In the JKB Theater, preparations are well under way for the Black Box’s upcoming adaptation of Virginia Woolf’s book Orlando. Her Campus sat down with senior Nicole Dancel, the creative vision behind Orlando’s costumes, to learn about the design process and get a sneak peek of what we can expect in the performance.
Her Campus: What is your background in costume design?
Nicole Dancel: Orlando is actually my first costume design project! It’s kind of a doozy for a first timer, considering the fact that the play spans over 400 years, but I’m glad that my first show challenged me. I got into costume designing during my sophomore year. I had to work in the costume shop for a few hours every week as part of a class I was taking. When I was little, I used to sew blankets and stitch little stuffed animals but I had never made clothes or anything. But after I worked in the shop and learned how to make clothes, I fell in love with it. Since then I’ve been taking independent studies in Costume Design and Construction as well as assisting the department Costume Designer during shows.
HC: Tell us a bit about the process of designing the wardrobe for Orlando.
ND: My original idea was very grand. Every character had these elaborately tailored costumes and it was all very couture. But I soon realized that I only had three-and-a-half weeks and not very much money, so I definitely had to simplify. I also started paying more attention to the story I was telling–what was necessary for each character? What costumes would tell the story we were trying to tell? Orlando has 12 actors but every actor plays a series of different roles. Therefore, I put them in basic chorus outfits and built off of that. My designs now are definitely still inspired by all of my original research, though. For example, I loved the idea of Alexander McQueen’s use of timeless silhouettes. I also loved that hard and soft nature and androgyny of Steampunk fashion, so that’s in there too. For me, it was important to be able to pull from all these different time periods to create this world of the play.
HC: Is it just you designing and constructing every costume or do you have assistants?
ND: The head of the Costume Shop, Patty Pawliczak definitely helps me flesh out my ideas. I also have an assistant who is a huge help. In terms of constructing, there are a number of people who help out in the costume shop (with varying skill levels), so it’s not just me making everything. That would be impossible.
HC: What is the biggest challenge you’ve faced while working on the wardrobe?
ND: The biggest challenge for me is the budget and time constraint. It’s easy to costume something if you have all the time, money and crew in the world. The hard part is making it work when you don’t have that much to work with. But that has also been the biggest reward. It’s been a huge challenge to have to keep cutting my ideas down–to keep simplifying. But I think, in some ways, this simplification is for the better. Just because you can have lots of big costume changes doesn’t necessarily mean you should.
HC: Do you have a favorite costume in the show?
ND: Definitely Sasha, the Russian Princess’ costume. I think it’s the most couture piece in the show, which is why I love it. It literally has everything I love combined into one costume. There’s also a lot of love in that piece–lots of hand-sewing and hours of work. I’m definitely going to have a hard time parting with that one.
Orlando premieres Friday, Mar. 1 at 8pm and continues through Mar. 8. There are also matinee performances on Saturday, Mar. 2 and Sunday, Mar. 3 at 2pm. General admission is $12 and student tickets are $8. Seating is limited so reserve your spot ahead of time by contacting the Skidmore box office! And while you are enjoying the performance make sure to pay close attention to the beautiful costumes designed by Nicole!