The Magic Garment: Principles of Costume Design

Rating:
Summary: Key to the World of Costume Design
Review: As a college student I was first introduced to the book The Magic Garment: Principles of Costume Design by Rebecca Cunningham. The book is simple and consise while providing a wealth of valuable information for the novice or professional. I enjoyed this book so much that I have choosen to use it as the text book for my costume design class. This will be my first teaching experience; however, I feel confident that this book will enable me to help my class understand the art of costume design.

Rating:
Summary: It's a great beginning
Review: Having taught costume design for a number of years, the one thing I can say with certainty is that no book can do everything. I've used the text for a number of years and find it helpful...especially her approach to analyzing the text (I still use her checklists myself). However, a lot of my students are intimidated by some of the illustrations/examples of work. They don't know how to approach sketching for themselves and there are a couple of other texts that are more helpful in aiding in that particular process. Possibly there could be more graphic illustrations of getting from A to D (show us B & C) instead of just the beginning and the end result. The historical research sources and the historical costume outline are good - again some of my students think that she provides a finite list of resources and as with any historical survey the attention is to avoid variations and or anything beyond high fashion. Generally, a strong introductory text but needs supplementary materials (as does any book). No one has complained about the text; that's a good sign.

Rating:
Summary: It's a great beginning
Review: Having taught costume design for a number of years, the one thing I can say with certainty is that no book can do everything. I've used the text for a number of years and find it helpful...especially her approach to analyzing the text (I still use her checklists myself). However, a lot of my students are intimidated by some of the illustrations/examples of work. They don't know how to approach sketching for themselves and there are a couple of other texts that are more helpful in aiding in that particular process. Possibly there could be more graphic illustrations of getting from A to D (show us B & C) instead of just the beginning and the end result. The historical research sources and the historical costume outline are good - again some of my students think that she provides a finite list of resources and as with any historical survey the attention is to avoid variations and or anything beyond high fashion. Generally, a strong introductory text but needs supplementary materials (as does any book). No one has complained about the text; that's a good sign.

Rating:
Summary: Wow! What piece of work!
Review: Rebecca Cunningham truly knows her stuff! Be it a suit and tie, a Diane Von Furstenburg wrap dress, a sari, a skullcap, a bathrobe, or one's birthday suit; a watch, hearing aid, brooch, or thong bikini, everything that we wear or refuse to wear conveys a message - however deliberate, and however unintentional. That said, few of us actually realize that we wear costumes 24/7. It's just too hard to think about. But as a professional jack of all trades and an admitted theater nut, I have thought a lot about it and dressed many a performer, and am very disappointed with the state of costuming in Hollywood and elsewhere. Costume designers today go overboard in attempting to "convey messages" in an unnecessarily redundant attempt to enhance the script. Take Erin Brockovitch for instance. I admire the wardrobe, don't get me wrong, but the film would have worked much better had the character dressed more like Phyllis Schlafly or Tina Yothers or Laura Bush than like LaToya Jackson. Rather than assume what the audience wants to see, think about the character. I dare say, was the nude scene necessary in Hair? I for one would have been happy to see the characters wearing at least a leaf or two. I was hardly shocked because I was expecting it. Which is my point. Would not that musical have been much better if instead of nudity we were greeted with the opposite - a bunch of paleolithic neanderthals dressed to the nines in their Sunday parka best?

And don't even get me started on Grease. I would prefer to see people on stage who are dressed like those I encounter every day. Even if that means the shabby failure to recognize one's dandruff, offensive body odor, or visible excrement stains. The theater is really not about bright lights, vivid colors, and makeup as camouflage. Ideally it is about self reflection. Which is rarely achieved through excessive glitz and glamor or well-dressed, square-jawed, magazine-quality "good" looks. I suggest that even a terrible performance can be greatly enhanced using these simple steps. Lopa Mukherjee is the director of the Upper Crust Theater Company (El Paso)