Costume Design
1974
| Artist/Maker |
Alix Stone was unusual among designers in producing drawings of groups of related costumes. Theatre designs are usually seen singly, and it is difficult to get any idea of the complexity of creating designs for a large number of individual characters that, for instance, make up the chorus in an opera, or extras in a play. The designer has to create a total picture, in which the principal characters stand out against the moving background of a big chorus while not destroying the whole stage picture. The 'scroll' allowed the designer and the costume makers to see the overall shape and pattern of individuals within the group, or how the principals related to each other or the chorus.
Designing variations on a single theme, like 18th century prostitutes or street vendors is a greater test of a designer than creating grand individual costumes.
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.
Designing variations on a single theme, like 18th century prostitutes or street vendors is a greater test of a designer than creating grand individual costumes.
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 the female chorus in "Manon", English National Opera at the London Coliseum, 1974 |
| Physical description | Costume design for four members of the female chorus. Full length figures wearing 18th century everyday dress. The figure on the far left wears a cap, neckchief, hip length loose hacket over which is an apron with a brown skirt. The second from left figure wears a caped cloak over a bodice and full length skirt and holds a gray of dishes; the second from right wears a bonnet, kerchief, laced bodice and pulled up overskirt; she holds a tray with cups at waist level. The far right figure wears a small brimmed hat over a cap, a kerchief tucked into her bodice and a tathered ankle-length skirt; over her arms are a selection of stockings. |
| Production type | Unique |
| Marks and inscriptions |
|
| Credit line | Given by Dr Ray Ingram |
| Object history | Costume design by Alix Stone for the female chorus in a production of Massenet's opera "Manon" performed by the English National Opera at the London Coliseum, January 24th 1974. The opera was translated by Edmund Tracey, and the production was directed by John Copley. The scenery was designed by Henry Bardon; the lighting was designed by Robert Bryan; and the choreographer was Pauline Grant. The production was subsequently revived at the Coliseum in September 1974, and extensively toured various English provincial theatres during the springs of 1974 and 1975. The production was later revised with some new costume designs by Alix Stone at the London Coliseum on April 12th 1979. This revised version was subsequently revived at the Coliseum in February 1980, February 1982, and October 1984. |
| Production | Reason For Production: Commission |
| Associations | |
| Literary reference | Manon |
| Summary | Alix Stone was unusual among designers in producing drawings of groups of related costumes. Theatre designs are usually seen singly, and it is difficult to get any idea of the complexity of creating designs for a large number of individual characters that, for instance, make up the chorus in an opera, or extras in a play. The designer has to create a total picture, in which the principal characters stand out against the moving background of a big chorus while not destroying the whole stage picture. The 'scroll' allowed the designer and the costume makers to see the overall shape and pattern of individuals within the group, or how the principals related to each other or the chorus. Designing variations on a single theme, like 18th century prostitutes or street vendors is a greater test of a designer than creating grand individual costumes. 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.74-2004 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | January 13, 2005 |
| Record URL |
Download as: JSON
