Costume Design
1961
Artist/Maker |
Whereas most designers create artistic impressions of a costume, Alix Stone often produced outline drawings, which stress the construction of the costume - the essential outlines and annotations that the costume makers need to ensure that the cut of the costumes will be correct. This is particularly important in recreating period dress. Suitable fabrics can then be chosen, but the artist has no need to indicate more than an idea of the texture or pattern on the design. Everything is subservient to the construction. These are designs in the sense of a blueprint or plan for a product.
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.
Given by Dr Ray Ingram
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.
Given by Dr Ray Ingram
Object details
Object type | |
Materials and techniques | |
Brief description | Costume drawing by Alix Stone for Curio in 'Twelfth Night', Old Vic, London, 1961. |
Physical description | Costume drawings for Curio and Orsino. Annotated drawings of an 18th century half jacket, jerkin and detailed drawings of a sleeve and pattern for an 18th century coat. |
Production type | Unique |
Marks and inscriptions |
|
Credit line | Given by Dr Ray Ingram |
Object history | Costume drawing by Alix Stone for Curio in William Shakespeare's play 'Twelfth Night', Old Vic, London, April 18th 1961. The production was directed by Colin Graham and the music was composed by James Bernard. The cast included Joss Ackland, Barabara Jefford, and Tom Courtenay. |
Production | Reason For Production: Commission |
Association | |
Literary reference | Twelfth Night |
Summary | Whereas most designers create artistic impressions of a costume, Alix Stone often produced outline drawings, which stress the construction of the costume - the essential outlines and annotations that the costume makers need to ensure that the cut of the costumes will be correct. This is particularly important in recreating period dress. Suitable fabrics can then be chosen, but the artist has no need to indicate more than an idea of the texture or pattern on the design. Everything is subservient to the construction. These are designs in the sense of a blueprint or plan for a product. 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. Given by Dr Ray Ingram |
Collection | |
Accession number | S.43-2004 |
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Record created | January 13, 2005 |
Record URL |
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