ms DESIGN AND Exscmzom OF'THE ’ -  ‘ ‘ ‘
COSTUMES FOR LA RAND: ' . '

mesh for the Degree 3f M. A ° _ _
MECHIGAN SYME UNWERSWI’ .
EGAN CARL SCAMS}? T
1931

 

  
     

LIBRA R Y I
Mighigan State
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ABSTRACT

THE DESIGN AND EXECUTION OF THE
COSTUMES FOR LA RONDE

 

BY
John Carl Schuldt

This essay reports in chronological order the
development of the design and execution of the costumes

for a production of La Ronde, by Arthur Schnitzler, at

 

Michigan State University. The project involved: (1) the
design requirements as determined by the script's demands,
the director's approach, the relationship between the pro-
posed settings and costumes, and the designer's approach;
(2) the development of the designs; and (3) the construc-
tion and ornamentation techniques.

Section I presents the problems and describes the
manner in which the style of the production was determined.
This section is divided into six parts. The first part
presents the demands of the script which include: (1) the
period of the play (circa 1905), (2) the number and names
of the characters, (3) the required costume changes, and
(4) the descriptions of the settings. The second part

states the approach of the director, determining the manner

John Carl Schuldt

in which this production treats the visual concept of the
characters. His selection of Aubrey Beardsley's work as
the motif for the play. The third part describes the pro-
posed settings as they will relate to the costumes in
terms of mood, quality, and color. The problems facing the
designer with the use of an entirely black and white set
with a Beardsley motif. Part four presents the problems
encountered with costume research materials and the find-
ings of the designer as to useful period patterns. The
fifth part states the designer's creative interpretation
within the bounds of the play and the historical context.
The use of brilliant colored fabric, to balance the black
and white set, is explained. The last part details the
integration of design requirements in terms of selecting
silhouettes, colors, motifs, and ornamentation and the

anticipated methods of applying the ornamentation.

Section II presents an overview of the total design
sequence; brief character analyses and descriptions of the
final costumes as to quality, silhouettes, fabrics, and
colors; a discussion of construction techniques, a summary
of the paper, and an evaluation of the project which
includes the values gained by the designer in furthering

his experience in costume design.

THE DESIGN AND EXECUTION OF THE

COSTUMES FOR LA RONDE

BY

John Carl Schuldt

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Theatre

1971

To Elyse

ii

ACKNOWLEDGMENT

To all the faculty, staff, and students who gave
their assistance in completing this project, my sincere
gratitude.

My deepest thanks to Dr. John Baldwin for his
cooperation and support and to Dr. Clarence W. Bahs for
his patience and counsel. My special thanks go to my
advisor and mentor, Mr. Richard A. Levering and his wife
Carol; without their continued advice, help, encourage-
ment, this project would never have been completed.
Special note must also be made of Mrs. Jane Werner, Mrs.
Grace Liebel and Gil Sarmento, for their diligence and
fine craftsmanship and Elyse Gebski for her understanding
and patience and in particular to my entire family for

their encouragement and support.

iii

TABLE OF CONTENTS

Section Page
I. INTRODUCTION AND STATEMENT OF THE PROBLEM . , l
The Inherent Demands of the Script. . . . l
The Director' 3 Approach . . . . . 3
The Relationship Between the Proposed
Settings and Costumes . . . . . . 4
Costume Research Source Material . . . . 5
The Creative Interpretation of the
Designer. . . . . . . . 6
The Integration of the Design Requirements . 10
II. THE SOLUTION. . . . . . . . . . . . l3
Brief Analyses and Descriptions of the
Final Costumes. . . . . . . . . . 14
The Prostitute. . . . . . . . . . 14
The Soldier. . . . . . . . . . . 15
The Maid O O O O O O O O O O O 0 16
The Young Gentleman . . . . . . . . 17
The Married Woman. . . . . . . . . 18
The Husband. . . . . . . . . . . 20
The Sweet Girl. . . . . - . . . . 21
The Poet. . . . . . . . . . . . 22
The Actress. . . . . . . . . . . 23
The Count . . . . . . . . . . . 24
Discussion of Construction Techniques. . . 25
An Overall Evaluation of the Project . . . 27
Summary. . . . . . . . . . . . . 32
SELECTED BIBLIOGRAPHY . .g . . . . . . . . . 33
APPENDIX
Photographs of Costume Renderings and
Costume Portraits. . . . . . . . . 35

iv

SECTION I

INTRODUCTION AND STATEMENT

OF THE PROBLEM

This essay is a description of the problems and
solutions involved in the design and execution of the
costumes for La Ronde by Arthur Schnitzler, presented
November 10 through November 21, 1970 at Michigan State
University by the Department of Theatre.

Section I is a review of the following design
requirements in preparing the designs for La Rondei (l)
the inherent demands of the script; (2) the director's
approach; (3) the relationship between the prOposed
setting and costumes; (4) costume research source mater-
ials; (5) the creative interpretation of the designer;
and (6) the integration of the above five aspects. Section
II is a discussion of the development of the designs,
brief character analyses and descriptions of the costumes
illustrated by means of photographs, and a summary and

subjective evaluation of the entire project.

The Inherent Demands of the Script

 

La Ronde by Arthur Schnitzler is a comedy concern-

ing the sexual exploitations of five couples of different

social and economic background in and around Vienna at the
turn of the twentieth century.1 The play consists of ten
short scenes with each scene concerning the actions of one
man and one woman; the soldier plays the first scene
with the prostitute, whereby he plays the next scene with
a different woman, and so on. The play returns to the
character of the prostitute; this circular movement of the
play is also evident in the other titles used for the play:
Hands Around or Hands Around In Love.2 Therefore, the
scenes are divided in the following manner: the Prostitute
and the Soldier, the Soldier and the Maid, the Maid and
the Young Gentleman, the Young Gentleman and the Married
Woman, the Married Woman and the Husband, the Husband and
the Sweet Girl, the Sweet Girl and the Poet, the Poet and
the Actress, the Actress and the Count, the Count and the
Prostitute. Since each scene is set within a different
time and place, two costumes, either partial or complete,
are required for each character.

The dramatic action of the script demands that the
actor undress and dress in the same costume while on stage.3

The stage business requires not only that the costumes be

easily taken off and put on again, but that they be

 

lHaskell M. Block and Robert G. Sheed, eds., Masters
of Modern Drama (New York: Random House, 1967), p. 24 .

 

21bid. 31bid., p. 254.

completely finished inside and be constructed according to
the period. Period underclothing is also a necessity.

The play further suggests that all four seasons of the year
are represented which makes demands on the costumer, as to

the weight of fabric and the articles of clothing used.4

The Director's Approach

 

At the initial production meeting, the director,
Dr. John Baldwin, stated that although he was certain
Schnitzler had many serious implications in mind when he
wrote La Ronde, the sensuous, cartoon, caricature-like
nature of the play would be stressed in this production.
He and the costumer decided that the date of 1905 would be
used for the time of action, since they felt that the line
of that period was best suited to the approach of the pro—
duction. The line and silhouette were to be as close to
period as possible. In order that the sensuous theme be
further carried through, he requested that the costumes be
made of plush, soft fabrics in lush, vibrant colors. He
felt that the colors would afford the best contrast with the
black and white color scheme considered for the set.

Dr. Baldwin also suggested that the work of Aubrey
Beardsley be used as the model for line and motif. The
director stressed that the actors would be portraying com-

posite caricatures since no character had a name, just a

 

41bid., p. 249.

title, i.e., the Soldier, the Prostitute.5 There was no
real identity to a character and the costume had to relate
an overall feeling for the type of person portrayed.

The director also emphasized that the costumes
would be removed by the actors in full View of the audience
and a certain amount of propriety was needed in the under-
garments. Finally, he suggested that the sensuous cartoon
nature of the idealized set be carried over in the costume
designs.

The Relationship Between the Proposed
Settings and Costumes

 

 

The mood and quality as indicated by the director,
were important considerations for the costumer in order to
unify the costumes and their surroundings. The scenic
designer, Mr. Richard Levering, suggested several limiting
factors on the proposed set design; the playing area,
audience seating, tour capabilities and set props all posed
problems in the costume designs.

First of all, the playing area would be rather
small in size since the play would be produced in the arena
and dormitory kivas. This meant that although there would
be no difficult steps to climb, long trains could not be
used because of the lack of space. Because the stage was

essentially thrust, the audience would be sitting on three

 

51bid., p. 247.

sides, very close to the actors, which meant extra attention
to the clothing's details and finishing techniques. To be
capable of touring, the costumes required especially secure
construction in all cases and the ability to be packed in
the tour rack without being crushed or ruined. Due to the
rather small set, the scale of the set props would be

rather small also, requiring costumes that were perhaps not
as flowing or capable of being snagged on an errant piece

of furniture.

Mr. Levering stated that the set would follow a
Beardsley inspired motif and be completely black and white.
A large semi-circular platform was planned with a medallion
of some type, center stage, used to signify place of action.
The costumer felt, therefore, that bright costumes with
bold motifs would coordinate the costumes and setting;
while at the same time contrast the starkness of the set

and the vibrancy of the costumes.

Costume Research Source Material

 

Primary resource material for the Edwardian Period
(circa 1905) was abundant. The designer was able to
examine, at length, clothing made during the period. Line
and silhouette were studied extensively, along with con-
struction techniques. Magazines and photographs from the
designer's personal collection were also extensively
studied. Contemporary descriptions and pattern books of

many gowns and suits were found to be of great help. The

costumer was fortunate to locate several period patterns
for men and women, which also explained the complicated
construction techniques used during this period.

The designer found that Patterns of Fashion by

 

Janet Arnold and The Evolution of Fashion by Margot

 

Hamilton Hill and Peter Bucknell were especially helpful.
Both books took authentic clothing of the period, pictured
it, described it, and laid it out in pattern form to scale.
The designer found The Evolution of Fashion easier to
follow and reproduce since the patterns were all given in
standard sizes. The Arnold book, however, reproduced
period women's clothes to a much greater extent and
explained them in greater length. The designer, after
appraising many costume construction books, deemed these
two the most complete and helpful and used them most exten-
sively in his design efforts.

The Creative Interpretation
of the Designer

 

The costumer found that along with the problems of
visualizing the mood and quality of the play, he had sev-
eral other difficulties to contend with.

After completing extensive research on the clothing
of the period, the costumer became aware of certain fairly
constant traits. The long, flowing line of the skirts is
often broken up by ruffles, ruching and various methods of

ornamentation. At the height of its fashion craze, the

pouter-pigeon bodice is overwhelmingly large, bordering

on the ridiculous. Much of the sinuous quality of the
silhouette depends upon very constricting corsets. The
line and silhouette of women's clothing runs the gamut from
overly severe to Victorian "gingerbread."

The men's clothing, on the other hand, is usually
very severe. The suit coat is square and boxy, repeating
the line of the treacherously high shirt collar. The pants
are baggy and ill fitting. Therefore the designer believed
that judicious selectivity and modification of line were
necessary for the desired sensuous effect of the costumes.

It was felt that the women's costumes should be
stripped of much of the usual "fru-fru," with only the
svelte, figure clinging lines retained with the pouter-
pigeon bodice slimmed proportionately to achieve the de-
sired effect. The men's costumes would also need more
shaping and fitting. The high shirt collar could be
lowered slightly and the overall smoothness of line could
be further completed by tighter fitting, better shaped,
pants.

Perhaps the only unifying factor for men and women
during this period is the lack of color in their clothes.
Both the men and the women wear only very subdued colors:
off whites, pastels, beiges, grays, navy blues, deep browns,
and black. The designer departed from the period color
range since he and the director felt that the costumes

would be "lost" if put against the black and white set.

Consequently, the designer felt that a deviation from the
subdued color range of the period was necessary and that a
bright, vibrant color scheme was more in keeping with the
tone of the production.

The costumes had to relate a certain quality of
sexuality, depending on the character and his amount of
sexual energy. Sexual attractiveness was to be a key point
in each costume. Fabric and line could be used to suggest
the class and condition of each character and their station
in society. A certain amount of contemporary influence
might also create a greater amount of empathy between the
audience and the characters; the use of color seemed to be
one solution.

Since color range and coordination might suggest
to the audience some of the aspects already discussed
above, i.e., sexual attractiveness, the entire color pal-
ette (with the exception of black and white) was considered,
and the range of colors for the men and women had to be
selected. The men in the play each have a certain amount
of ineffectuality; therefore a cool color range was planned
for them. In contrast to the men, the women are warm,
dominating creatures. Warm, hot colors were thought to
stress these characteristics and best contrast the men and
the women. The use of complementary colors as foils would
heighten the contrast and "update" the period color scheme.

No white or black would be used in the designs.

The director pointed out several Beardsley designs
that he wanted the designer to use as his basis for the
design motif. This was to be a combination of the bold
silhouette found in much of his work (plate 333)6 and the

7 The

delicate, flowing, feminine line (plate 347).
designer felt that if a flower motif was used a great
amount of inspirational material could be found in

Beardsley's work, especially in the Le Morte d'Arthur

 

drawings (plates 55-160).8 Since a bold, fluid line struc-
ture was considered for the set, the designer felt that he
could also incorporate this in the costume design, to unite
the set and costume. The placement of the motif was also

a main consideration. Several designs seemed to point out
the best placement and amount of design to be used (plates
391, 270, 235, and 290),9 that is to say, borders and trim
around the neck, hands and feet, with bold asymmetrical
designs up the center of the costume, narrowing as it
reached the waist. The designer also felt that Beardsley's
unrealistic flower designs would be best suited to the

element of whimsey desired by the director and designer.

 

6R. A. Walker, ed., The Best of Beardsley (London:
Bodley Head, 1948), n.p.

 

71bid. 81bid.

 

9Ibid.

 

10

The Integration of the
Design Requirements

 

 

The designer's problem was to select and integrate
the colors, the motifs, the ornamentation, and tentatively
the kinds of fabrics, so that the costumes would extend
the circular motif of the play; unify the characters; and
yet make them individuals. This was especially difficult
because of the one to one relationship of the characters
to each other.

The designer, besides placing the men in cool
colors and the women in warm colors, felt that the circular
motif of the play could be extended if the trim color of
the female character could be used as the dominating color
for the man in that scene and his trim color could become
the dominating color of his next costume. This type of
color coordination could create a certain amount of con-
tinuity in the costumes.

Natural plant forms seemed to have a much greater
feeling of sensuality as to geometric or animal forms. The
natural plant motif could be further divided into a flower
motif for the women and a tree motif for the men. If each
female character was assigned a certain flower form, this
could be used as the basis for her motif. The same would
hold true for the men. These motifs were arbitrarily

assigned since only a few scenes had direct references to

11

certain flowers.10 These motifs were only used by the
designer as a basis for the inspiration of ornamentation
and the color scheme for each character. The application
of these motifs was the next problem for the designer to
solve.

Several methods of decoration were considered but
applique appeared to be the best method used for the
application of the ornamentation, which would stress the
boldness desired by the designer. Embroidery and braid
could accentuate the linear quality of the men as compared
to the sinuous curves of the women's motifs. Other types
of application were originally considered and discarded,
due mainly to the amount of time available for the con-
struction of the costumes or their inability to withstand
abuse. Stenciling, batiking and other methods of fabric
dying were considered and rejected because of the designer's
lack of substantial knowledge of these operations and the
time limit involved. Gluing certain items was considered
and the designer felt he needed more experience with this
method before using it.

In determining textile selection, the designer felt
that soft, plush, fabrics would supply the sensuous and
flowing qualities desired. Therefore velveteen, velvet

and uncut corduroy could be suitable along with several

 

loBlock, Masters of Modern Drama, p. 251.

 

12

synthetic plush fabrics. Satins, crepes and georgettes
could be used to accentuate the plush fabrics and because

of their draping qualities. Social rank could be delineated
by the use of fabric. Lower class characters, such as the
Prostitute and the Soldier could wear cottons and uncut
corduroys; the middle class: velveteens and synthetics;

and the upper class: velvets and silks.

The softness, texture and draping quality of the
fabrics as well as the elements of color, motif, and
ornamentation, figured importantly in determining unity
and individualization of the costumes.

Section I has dealt with six major considerations
that the designer had to keep in mind before he could begin
to create his costume designs for La Ronde. The script
demands, the director's approach, the proposed setting,
the available source material, the designer's aesthetic
concepts, the integration of these aspects tended to define
the costumer's frame of vision in approaching the design
project. Within the six considerations was selecting the
"proper" fabrics, colors, trims, and ornamentation in order
to create the desired mood and quality of the costumes.

Section II is a discussion of the development of
the designs, a brief analysis of each character and de-
scription of his costumes, ending with a summary and a

subjective evaluation of the entire project.

SECTION II

THE SOLUTION

This section is a discussion of the procedures used
by the designer in completing the costume designs for La
32292“ These procedures include the following: (1) an
overview of the total design sequence; (2) brief character
analyses and descriptions of the final costumes; and (3) a
discussion of construction techniques. This section is
completed by overall evaluation of the project.

Upon completion of the research necessary to furnish
a comprehensive background of the Edwardian period, and con-
sidering the script's demands, the director's approach, and
the designer's creative interpretation, several preliminary
pencil sketches were shown to the director. The sketches
were approved, and finished colored renderings were com-
pleted and shown to the director. The only changes made
by him were: the combination of the Maid's two costumes
into one dress and a blouse, which would be over-dressed
in scene two; and the elimination of a cape for the Count
in scene ten.

Measurements were taken of the actors, and because

of the intricate cut of the costumes, muslin fittings were

13

 

14

used in all cases. The period patterns used from the

books discussed in chapter one were first recopied on brown
paper and then altered to match the actors' measurements.
All fabrics and trims were purchased before the construc—
tion actually began, which was five weeks before the first
technical rehearsal of the production. Since the designer
also functioned as a graduate assistant in the costume
shop, he was available for the supervision of the construc-
tion at all times.

Brief Analyses and Descriptions
of the Final Costumes

 

 

Because of the playwright's limited discussion of
characterization as discussed before, the analyses given
are those decided upon by the director, based on the few
descriptive lines in the play. As discussed in chapter
one, the trim color of the female character is used as the
dominating color for the man in that scene and his trim

color becomes the dominating color of his next costume.

The Prostitute

 

Although she appears hard and old in the first
scene, the Prostitute, it was felt, must imbue a pitiful,
old-before-her-time quality in both scenes one and ten.
It is revealed that she is only eighteen in scene ten.ll

Red was chosen as her dominant color for both

scenes because of its warmth and the association with her

 

11Ibid., p. 268.

 

15

profession. The first dress consisted of a long, full
skirt and low cut blouse with long full sleeves. The
selected fabric was a red cotton, faggoted material,
because it gave a glimpse of her underclothing and was
appropriate for the time of action, the summer. An over—
corset of melon and powder blue was worn to accentuate the
waist and breasts. Grosgrain ribbon trim of the same shade
of blue was set in three horizontal rows around the skirt.
The center row also had an applique of dark blue, red and
yellow flowers. A melon and sienna plaid shawl with long
red fringe completed the first costume (photos 1 + 2).

For her second costume, the Prostitute wore a pale
red chemise with crocheted lace around the neck with
several layers of the lace bordering the hem. Simple in
design, it was long and slim, cut on princess lines (photo
3). Bright red taffeta was used for the corset and petti-
coat, each bordered in red-edged white ruffles. High .
button shoes were worn in scene one; the actress went shoe-

less in scene ten.

The Soldier

 

The Soldier is viewed as a brash young man, whose

motto is "love 'em and leave 'em. He is always ready,
willing and able. Therefore, the costume had to project
a certain amount of boldness and masculinity that attracts

women to a man in uniform.

16

Bright, clear colors were chosen for him. A
vibrant light blue corduroy was chosen for the body of his
uniform, which consisted of a short jacket and fitted
trousers. The color, although cool, seemed to suggest a
certain amount of urgency. Bold, hot-orange stripes of
the same fabric were used to edge the jacket and the sides
of the pants (photos 4 and 5). The plush corduroy was
chosen for a sensual quality and yet it was rather coarse
compared to the rich velvets used for the upper classes
that followed in the play. A cape of medium orange malineo
was used in the first scene, to add interest and to set the
scene out of doors in the evening. The cape was struck for
the dance in the second scene. Black boots were worn in

both scenes.

The Maid

A young, sweet girl who is easily taken advantage
of, the Maid has begun to learn how to be a woman.12 Her
costumes had to reflect a girlish charm and naivete. The
scene three costume had to combine sexual attractiveness
and the quality of a maid's uniform.

Daffodil-yellow, polished cotton was chosen as the
basis for both costumes, since the skirt of the second

dress was worn in scene two. A pale orange pouter-pigeon

blouse with full bishop cap sleeves and a powder blue

 

12Ibid., p. 250.

17

bertha was over-dressed for scene two. Whipped Cream, a
polyester crepe, was chosen for the blouse, since it had

a soft feminine quality (photos 6 and 7). The blouse was
removed for scene three, revealing the matching yellow
polished cotton blouse with a pleated bodice and an insert
of medium blue Serano. Melon silk and worstered, used on
the wrong side was used for the peter-pan collar, revers,
cuffs and apron. The three-quarter length sleeves had
turned-back cuffs. Large white buttons fastened the cuffs
and apron to the dress. The long, full skirt was slightly
gathered at center back to add a bit of softness. Brown
embroidery edged the melon apron and matching collar
(photos 8 and 9). Bright yellow taffeta made up the petti-
coat, corset and bloomers, worn in both scenes, along with

brown laced boots.

The Young Gentleman

 

Effeminacy and attention to detail is the keynote
to the Young Gentleman. He is epitomized by his use of

13 He is a middle class

violet cologne in scene four.
dandy, whose taste is not necessarily bad but he surrounds
himself with items of poor quality. Pretentious and snob-
bish, he portrays a large section of the middle class.

The Young Gentleman wore a mid-calf length dressing

gown over his pale lavender pants and a pink shirt, also

 

13Ibid., p. 251.

 

 

 

18

used in scene four. It was made of lavender nylon fleece,
completely lined with a wine-colored satin. The full
length lapels and cuffs were embroidered with a pale blue
flower motif and metallic silver cord was entwined in
between in a Beardsley inspired motif. A wine satin sash
belted the dressing gown (photos 10 and 11).

In scene four, the Young Gentleman wore a tailored
Edwardian morning coat and matching pants of lavender
velveteen edged in a vibrant orange velvet ribbon. This
was used to accentuate not only the sensuality but also
the effeminacy of the character. The double breasted coat
was mid-thigh length with four buttons, a wide spread
collar and lapels. A light pink silk, high-collared shirt
and orange moire tie completed the costume (photos 12 and
13). The actor wore lavender and green print nylon tricot
boxer style shorts since the role required him to disrobe

during scene four.

The Married Woman

A cautious, bored matron, afraid of her reputation
and her husband, the Married Woman is out to find what her
husband cannot seem to give her. Her extreme caution seems
only to accentuate the fact that she is trying to hide her
identity from public view. Carefully dressed in a large
hat (with two veils)l4 and enveloping coat, she does the

the Opposite of her desire; she draws attention to herself

 

1
4Block, Masters of Modern Drama, p. 252.

19

by the oddity of her dress. With her husband, she is a
wise and cautious woman, whittling information out of him
about his affairs before and after marriage.

Femininity and middle-class elegance had to be
evident in every article of clothing worn by the Married
Woman in scene four. Therefore, a clouche coat of broad—
tail fur edged in chinchilla was used; it was lined in an
orange and blue print that matched her dress. A large hat
that matched the fur coat was also worn; it was trimmed in
orange lace and ostrich feathers (photo 15). Her dress
had to appear to be as carefully chosen as the outer wear.
Hot orange nylon fleece, which looked very much like velvet,
was used for the heavily gored skirt with a decorated front
panel, dust ruffle and matching bolero top with bell
sleeves. A bold flower applique was placed up the center
front panel in a Chartreuse green and sky blue flower
design. Dark brown braid bordered this panel and the
bolero. The bolero was lined in fabric matching the lining
of the fur coat. The high collared, pouter-pigeon blouse
with bishop cap sleeves and white edged jabot was made of
blue silk (photos 14 and 16).

Since the actress had to remove all her clothing,
an aqua cotton chemise was provided. Empire in style and
cut, it was mid-calf length and edged with lace at the hem
and neckline.

The drab existence led in her married life was

further emphasised in scene five by a pale aqua and white

20

striped nightgown. Cut on princess lines, it was floor
length with a three tiered ruffled bertha of pink georgette

(photos 17 and 18).

The Husband

 

The typical bourgeoise, Victorian, errant Husband,
he is worldly wise and cautious in his affairs. His cos—
tumes had to typify the elegance of the growing middle class
and yet show some of its tastelessness. The emphasis of
the large size of the actor only increased the grossness
and stupidity of the character.

The sheer ridiculousness of the character in scene
five was further pointed out by his night shirt and dressing
gown. The double-breasted dressing gown of mint green silk
and worstered was faced and lined in dark green satin which
increased visually the obesity of the character. His night
shirt of white, orange, yellow and green stripe flannel
completed the picture of a very foolish man, especially in
his married life. The night shirt was mid-calf length
with long sleeves and a simple jewel neckline with front
placket (photos 19 and 20).

An air of formality and richness has to be visible
in scene six. The actor wore a formal tail coat of forest
green velvet which was piped in matching green peau satin.
He also wore yellow-ochre velveteen pants; a white formal
shirt; white and gold metallic faille vest and yellow-

ochre bow tie (photos 22 and 23). The bagginess of the

21

pants and the ill-fitting jacket added a touch of the

Husband's poor taste and accentuated the actor's rotundity.

The Sweet Girl

 

The Sweet Girl's costume in scene six is important
in two aspects; first of all it must relate her with the
foolishness of the Husband and secondly typify a young
call-girl of the period, who is much more knowledgeable
than she lets on.

Cranberry red velvet was used for her dress for
two reasons; it tied her to the richness of the husband,
and the color and cut of the costume showed that she knew
what she was doing. The dress was a formal evening gown,
fitted from the waist, smoothly over the hips, where it
flared to the circular flounce at the hem. The bodice was
held up with narrow shoulder straps, covered with gold
ninon roses. The neckline was very low and a white lace
flounce, backed in gold lamé, edged the neckline and
created an off-the-shoulder look by extending around the
arms. The pouter-pigeon bodice was heavily gathered and
was further emphasised by a tight, shaped belt of white
lace backed with lamé (photos 23 and 24).

The Sweet Girl's dress for scene seven had to
reflect a different type of elegance, that of a woman-
child who would be attractive to someone who belonged to
the bohemian society, as the Poet. This costume required

an ensemble since the couple has been walking in the woods.

22

A cape and hat were chosen for her outer wear. The cape
was of shaded voile, the color going from palest pink to
hot pink. The hat combined the yellow and blue of the
dress and the pinks of the cape (photo 26).

The dress itself was of yellow seersucker. It had
a raised waistline at center back, accentuated by a vibrant
blue georgette waistband. The high collar and yoke were
of the same blue georgette and a fine white lace edged
the collar. The yoke was edged in hot pink taffeta with
an overlay of white lace. The skirt ended in a dust ruffle,
forming a slight train. The three quarter length sleeves
were three puffs of blue georgette with white lace par-
tially covering the puffs (photos 25 and 27). Cream-
colored taffeta formed the basis for her corset, petticoat,

and bloomers, and each was edged in dark fuchsia lace.

The Poet

The bon vivant of the cafe society, the Poet pays
more attention to his clothes and conquests than his
poetry. He dresses in the height of fashion, even if it
looks rather silly on him.

Secene seven, in the country, requires casual
walking attire. A Norfolk jacket of medium blue silk and
worstered with kelly-green stripes and a belt of the same
fabric accentuated his attention to fashion. Matching
green corduroy knickers and green patterned argyle socks

continued the image. A mint-green shirt with a flowing

23

gold silk scarf completed the image of foppery's finest
(photos 28 and 29).

In scene eight, the Poet has to project a rise in
station, since he is escorting a well-known actress. His
traveling suit must appear carefully chosen and well
coordinated.

Coordinating wools were chosen by the designer for
the sports coat and pants. The four buttoned coat was of
avocado green wool and carefully tailored. The pants were
a plaid of white, avocado green, lavender and sky blue.
The double-breasted vest of matching blue and copper bro-
cade had pearl buttons. The shirt of pale lavender and a
purple moire tie completed the outfit (photos 30 and 31).
A natural straw sailor hat added the finishing touch.
Since the actor had to disrobe in this scene, mint-green

nylon tricot boxer shorts were provided.

The Actress

 

The epitome of a vain, aging beauty, the Actress
is aware that her physical attractiveness is waning but
she makes the most of her figure by wearing expensive,
flattering clothes. She still knows how to win a man over.
The basis of her dress for scene eight was fuchsia
silk and worstered. The front of the bodice and the
sleeves were both of lavender georgette. The blousing of
the front of the bodice was very pronounced and the sleeves

pouched at the wrists. Purple embroidery was placed down

24

each skirt panel and on the jacket. The long skirt had a
slight train effect at center back. Pleated lavender
georgette covered the high collar and belt. A large
picture hat was also worn, of purple satin with a crown of
lavender georgette; the left side was covered with a vast
array of ostrich plumes in varying shades of pink, con-
tinuing the sweeping sinuous rake of the hat (photos 32
and 33). Her undergarments were made of iridescent lavender
taffeta edged in black lace (photo 34).

The dressing gown in this scene was an aba with
dolman sleeves. It was made of purple satin, lined in
hot pink brocade. Covering the left side overlay was an
applique of morning glories in varying shades of pink.

A knowledgeable woman in seducing a man, the
Actress wears an appropriately seductive dressing gown to
receive the Count in scene nine. Empire-waisted with a
full skirt ending in a long train, the gown had full
sleeves and a deeply scooped neckline. The fabric used
was a silver embroidered shocking pink silk. Lavender
ostrich boa encircled the neckline and gave the needed

seductive feminine touch (photos 35 and 36).

The Count

 

The Count once possessed a certain amount of per—
sonal charm and wit but it has all but withered after his
long absence from high society. He is now a seedy, back-

woods soldier whose boudoir manners are anything but perfect.

25

Therefore, he relies on his rank and uniform to impress
the ladies.

The waist length jacket, with a high collar, was
of dark purple satin. Gold encrusted lace bordered the
center front closure and the bottom edge of the jacket.
The bright orange brushed-nylon pants were worn inside his
over-the-calf, black riding boots. He carried a sword at
his waist. A purple brigadier's hat with orange plumes
completed the costume (photos 37 and 38).

In scene ten, the jacket was removed, showing a
soiled union suit and suspenders. This intended to show

the Count's lack of attention to personal effects.

Discussion of Construction Technigues

A brief discussion is necessary to describe some
of the aspects of the costumes. Because of a budget of
$500.00 and a need for luxury fabrics, some judicious
purchasing was necessary. Some items had to be found in
the costume shop and from stock which would be suitable.
In all instances, shoes for all characters were pulled
from stock: high button shoes were used for the women and
contemporary romeos for the men, since they were suitable
within the context of the period.

During construction it was found that the period
patterns used by the designer were almost impossible for
the seamstresses to follow, therefore changes had to be

made in construction techniques. The standard size patterns

26

given in the Evolution of Fashion were fairly easy to
alter to the size desired. However, due to the lack of
detailed construction information, more time was required
to formulate one's own construction techniques. The
Arnold book contained a much greater amount of information,
however, since the patterns were taken directly from
period clothing, there was a great deal of difficulty

in pattern alteration. Also several pattern pieces proved
impossible to put together and many construction techniques
were completely foreign to the seamstresses. This
naturally caused a multitude of problems and took up much
more time than originally planned on. Standard pattern-
making and construction techniques were employed whenever
possible.

Each woman's costume was made from the inside out;
that is corsets and petticoats were made first so that
they could be used during the actual costume fittings.

The applique and embroidery were machine applied. Only

one machine in the costume shop, the Viking 600, was
equipped to do decorative stitches, which caused several
delays when it was in use. A flexible glue was also used
in the application of decoration, especially the gold lace
on the Count's jacket. The glue used was Swift's and Co.'s
sobo adhesive #3917. The sobo prevented the fabric from
stiffening under the motif and saved time from basting

each motif onto the garment. The motif was first glued

27

in place, then satin stitched to create a finished

edge.

An Overall Evaluation of the Project

The designer believes that the entire project was
beneficial to his growth and development as a costumer.

The designer was given the opportunity to be responsible
for designing, selecting and executing the costumes for

an actual stage production in which he could view his
designs. He was able to put theory into practice and see
his costumes function on stage. The designer was generally
pleased with the costumes but he could see certain items
which could have been improved.

The applique used was much too bold for the arena
stage, especially that of the Married Woman in scene four.
The theory of using bold vibrant colors fell short in many
cases, causing some costumes to look like actual period
clothing, i.e., the Actress in scene eight; the Sweet Girl
in scene six and the Husband in scene six. Therefore, the
intended single deviation between authentic period clothing
and color was not always fulfilled. The painstaking atten-
tion to period detail in construction and underclothing
went all but unobserved, since a screen was used in most

of the dressing scenes.
Several mistakes were made in construction. The

women's period patterns were followed too closely. Boned

underbodices were constructed for each garment and used as

28

a base for each dress. This step could have been elimi-
nated and no harm done to the finished garment. However,
too many corners were cut in the construction of the men's
suits. The formal coats such as the Poet's, the Young
Gentleman's, and the Husband's required more tailoring
especially on the collars and lapels. The imperfections
caused by the lack of tailoring were visible in the arena;
perhaps they would not have been on a procedium stage.
The designer insisted on the use of only period
fasteners. This meant that only hooks and eyes and snaps
were used. The number required on each dress was phe-
nomenal, and of course each was sewn on by hand, which
added to the construction time. This, however, created
another problem, the removal of the garment on stage.
Zippers and Velcro were both considered and re-
jected by the designer. First of all, neither were avail-
able during the Edwardian period, and secondly, both had
major drawbacks. The hidden placement of zippers was
almost impossible and the characteristic "zip" sound was
heard in the close seating arrangement in the arena.
Velcro also made a very pronounced ripping sound; it was
also not very reliable in positions of stress. The cor-
rect positioning of the two garment pieces was extremely
difficult, especially on stage. The designer did use
zippers for the men's trousers since button flies were

very difficult to re-button. Therefore, the designer

29

only used zippers in problem cases. The Actress's scene
eight costume was the only case in point.

The dressing scenes did not have adequate rehearsal
time, which caused the actors to fumble and leave several
hooks unfastened. Zippers hurriedly replaced some of the
hooks and eyes, but they jammed, creating other problems.
Extra rehearsal time and the actor's confidence were
tantamount in a production of this nature.

Several actors used the problems in undressing to
add more comedy to the scene. The Young Gentleman in
scene four was a prime example; although he was always in
control, it seemed that he would at any moment rip his
clothes off. Lines in the script covered several dressing
scenes, however, in other scenes, the actor was left on
his own to remove the costume as quickly as possible. This
created a deathly silence on stage. A very sexually
arousing undressing scene could have been used but the
department, in fear of censorship, would not allow this.

The designer found that period underclothing was
a necessity in a production of this nature. The heavily
boned corset created a basis for the period line and
posture. However, because most women today no longer wear
a corset or girdle, the actresses complained of the un-
accustomed tightness required in the period. More time
should have been alloted for the wearing of the corsets
and other important garments. The correct petticoat was

also a major consideration. The flounces could not be cut

30

down or simply left off the petticoats. This was a very
necessary feature of the dress, not only, did it create
the required flare but also the enchanting sound of
rustling petticoats. The designer's attention to these
details enhanced the period feeling of the costumes and
he was pleased that this extra effort was not wasted.

The ideal fusion of actor and costume was not
always achieved. Although rehearsal garments were pro-
vided, most of the women did not demonstrate the necessary
posture and grace of movement that the costumes required.
Only the Married Woman and the Actress used the correct
carriage and bearing taught to them by the designer. As
for the rest of the actresses, they either did not under-
stand the designer's explanation'demonstration or they
were too accustomed to their previous habits. The men's
costumes created few problems.

The costumes that worked well in the aspect of
overall period feeling were: The Maid, scene two, The
Sweet Girl, scenes six and seven, the Poet, scene eight,
and the Actress scene eight. The designer felt that
these costumes came the closest to being good looking
within the context of the period. This is not to say that
they were the best examples of the fusion of the design
concept and the costume. The Young Gentleman's scene
three robe and the Married Woman's scene four costume
were thought to show the best fusion of the design concept

and the period costume.

31

The lighting also presented problems which the
designer could not correct. Very cool lights were used,
mainly frosts and cool ambers which were deadly to any-
thing in the warm range and the lavender-purples. The
yellow glow tended to "wash out" the colors of some of
the costumes. The lavender suit of the Gentleman was a
prime example; the costume looked grey under the lights.

A stronger line of communication should have been estab-
lished between the lighting designer and the costumer.

The experience of solving the problems inherent in
I the design and execution of costumes for a production was
of great value to the designer, but he found other rewards
which were gained by completing this particular project.
First, costuming La Ronde provided the designer the Oppor-
tunity of investigating and working within a well-known
period. Second, he was given the Opportunity of creating
costumes for a play where a vast range of characters were
portrayed. Third, he discovered, through experimentation,
many techniques of surface decoration previously unknown
to him. As a result, the particular aspects of the pro—
duction gave this designer a greater realization that the
creative process is determined by each play. HOpefully,
this insight will better equip the designer to solve

future production problems.

32

Summary

The essay has reviewed the problems involved in
the design and execution of the costumes for a production

of La Ronde. Design requirements in preparing the cos-

 

tume designs included the historical and technical demands
of the script: the "cartoon-caricature nature" approach
of the director; the relationships of mood and quality of
the settings and costumes; the survey of available source
material; the creative interpretation of the designer;

and the integration of all these requirements in order to
incorporate and select the silhouettes, colors, motifs,
ornamentation, and kinds of fabric which would unify the
characters and yet individualize them.

Section II discussed the procedures and solutions
of the designer in achieving the actual costumes. The
design sequence and preliminary construction activities
were described. Each character was discussed and each
of the costumes in terms of quality, silhouettes, fabrics,
and colors were described after the brief character
analyses. The costumes' delineations were followed by a

brief review of construction techniques.

SELECTED BIBLIOGRAPHY

 

SELECTED BIBLIOGRAPHY

Arnold, Janet. Patterns of Fashion. London: Wace Co.,
1964.

Block, Haskell M., and Sheed, Robert G., eds. Masters of
Modern Drama. New York: Random House, 1967.

 

Bradfield, Nancy. Costume in Detail. London: George
Harrya & Co., Ltd., 1968.

 

Braun, Louis, 33 El: Zur Geschichte der Kostume. New York:
E. Weye, n.d.

 

Braun-Ronedorf, Margarete. Mirror of Fashion. New York:
McGraw-Hill, 1964.

 

Brooke, Iris. Western European Costume. New York:
Theatre Arts Books, 1963.

Contini, Mila. Fashion. New York: The Odyssey Press,
1965.

Corson, Richard. Fashion in Hair. London: Peter Owen,
1965.

 

Cunnington, C. Willet. English Women's Clothing in the
Present Century. London: Faber & Faber, Ltd.,
1963.

 

 

Lane, John. The Latter Wgrk of Aubrey Beardsley. New
York: John Lane Co., 1912.

Gernshiem, Alison. Fashion And Reality. London: Faber
& Faber, Ltd., 1963.

Hill, Margot Hamilton and Bucknell, Peter. The Evolution
of Fashion. London: B. T. Batsford, Ltd., 1967.

 

 

Laver, James. Costume Thgough the Ages. New York: Simon
and Schuster, 1967.

Lester, Katherine. HistorigCostume. Peoria, 111.:
Charles A. Bennett Co., Inc., 1956.

 

33

34
, and Oerke, Bess. The Accgssories of Dress.
Peoria, 111.: Manual Arts Press, 1910.

Meyer, Franz Sales. Handbook of Ornament. New York:
Dover Publications, Inc., 1957.

Payne, Blanche. History of Costume. New York: Harper
& Row, Publishers, 1965.

Saint-Laurent, Cecil. History of Ladies Underwear.
London: Michael Joseph, 1968.

Walker, R. A., ed. The Best of Beardsley. London:
Bodley Head, 1948.

Waugh, Norah. Corsets and Crinolines. London: B. T.
Batsford, Ltd., 1954.

. The Cut of Men's Clothes. London: Faber &
Faber, Ltd.,7I964.

. The Cut of Women's Clothes. London: Faber &
Faber, Ltd., 1968.

Wilcox, R. Turner. The Mode in Hats and Headdress. New
York: Charles Scribner's Sons, 1946.

. The Mode In Costume. New York: Charles
ScribnerTs Sons, 1946.

. The Mode in Fur. New York: Charles Scribner's

Sons, 1331.

 

APPENDIX

PHOTOGRAPHS OF COSTUME RENDERINGS

AND COSTUME PORTRAITS

APPENDIX

PHOTOGRAPHS OF COSTUME RENDERINGS

AND COSTUME PORTRAITS

Photograph

Number Page
1. Prostitute Scene 1 Rendering . . . . . 37
2. Prostitute Scene 1 Costume. . . . . . 37
3. Prostitute Scene 10 Costume . . . . . 38
4. Soldier Scene 1 + 2 Rendering. . . . . 39
5. Soldier Scene 1 + 2 Costume . . . . . 39
6. Maid Scene 2 Rendering . . . . . . . 40
7. Maid Scene 2 Costume. . . . . . . . 40
8. Maid Scene 3 Rendering . . . . . . . 41
9. Maid Scene 3 Costume. . . . . . . . 41
10. Gentleman Scene 3 Rendering . . . . . 42
ll. Gentleman Scene 3 Costume . . . . . . 42
12. Gentleman Scene 4 Rendering . . . . . 43
13. Gentleman Scene 4 Costume . . . . . . 43
14. Married Woman Scene 4 Rendering . . . . 44
15. Married Woman Scene 4 Costume. . . . . 44
16. Married Woman Scene 4 Costume. . . . . 45

35

Photograph
Number
17. Married Woman Scene 5 Rendering
18. Married Woman Scene 5 Costume.
19. Husband Scene 5 Rendering . .
20. Husband Scene 5 Costume. . .
21. Husband Scene 6 Rendering . .
22. Husband Scene 6 Costume. . .
23. Sweet Girl Scene 6 Rendering .
24. Sweet Girl Scene 6 Costume. .
25. Sweet Girl Scene 7 Rendering .
26. Sweet Girl Scene 7 Costume. .
27. Sweet Girl Scene 7 Costume. .
28. Poet Scene 7 Rendering . . .
29. Poet Scene 7 Costume. . . .
30. Poet Scene 8 Rendering . . .
31. Poet Scene 8 Costume. . . .
32. Actress Scene 8 Rendering . .
33. Actress Scene 8 Costume. . .
34. Actress Scene 8 Costume. . .
35. Actress Scene 9 Rendering . .
36. Actress Scene 9 Costume. . .
37. Count Scene 9 & 10 Rendering .
38. Count Scene 9 & 10 Costume. .

36

Page
46
46
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47
48
48
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