ABSTRACT Title of thesis: COLLIDESCOPE: ADVENTURES IN PRE & POST RACIAL AMERICA – A COSTUME DESIGN. Kara Nichole Waala, Master of Fine Arts, 2015 Thesis directed by: Professor Helen Q. Huang, Department of Theatre, Dance, and Performance Studies The following thesis navigates the primary artistic concept, design process and execution of Kara Waala’s costume design for the University of Maryland’s production of Collidescope: Adventures in Pre & Post Racial America. Collidescope opened November 7th, 2014 in the University of Maryland’s Kogod Theatre. It was written and directed by Ping Chong and Talvin Wilks. The Set was designed by Lydia Francis, Lighting was designed by Max Doolittle, Projections were designed by Ian McClain, and Sound was designed by Jeff Dorfman. COLLIDESCOPE: ADVENTURES IN PRE & POST RACIAL AMERICA – A COSTUME DESIGN. By Kara Nichole Waala Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Fine Arts 2015 Advisory Committee: Professor Helen Q. Huang, Chair Associate Professor Brian MacDevitt Assistant Professor Jared Mezzocchi © Copyright by Kara Nichole Waala 2015 ii Dedication I would like to dedicate this work to those that supported me during these past three years. To my family and friends that sent their love and encouragement from afar, which without either I would not have lasted long. And to my UMD family that gave me their time, guidance, and hands that got me through and taught me so much. iii Table of Contents Chapter 1: Statement of Design Concept & Process………………….…….………...1 Chapter 2: Character & Costume Research…………………………………………...6 Chapter 3: Costume Renderings…………………………...………………………...23 Chapter 4: Fitting Photos & Process…………………………………...…………….35 Chapter 5: Production Paperwork……………………………………………………49 Chapter 6: Production Photos…………………………………………………...…...62 Chapter 7: Conclusion……………………………………………………………….79 1 Chapter 1: Statement of Design Concept & Process Collidescope: Adventures in Pre & Post Racial America is an original devised piece of theatre written and directed by Ping Chong and Talvin Wilks. It was developed and produced for the first time at the University of Maryland by the School of Theatre, Dance, and Performance Studies in the fall of 2014. This work endeavors to study and illustrate the tumultuous history of Black and White racial tension in America. There are many that believe that this tension has dissipated since the hay day of the Civil Rights movement of the 1960’s, but what has become increasingly and painfully clear, is that this is simply not the case. With the shootings of Trayvon Martin and Michael Brown and the seemingly common place killings of Black men and boys, Collidescope was a bid at stringing these current events with other terribly similar moments in our country’s history and take a clinical look at the legacy and psyche behind this history of violence. The proceedings on stage were from an anthropological standing, where the audience was offered an outsider’s or “alien” point of view of what it is to be “human” in the context of Black/White race relations in America. The actors played gender and race bending roles, often playing the opposite, to further the distance from fact and emotion. The scenes move back and forth on a historical time line, in a free association style, going from the Civil War to the Civil Rights Movement and then back to present day, giving us a stylized short hand to come to the inevitable conclusion that not much has changed over the past 300 hundred years. The director and playwright Ping Chong is an internationally celebrated devised theatrical innovator based out of New York City who, with a selected 2 ensemble of affiliated designers and artists, focuses on creating pieces of original work inspired by cultural and civic issues of our time. His work explores the intersections of race, culture, art, media, and history in the modern world with the goal to enact awareness and change. The design team’s conversation with Ping Chong began with no script, but just his ideas he would like to address regarding the recent debates of the Stand Your Ground laws and the 2012 shooting of Trayvon Martin. He wanted to move though time seamlessly and without order. He wanted to play with blind casting and gender roles. He wanted to present moments as case numbers and anthropologically analyze the scenes and people. What I had taken away from that first meeting was that Ping Chong wanted the costumes to be “visually tasty” and yet not hinder the context and pace he was envisioning. He wanted to do so much and yet had no frame to hold it in. That is where he handed it to us, the design team. After that initial conversation, all of the designers moved forward gathering research, with our heads overflowing with the various needs and ideas. Our mission was to create a world that could hold this subject of analytical coldness and scientific measuring of Black/White race relations. Much of my initial work went into exploring creative ideas to accommodate the jumping of time, location, and roles. How could I make it fluid, yet appropriate for all the unknown variables of not having a script? How can I push the notion of unbiased observation? My response was to make the cast an ensemble where they all were of the same aesthetic. And it was neither black nor white, but a tight controlled pallet of grays, and neither of the past nor the present, but a futuristic mix of sleek tailored layers. Thus allowing for any 3 time period and any gender or race without the need for costume changes. This was an ensemble of “otherness”. At the design team’s second meeting, we gathered to share our preliminary research and ideas. We were instantly amazed once we had laid our images out that Lydia Francis (set), Max Doolittle (light) and myself had arrived at nearly the same idea, albeit with slight variations. The world was a sleek analytical lab with non- human beings acting out the events on a stage that was cold and distancing, allowing the audience a chance to see the case presented and not the actor. It was about straight lines and the frank presentation of facts, which allowed Ian McClain (projections) the surface to add content to a blank world and give us a vehicle to move the space from moment to moment. After that, it was just a process of fine-tuning our first inclinations. Ping had given us free reign and was really excited about what we brought to the table. Inspired by a few images that Lydia Francis (set) had shared of antiquated study of race superiority and phrenology, I wanted to include a poetic overarching theme of skeletal screen-printing onto the costumes. This design idea played double duty. It added a stark graphic visual to subtle tailored clothing, again furthering the distance of the ensemble from the world of “normal”. It also gave another layer of meaning to the show; my own message: We are the same underneath it all. We are humans. Due to the nature of making devised theatre and lack of a script, there were many questions without answers. The size of the cast, the number of roles, the order of scenes, even the content of the scenes were all in flux, but after more idea sharing with the director, he had decided that there should be some addition of small 4 accessories and sense of transition in the costumes themselves. We decided that for some specific characters, a pair of glasses or a pinafore could be added and coats could be taken off to reveal a more casual under layer to show a shift in class. I spent most of my efforts for the rest of the school year and much of the summer in conversation with Ping Chong as he and Talvin Wilks developed the script in an attempt to foresee any needs that might arise during and after the script was written. We exchanged many lists of the desired additional pieces and went through multiple rounds of editing to make sure we did not disrupt the fluid pace and tone of the piece, and only added what was necessary. One of the largest augmentations to the design was the addition of cage crinolines in the Civil War moments to add a bit of farcical movement to the Virginia Reel that was exuberantly danced on stage. As autumn fell, we moved into production and I was given the wonderful opportunity to swatch and fabric shop in New York City’s garment district for my builds. There I had every option of gray wool available to me. Considering the tight controlled palette of the Collidescope world, I needed every one of them. It became a design about the combination of color value rather than of hue. The main piece of the design was the tailored coats and outer layers that shared a particular theme of curving seams and construction lines. At first this detail was lost and underappreciated, until my mentor, Professor Helen Huang, gave the suggestion that I use color blocking to highlight the seams instead. This detail was an integral element as it was the style lines that would be mimicked on the seven purchased coats that did not warrant a custom build. Through her guidance, we spent an entire afternoon painstakingly pairing the correct value of gray with another. With this guidance, 5 countless hours spent shopping and piecing together looks on dress forms, and in fittings; a dynamic palette and a specific stylized aesthetic was achieved through the curated mix of purchased and built garments. Even so, once we were nearing tech week, it was realized that not all the questions were answered. After seeing the show in design run, it became glaringly apparent that we needed to add contrast to our beautifully uniformed world and at the same time give a visual cue for when time and people were shifting. The set designer, Lydia Francis, and I sat down and discussed adding a color pop to each scene with props and costume accessories. Our thought process was to break the rules of our established ideas of the design by adding another element to push the world even more uncomfortably far from reality. This also added some continuity for when a particular moment was revisited for a second time. We settled on a faded taupe, an acidic green, a punchy orange, and a synthetic blue, all of which, either together or apart, added a bit of necessary salt to our visual world. This salt was picked up most graciously by the lighting designer, Max Doolittle, and projections designer, Ian McClain, and implemented through their media to make it a fully integrated design element. 6 Chapter 2: Character & Costume Research   The following pages contain research plates presented at design meetings. The images were selected from a larger pool of research gathered throughout the process and arranged in compositions expressing my thoughts and ideas for the piece. COLLIDESCOPE Costume Design: Kara Waala Texture: Clean. Sleek. Matte. Structured. Dense. Fabrics: Suiting, Denim, Scuba, Ponte, Felted Wool… Color Pallet: Grays. Tight. Controlled. 7 COLLIDESCOPE Costume Design: Kara Waala Base: Modern Tailoring Ensemble. Contemporary. Stylized. Clean. Reminiscent. Modern. Polished. 8 COLLIDESCOPE Costume Design: Kara Waala Base: Modern Tailoring 9 COLLIDESCOPE Costume Design: Kara Waala Base: Modern Tailoring 10 COLLIDESCOPE Costume Design: Kara Waala Base: Modern Tailoring 11 COLLIDESCOPE Costume Design: Kara Waala Base: Modern Tailoring 12 COLLIDESCOPE Costume Design: Kara Waala Casual Under Layer: Class Change A timeless “T- Shirt”. Denotes a lower class: Slaves. Linen. Organic. More casual than clean structured Base look. 13 COLLIDESCOPE Costume Design: Kara Waala Poetic Theme: Skeleton Print Anatomical. Scientific. Human.! Printed directly onto garments. 14 COLLIDESCOPE Costume Design: Kara Waala Poetic Theme: Skeleton Print 15 COLLIDESCOPE Costume Design: Kara Waala Moment: The Man of All Work 1940s African American Man in Drag: Pinafore or Handkerchief? 16 COLLIDESCOPE Costume Design: Kara Waala Moment: Civil War Ball Uncovered Simplified Crinoline Cage 17 "" Ping Chong Project Costume Design: Kara Waala Moment: Trayvon Martin Case 18 Ping Chong Project Costume Design: Kara Waala Moment: Trayvon Martin Case 19 Ping Chong Project Costume Design: Kara Waala Moment: Civil Rights Movement 20 Ping Chong Project Costume Design: Kara Waala Moment: Civil Rights Movement 21 Ping Chong Project Costume Design: Kara Waala Moment: Civil War 22 Ping Chong Project Costume Design: Kara Waala Moment: Civil War Ball Naked Crinolines 23 Chapter 3: Costume Renderings The following pages contain the final costume renderings submitted to both the Director and the Costume Shop. The renderings were also used to guide in the selection and alteration of purchased items. 24 25 26 27 28 29 30 31 32 33 34 35 Chapter 4: Fitting Photos & Process The Following images document the fitting process for each actor. There were a combination of garments built by the Clarice Smith Performing Arts Center, as well as modified garments, and altered garments. FITTING PROCESS Moriamo Akibu 1st Fitting 2nd Fitting Fabric Detailing 36 FITTING PROCESS Riley Bartlebaugh The$build$of$Riley$Bartlebaugh’s$coat$was$a$particularly$challenging$fitting$process.$There$was$$$some$difficulty$in$achieving$my$established$style$lines,$which$were$an$integral$element$of$the$design,$$$and$a$second$mockup$was$required$to$work$with$the$draper$before$moving$into$fabric.$$ 1st$Mockup$ 2nd$Mockup$ 37 FITTING PROCESS Riley Bartlebaugh Final$Fit$ Finishing$ 38 ! FITTING PROCESS Olivia Brann Mockup Final Fit 39 !! FITTING PROCESS Summer Brown 1st Fitting 2nd Fitting Fabric Detailing 40 !!! FITTING PROCESS Joseph Graff Mockup Final Fit 41 !!!! FITTING PROCESS Phillip Kershaw Final Fit Mockup 42 !!!!!FITTING PROCESS Weilong Li Mockup Final Fit 43 !!!!!!FITTING PROCESS Vaughn Midder Final Fit Mockup 44 !!!!!!!FITTING PROCESS James Skaggs 1st Fitting 2nd Fitting Fabric Detailing 45 !!!!!!!!FITTING PROCESS Kyle Travers Fabric Detailing 1st Fitting 2nd Fitting 46 !!!!!!!!!FITTING PROCESS Korinn Walfal Fabric Detailing 1st Fitting 2nd Fitting 47 !!!!!!!!!!FITTING PROCESS Christopher Walkup Mockup Final Fit 48 !!!!!!!!!!!!! FITTING PROCESS Aidan Walsh 1st Fitting 2nd Fitting 49 The images on this page show the process of selecting the best garments to create the looks for the ensemble. Many hours were spent on dress forms to discover a dynamic palette of gray values. Builds Purchases 50 Chapter 5: Production Paperwork The following pages contain various forms of paperwork generated during the design and production of Collidescope. Macintosh HD:Users:karawaala:Desktop:THESIS:Collidescope Piece List 10.30 .xls Actor Costume Piece Description Oct-30-14 Oct-31-14 Nov-01-14 Nov-02-14 Akibu, Moriamo socks black camisole Black Neck tie Teal polkadot. Wide Button up Gray Rough. Workshirt. White Rib cage Screen print. Skirt Black. Scuba Wrap style Coat Gray Wool. No lapel. Zip closure. Prayer Beads Wood. Tassel Shoes Black. Laceup Bartlebaugh, Riley socks black camisole Black Hair Bow Large scale. (2) Crop top Black Scuba. Whtie Spine screen print. Pants Gray jersy. Racing stripe dtail. Coat Light Gray / Gray Shoes Black sude. Patent Toe cap ankle boot. Crrinoline White hoop. Brann, Olivia socks black. Low cut. camisole Black Gloves Orange Red. Purse Brown patent leather. Gold clasp. necklace pearl. Orange Red. Top Silver. Black rib cage Pants Dk. Gray jersey. Drawstring. Coat light gray / dark gray denium. Asymetrical front. Shoes Gray Suede with white sole. Crinoline White Hoop Brown, Summer socks black camisole Black Sweater Balck knit. Leather sleeves. Shorts Gray. Box pleat front coat light gray. Dark gray accents. Large collar. Snaps Boots Ankle. Black. Wingtip detail Walfall, Korinn socks black camisole Black Purse Handbag with Handles. Structured. Teal. Button up White. Loose cut. Pearl button. Black Spine screen print. leggings Dark gray speckled. Piping. Production Services Costume Piece List Space: Kogod Director: Ping Chong Costume Designer: Kara Waala Faculty Advisor: Helen Huang Department: TDPS Show: Collidescope 51 Macintosh HD:Users:karawaala:Desktop:THESIS:Collidescope Piece List 10.30 .xls Blazer Gray. Gray and black deatiling Ankle boots black. Stacey adams. Crinoline Whtie Hoop Graf, Joe socks black Undershirt White suspenders button. Black w/ green pattern Glasses Hornrimmed Necktie Orange. 1920's. Wide cut. Necktie Teal. 1960s. Crinoline white Hoop button up white. Gray round collar. Black rib cage screen print. Slacks light gray. Falt front Coat Gray. Button clousure Shoes Whtie oxfords. Whtie soles. Kershaw, Philip socks black Undershirt White Pinafore Orange. Frills. Polk a dot. Cross cross strap. headwrap White. QR glasses Period. Round. Wire rimmed. Clerical Collar Cream. 2 Tabs Suspenders Gray / maroon pattern. Button up dark Gray linen. Roug. Black spine screen print. Trousers Dark gray. Pleat front. Cuffs coat Light gray. Long. Ankle boots Stacey Adams. Black. Laceup Li, Weilong socks black Undershirt White Bow tie Teal Necktie Tan. Button up white. Black coller tips. Trouser Gray. Flat front. Coat light gray. Motercycle length. Asymetrical closure Shoes Gray leather sneakers. Whtie Soles. Midder, Vaughn socks black Undershirt White glasses brown. Round. 1920s bowtie Tan Crinoline white hoop Button up. light gray. Rought. Sleeve placket. Black spine screen print. pants drop crotch. Denim. Stone wash Coat Gray. No lapel. Round corner front hightop light gray. Solid Shoes Black Stacey Adams. Skaggs, James socks black Undershirt White Wire frame glasses Black frame. Gold Chain 52 Macintosh HD:Users:karawaala:Desktop:THESIS:Collidescope Piece List 10.30 .xls trotoise glasses Brown. Large. Necktie Teal. 1960s. Wide cut. Button up Gray Trousers Med Gray. Zara. Flat front coat Dark gray walking coat length. Flecked gray deatil shoes black leather. Buckels Travers, Kyle socks black Undershirt White glasses Round ish. Light tortoise Bow tie Teal neack tie teal. Wide cut 1960s. suspenders Black Button up Whtie. Gray collar and yoke detail Trousers flat front gray coat dark gray. 2 button double breasted Shoes Blac. Leather sneakers Walkup, Christopher socks black Undershirt White necktie teal. 1960s wide cut. crinoline whtie hoop button up white. Black sleeves Slacks Flat front gray. Chinos Coat Long. Dark gray with Light gray deatiling crinoline White Sneakers Black. White sole. Leather deatiling Walsh, Aidan socks black Undershirt White necktie teal. Coudroy suspenders Gray harrinbone. Clip on Button up Gray 2 tone. Short sleeve Pants Gray pleated sweatpants. Band hem Coat gray 2 tone yoke. Double breasted shoes Black Suede. White sole. 53 Collidescope:+Prelim+Costume+accessories+List++++++++5/16/14+ Prologue:)Trayvon)crime)scene))2013)777777777777777777777777777777777777777777777777777777777777777777777777777777777777) +1+pair+of+high+top+sneakers+ +2+pairs+of+forensic,+white+gloves+ Scene)1:)The)Road)to)Freedom)))1770’s))777777777777777777777777777777777777777777777777777777777777777777777777777777777) +Wire+rimmed+glasses+!+Prince+ +Shoes+for+the+Freemen++ Scene)2:)Man)of)All)Works)))1937))77777777777777777777777777777777777777777777777777777777777777777777777777777777777777777) +Head+Wrap+&+Apron+for+Carl+when+he’s+in+drag+ +Pearl+necklace+&+Hand+bag+for+gun+for+Anne+ +HornJrimmed+glasses+And+Necktie+for+Dave+ +Wire+rimmed+glasses+&+suspenders+for+Doctor+ +Hair+bows+for+6+year+old+Lily+ Scene)3:)The)People)V.)Henry)Sweet))))))1926))777777777777777777777777777777777777777777777777777777777777777777777777) +Suspenders+for+Clarence+ +Possible+glasses+/+bowties+for+some+jury+members.++ +Round+frame+glasses+for+young+Henry+Sweet+ INTERMISSION+JJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJJ+ Scene)4:)To)be)determined)))777777777777777777777777777777777777777777777777777777777777777777777777777777777777777777777777) Scene)5:)HUAC)–)Paul)Robeson)and)Langston)Hughes)))1956))77777777777777777777777777777777777777777777777777777) +Eye+glasses+for+some+committee+members,+bow+tie?+Watches?.+ Scene)5:)Possible)new)scene)to)be)determined)here))777777777777777777777777777777777777777777777777777777777777777) Scene)6:)Conclusion)of)Man)of)All)Work))))1937))7777777777777777777777777777777777777777777777777777777777777777777777) +Bandaging+for+Carl+after+being+wounded?+ Scene)7:)Charleston)Ball)))1861))7777777777777777777777777777777777777777777777777777777777777777777777777777777777777777777) +Hand+Fans+for+Mrs.+Carter+&+Mrs.+Lamar+ Scene)8:)Baldwin’s)Nigger)))196?))777777777777777777777777777777777777777777777777777777777777777777777777777777777777777) +Nothing+needed+ Epilogue:)Repeat)of)opening)Trayvon)crime)scene))777777777777777777777777777777777777777777777777777777777777777) 54 CO LL ID ES CO PE )*) CO ST U M E) PL O T Q ui ck )C ha ng e 11 /2 /1 4 PR O LO GU E SC EN E+ 1 SC EN E+ 2 SC EN E+ 3 SC EN E+ 4 SC EN E+ 5 SC EN E+ 6 SC EN E+ 7 SC EN E+ 8 SC EN E+ 9 EP IL O GU E St an d) Yo ur )G ro un d Ev e) of )A m er ic an ) Re vo lu tio n Lo ve ,)L ab or ,)L os s)) )) (P ar t)I ) W hi te )Ju st ic e) in ) th e) N or th Ev e) of )th e) Ci vi l) W ar )(P ar t)I ) Po lit ic s)a nd )R ac e Lo ve ,)L ab or ,)L os s)) )) (P ar t)I I) Ho w )to )L yn ch )a ) Bl ac k) M an Ev e) of )th e) Ci vi l) W ar )(P ar t)I I) Ba ld w in 's) N ig ge r Ha nd s)U p, )D on 't) Sh oo t 20 12 ,)F lo rid a 17 75 ,)B os to n 19 39 ,)C hi ca go 19 26 ,)D et ro it 18 61 ,)C ha rle st on 19 64 ,)N J 19 39 ,)C hi ca go 19 56 ,)D C 18 61 ,)C ha rle st on 19 69 ,)L on do n 20 14 ,)M iss ou ri M O RI AM O N ER O )(* ))C oa t,) sh oe s) (+ ))P ra ye r)b ea ds ,) Ro ll) sle ev e, )C ol la r) un bu tt on HA N CO CK )(* ))B ea ds ) (+ ))C oa t.) 1/ 2) zip .) 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BE N N ET T) (*) )B ow ) tie )(+ )c oa t)c lo se d, ) Sh irt )c ol la r)p op RU SS EL L) BA KE R) (*) )c ol la r)p op ) (+ ))n ec kt ie HA RR Y) (*) )c oa t) (+ ))g la ss es ,)t ie ,) co at )fo r)r itu al ) m ov em en t M R. )S CH ER ER ))) (*) )g la ss es )(+ )) op en )c oa t BE N N ET T) (+ )) La pe ls) w or n) op en .) Sh irt )c ol la r)p op BA SE *)A ll) bu tt on ed )u p KO RI N N JA CK )(* ))C oa t)( +) ) Co lla r)u nb ut to n, ) un tu ck )sh irt EL LA )M AE )(+ )) Bu tt on )c ol la r.) cr in ol in e) FA N N IE )L O U )(+ )) co at ,)P ur se EL LA )M AE )(* )) co at ,)p ur se )(+ )) cr in ol in e) BA SE *)A ll) bu tt on ed )u p CH RI S CO P) 3* )B as e O FF IC ER )*) Ba se CA RT ER )(* ))c oa t) (+ ))c rin ol in e LB J)( *)) cr in ol in e) (+ )) ro ll) up )c uf fs ,) ne ck tie ,)C oa t)o pe n) fo r)s pe ec h CO M M IT TE E) 1) (+ ))c oa t.) W or n) op en ,)g la ss es CA RT ER )(* ))c oa t) (+ ))c rin ol in e BA SE *)A ll) bu tt on ed )u p AI DA N BY ST AN DE R) 5* Ba se DA RR O W )(+ )) Co at )o pe n PR ES CO TT )(+ )) cl os ed )c oa t,) la pe ls) op en ,)s hi rt ) co lla r)p op JO SE PH )R AU H) (* ))c ol la r)p op )(+ )) N ec kt ie CO M M IT TE E) 2) (* ))n ec kt ie )(+ )) op en )c oa t,) Gl as se s PR ES CO TT )(+ )) cl os ed )c oa t,) la pe ls) op en ,)s hi rt ) co lla r)p op BA SE *)A ll) bu tt on ed )u p 55 56 Collidescope – Necktie Build list. TEAL ---------------------------------------------------------------------------------------------------------- (1926) Short / skinny - Joe Bow tie - Weilong, Kyle (1964) Long and wide "kipper style" too much? - Moriamo, Kyle, Chris (worn loose) 57 ORANGE --------------------------------------------------------------------------------------------------- (1937) Short and wide - Joe (to be loosened on stage) TAUPE ------------------------------------------------------------------------------------------------------- (1956) Classic 4 finger - James Skinny - Riley Skinny and square end - Wielong Bow tie - Vaughn ! 58 COLLIDESCOPE)Lady)Hair)Simple.)Clean.)) 59 ))Moriamo'Akibu'Loosely)pulled)back) Riley'Bartlebough'Style)as)usual)/)low)ponytail)) Olivia'Brann'Part)down)Middle)/)low)ponytail) Summer'Brown'Style)as)usual) Korinn'Walfal'Pull)half)back)smoothly)(bobby)pins)) 60 COLLIDESCOPE:*Men’s*HAIR*Slick*and*styled.*** ******** 61 * Joe$Graff$Style*hair*as*usual* ** Philip$Kershaw$Not*needed* Weilong$Li$Not*Needed.* Vaughn$Midder$Not*Needed.* 62 **James$Skaggs$Style*as*usual.* Kyle$Travers$Use*product*to*keep*hair*to*the*side*and*out*of*face.* Pomade'/'Mouse'and'hairdryer' * Chris$Walkup$Style*it.*Clean*up*natural*texture.** Aidan$Walsh$Style*it.* 63 Chapter 6: Production Photos All photos taken by Stan Barouh. 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 Chapter 7: Conclusion Working on a devised piece of theatre like Collidescope: Adventures in Pre & Post Racial America was an unexpected project, one that I didn’t think I could do justice to, with its context and many unknown factors. But it was the encouraging word of my mentor, Professor Helen Huang, that convinced me I could. With the constant sharing of ideas between the design team and directors, we creating lungs for Collidecope and its true message to breath. I feel particularly proud of the collaborative process of imagining the visual world and how it became the groundwork for the script to be built upon. It felt like Ping Chong trusted us with his vision and allowed us to truly make it our own. Though I was overwhelmed with such trust at first, I soon appreciated it for the rare opportunity it was. I was being asked to shape the context of this piece of theatre, not simply give it clothes to live in. Less successful elements of the design made the project more challenging but, in turn, more rewarding. Not having a script did make it difficult to plan ahead and accommodate all the director’s needs, like the last minute addition of shoes. Also a challenge was in the mixing of custom built and purchased garments into one specific ensemble aesthetic. There were a few pieces of clothing that were seemingly outliers to the group, but with the short turn around of some aspects of script development, they were unfortunately pushed to lower priority when other issues arose. Not to mention the fact that Collidescope was addressing majorly emotional and hugely personal interchange of thoughts and ideas dealing with racial tensions of modern day 81 America and we were asking young actors to play dress up in sometimes antiquated, if not derogatory, garb to push buttons with intent. My degree program aims to shape me as a strong visual artist, not just as a costume designer. I believe that the design for Collidescope serves as sound evidence that this is the case. From my mentors and experiences over the last three years, I have built the ability and confidence to take part in creating a fully realized and fleshed out visual world. This project was a challenge in more ways then one, but I can only appreciate it all the more for that.