen. Images of research can be included with each design. Designs must indicate color and textile choices.
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| Lesson 7 Modern Dance | Core texts to be read before the lesson: - Wulff, Helena. “Costume for Dance.” In the Berg Encyclopedia of World Dress and Fashion, Volume 8, West Europe, edited by Lise Skov. Oxford: Berg, 2010. Berg Fashion Library, 2010. DOI: 10.2752/BEWDF/EDch8082
Learning objectives:
- To understand how costumes must reflect the requirements of each performance.
- To compare costumes for different dance forms.
- To consider conceptual design.
Discussion questions:
- How do costumes compare among different dance forms?
- What are the requirements for dance costumes?
- Which kinds of textiles are suitable for dance costumes? Which are not?
- What are appropriate research methods in terms of mood-based conceptual costume design?
Activity:
Designing for dance (part I). - The instructor will select a piece of contemporary instrumental music and will play it for the class. This music will score an imagined modern dance piece danced by male and female dancers. Other dance forms can be considered, but traditional ballet should not be an option as the parameters of traditional ballet costumes are extremely specific and not suited to this lesson.
- Students will list at least five descriptive adjectives characterizing the music (for example dramatic, sweet, urgent).
- Students will conduct research concentrating on images that express the descriptive adjectives they listed. Images can represent anything that communicates the moods or feelings they identified, including architecture, nature, transportation, and so on. Clothing can be part of this research process, but cannot be the sole focus.
- Beginning with the “Textiles and Materials” category of the Berg Fashion Library, students will select at least three textiles or materials that reflect the descriptive adjectives. At least two of them must be suitable for dance costumes.
Assessment:
- Students will compile a portfolio of research images appropriate to their descriptive adjectives. The portfolio must include at least twelve images, three of which must be of textiles.
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| Lesson 8 Translating concepts | Core texts to be read before the lesson: - McLafferty, Elizabeth. “Theatrical Makeup.” In The Berg Companion to Fashion, edited by Valerie Steele, pp.684–685. Oxford: Berg, 2010. Berg Fashion Library, 2010.
Learning objectives:
- To understand how mood or conceptual research is part of the costume design process.
- To translate concepts into clothing.
- To consider all the components comprising costumes.
Discussion questions: - How can moods or concepts be translated into garments worn by performers?
- What are the restrictions and opportunities when designing modern dance costumes?
- How might makeup contribute to a dance costume?
Activity:
Designing for dance (part II). - Research will be shared and discussed with the class.
- Students will do additional research (at least two new images) based on class discussion.
- Students add to the research portfolio with at least three makeup images reflective of the descriptive adjectives listed in the previous lesson.
Assessment:
- Students will design costumes for two male and two female dancers. Designs can be drawn or collaged. Designs must indicate color and textile choices and must include makeup design.
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