WHAT TO PREPARE
For a Costume Construction entry, the Thespian must display and discuss one (1) realized costume execution for a character from a published work written for the theatre. Costumes for performances of original works, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. Only one (1) Thespian may be involved in the construction; no collaborations are permitted. Costumes for either theoretical or realized productions are acceptable. All rules in the Senior Thespian General Rules apply. The Thespian must prepare the following:
An optional written essay response to share additional information about the costume with the adjudicators.
A fully constructed costume that reflects the Thespian’s capabilities and strengths, using a publicly available or personally designed pattern, for use in a play or musical.
The design for the costume need not be done by the Thespian who constructs it, but it should be original to the production being presented, whether theoretical or realized (i.e., replica garments of Broadway costumes are not acceptable). If non-original material is used, sources must be cited, and receipts of purchased materials (e.g., a pattern) must be included in the presentation of the costume.
The garment should be presented on a hanger, mannequin, or, if an accessory, in a box. The Thespian should not wear the costume during the presentation.
A portfolio of support materials (bound or digital) that must include the following:
Research, including:
Summary of given circumstances from the script;
Functionality requirements;
Genre, locale, and setting of the play (or other explanation of the world of the play);
Artistic and practical needs that impact the construction;
Sources of inspiration for design and color palette (if used)
Pattern used for the costume construction
If the costume is designed, developed, and constructed from a pattern available for purchase, the pattern manufacturer’s information must be included in the details of the presentation.
Alternatively, a pattern designed by the participant may be used, but must be included in the portfolio.
The costume needs to fit the person or model for which it was built. The costume may be designed to fit the participant.
Itemized expense sheet with accompanying receipts for all materials used to construct the costume, such as fabric, thread, buttons, zippers, and trim.
The total spent on all items used in the construction of the costume may not exceed $100 (USD), exclusive of the cost of the pattern (if purchased).
It is understood that there may be an occasional instance where the total value of the materials used exceeds $100, but donated materials have been used. If using donated materials, the value must be determined, documented, and noted on the expense sheet.
If showcasing millinery work, the budget limit is $50 (if submitting both a garment and millinery item, the total limit would be $150). If using donated materials, the value must be determined and included in the expense sheet.
Costume production photo series that focuses on the process of building the costume item (laying out the pattern, cutting the fabric, draping the fabric, etc.).
Include process photos used to document and reflect on the construction of the garment (i.e., not photos of the participant at a sewing machine).
Photos must depict the garment at various stages of construction and should illustrate such skills (e.g., sleeve alignment, zipper placement and insertion, seam finishes, etc.).
Include photos of the costume on the person or model for which it was built.
A five to eight (5-8)-minute presentation (plus an optional 4 minutes for Q + A with judges) summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media during the presentation (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the costume.
The Thespian should address general questions such as:
What are some of your responsibilities in your field?
How did the director’s concept influence your work?
How did the style of the play affect your work?
If the production was realized, what challenges did you face in unifying the director’s concept across all areas of your work?
The Thespian should address category-specific topics such as:
What significant challenges did you face while constructing this costume?
Were you also responsible for designing the costume, and if so, why did you choose this fabric/color/embellishment for the character?
If you did something differently than what the pattern suggested, why?
If the show was realized, did you have issues with fitting the actors or with the costume tearing during a performance and how did you fix it?