Draping Period Costumes: Classical Greek to Victorian: (The Focal Press Costume Topics Series)

Sharon Sobel

Feb 2013 · Taylor & Francis

About this ebook

One way of creating a theatrical costume is called flat patterning. This is when a costume designer uses a pattern made to the wearer's measurements to cut out and sew together a costume. In many cases flat patterning is the more appropriate method for creating a period costume - skirts, pants, and sleeves, for example. However, working in two-dimensions often does not translate correctly onto a three-dimensional dress form or person. Often a designer will need to tweak style lines on a garment once they see it worn, or a costume will need a quick adjustment right before going on stage. In those cases, designers need to know how to correctly drape a costume. Draping is also the best way to construct a period costume right from the start. The construction of garments in earlier centuries often constricted movement, especially in the area of the armhole. The very different size and proportions of contemporary people compared to those in previous centuries makes the use of period patterns difficult. A well-draped garment can give the impression of period accuracy while permitting the wearer greater freedom of movement. Having a mock-up pinned to the form in its early stages is quicker and easier to adapt than drafting a flat pattern, cutting it out of muslin and sewing it. It also provides the opportunity for greater creativity and adaptation as well as a better understanding of what fabric will and won't do.

In Draping Period Costumes, Sharon Sobel explains in step-by-step detail the basics of draping and demonstrates the use of those basic skills in the creation of a representative selection of period costumes from a variety of time periods. Chapters are broken into time periods and have two parts: an analysis of how clothing was made and worn during that specific time period, and detailed instruction on draping techniques to construct the costume. Copiously illustrated, images allow this visual audience to easily follow along with detailed instructions.

A part of the Costume Topics series, this book will be 256 pages, a snazzy 8.25 x 7.5 trim size, and spiral bound-a format consistently requested by our audience so that they can lay the book flat while working from it.

About the author

Sharon Sobel is Professor of Theatre and Costume Designer at University of Nebraska at Omaha. A graduate of SUNY Albany (BA) and Carnegie-Mellon University (MFA) Sharon began her teaching career over 20 years ago at SUNY Geneseo and University of Connecticut. She has designed costumes for over 100 productions at her home institutions as well as at The Bermuda Festival, The Juilliard School, Brooklyn Academy of Music, Long Island Stage, New York International Fringe Festival, Connecticut Repertory Theatre, North Shore Music Theatre, Asolo Center for Performing Arts, Madison Repertory Theatre, Nebraska Repertory Theatre and Nebraska Shakespeare Festival. She has also designed costumes for Ringling Brothers and Barnum and Bailey Clown College. Sharon is a member of United Scenic Artists of America - Local 829.

As assistant designer and/or draper she has worked at Playwrights Horizons, The Alley Theatre, New Jersey Shakespeare Festival, Three Rivers Shakespeare Festival, Great American Children's Theatre, Opera Omaha, Sarasota Opera, Yale Repertory Theatre and Williamstown Theatre Festival.

Professor Sobel has designed and draped costumes for a broad range of historical periods, including Ancient Greek, Early Gothic, Italian Renaissance, Elizabethan, Cavalier, Petticoat Breeches, Georgian, Empire/Regency, mid- to late- Victorian, Edwardian, and all decades of the 20th Century. She has taught costume design, history, patterning and draping to college students for the past 20 years, both within a structured classroom environment and in a theatre production setting. She also teaches workshops across the U.S. for the Kennedy Center American College Theatre Festival (KCACTF) and has served as KCACTF Region 5 Chair for Design and Technologies. In January 2011 she was awarded a Kennedy Center Medallion for her work with KCACTF.