Not currently on display at the V&A

Costume Design

1981 (made)
Artist/Maker

It is not clear whether these are costumes for Juliet or her friends in various scenes. There is one, or a series of underdresses and then overdresses or tabards which transform the basic dress into a ball dress or day dress. To group the designs in this way helps the costume makers see the relationship between the various dresses and underdresses, and which elements are common to more than one costume.
Although theatre designs are often considered works of art and are sought after by museums and private collectors, their artistic worth or decorative qualities are secondary to whether they 'work' on stage. The success of a costume design cannot be judged until it is translated into fabric, texture and decoration by the costume makers and seen as part of the whole stage picture. Some designers are very knowledgeable about costume making and produce very detailed designs, with notes on fabrics and making techniques, others create an 'atmospheric' drawing, which gives the feeling of the costume, and they then either work closely with the costume maker to realise their concept or have trusted makers who know their work and can create the effects they have in mind.


Object details

Object type
Materials and techniques
Brief description
Costume design by Alix Stone for Juliet and Six Maidens in a production of "Romeo and Juliet", English National Opera, London Coliseum, 1981
Physical description
Costume design for Juliet and/or Six Maidens. Six full length female figures wearing pleated high-waisted, low necked dresses in Reneaissance style. Left to right, the first figure wears a small overbodice with frilled sleeve, the second wears the basic plain dress, the third has an overtabard in a decorated fabric. The fourth figure has a decorated bodice and slashed sleeves, the fifth an overdress with elaborate sleeves, tight on upper and lower arm with puffs at shoulder and elbow, the sixth far right has an elaborate overdress in a decorated fabric with slashed an puffed sleeves and a heavier bodice.
Production typeUnique
Marks and inscriptions
  • "6 Maidens / Additions oveer Bomazo frocks / White, Cream, Biscuit, Pale Gold" / "Variants on these 3
  • (left) + Overbodice / for wedding (third) + Overtabard / for wedding? (fourth) Existing / sleeves slashed / + bodice decorated (fifth) 2 Juliet? (sixth) 1 Juliet? / Ball
Credit line
Given by Dr Ray Ingram
Object history
Costume design by Alix Stone for Juliet and Six Maidens in a production of Charles Gounod's opera "Romeo and Juliet", performed by the English National Opera at the London Coliseum, January 14th 1981. J. Barbier & M Carre's libretto was translated by Edmund Tracey. The production was directed by Colin Graham; conducted by Louis Fremaux; lit by Mark Henderson; choreographed by Pauline Grant; and the fights were arranged by Peter Woodward. The cast included John Brecknock as Romeo, and Valerie Masterson as Juliet.

The production was subsequently revived at the London Coliseum in January 1983.
Production
Reason For Production: Commission
Subject depicted
Associations
Literary referenceRomeo and Juliet
Summary
It is not clear whether these are costumes for Juliet or her friends in various scenes. There is one, or a series of underdresses and then overdresses or tabards which transform the basic dress into a ball dress or day dress. To group the designs in this way helps the costume makers see the relationship between the various dresses and underdresses, and which elements are common to more than one costume.
Although theatre designs are often considered works of art and are sought after by museums and private collectors, their artistic worth or decorative qualities are secondary to whether they 'work' on stage. The success of a costume design cannot be judged until it is translated into fabric, texture and decoration by the costume makers and seen as part of the whole stage picture. Some designers are very knowledgeable about costume making and produce very detailed designs, with notes on fabrics and making techniques, others create an 'atmospheric' drawing, which gives the feeling of the costume, and they then either work closely with the costume maker to realise their concept or have trusted makers who know their work and can create the effects they have in mind.
Collection
Accession number
S.85-2004

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Record createdJanuary 13, 2005
Record URL
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