Critical Costume | Exhibition 2022

Marwa Auda

BIO
Marwa Auda is Instructor at the Faculty of Fine Arts, Mansoura University. She has designed costumes for a number of plays for about 48 theatrical productions. She has won 9 international and local awards in costume design. She graduated from the Artistic Creativity Center at Cairo Opera House and holds two state awards for creativity and encouragement in costume design.

CONNECTING CULTURES

We Were All One | Designer: Marwa Auda | 2021

ABSTRACT
The whole world was created from one body (only one body). Love and peace prevailed in the world - the sky was clear and only humanity disturbed its nations, civilizations, and evolution. Technology is a double-edged sword that develops and kills - beneficial and detrimental. The Covid-19 virus came and brought nations and continents together to find a vaccine. At the beginning of the theatrical performance, the actors wear flags indicating the identity of the nations, divided by the director and the costume designer according to the different colours and decorative symbols that indicate each continent. When one of the actresses got ‘infected’ by the Corona virus during the show, the actor would take off their jacket to show another uniform (the same dress for all female and same suit for all male actors), free of colours and printed with the phrases “Prevention of Corona virus” in all languages of the world. The participation of 14 different nationalities in the show helped to translate the idea of sharing the pandemic among the countries of the world and to translate those links into the garments they wore.

Fredrich Floen

www.friedrichfloen.com

BIO
Fredrich Floen is a Norwegian costume designer who presents his work in a range of different theatrical contexts and formats. He graduated from Oslo Academy of the Arts in the spring of 2017 with a MA in Design (Department of Fashion and Costume Design). His former education includes fashion and production design and theatre studies. His artistic practice circles around the theatrical, the associative, challenging, unfinished, fantasy and maximalism and he works on new ways of approaching identity, dressing, future, body (culture) and performance as a way of co-existence and fiction making. Together with Runa Borch Skolseg, they founded the Dionysian Corporation to protect and explore fiction in this time of crisis.

CONNECTING MEANINGS

ABSTRACT
The performance City of Passion brings a city inhabited by three renaissance feminine sisters: Carmenta, Charity and Obs. They fill their days in the bubble bath, babbling, having philosophical discussions, catwalk shows, tea parties, funerals and creating dances. The performers played with how the three characters not only lived in the city, but carried it too; as well as the duality and consumer criticism that lay in it and their bodies. The universe aims to create megalomaniacs, romantic and exaggerated works and mind maps that long for true emotions. The performance drew material from characters and stories often extracted from forgotten sources to create dark and imaginative worlds that can hopefully illuminate power structures that dictate the real and often brutal form that life is. In their texts and costumes, the body is central, either as a progressive motif or obliterated, a meeting point, transformed; in many ways language is sadly inadequate to describe the body's experience. He will be representing Norway at PQ'23.

REFERENCES
Pisan, Christine de (1410). The Book of the City of Ladies. In The Book of the Queen, manuscript.
Skolseg, Runa Borch. Rennesanse Femenin Horror
Granata, Francesca (2021). Experimental Fashion: Performance Art, Carnival and the Grotesque Body, Bloomsbury Publishing.

ACKNOWLEDGMENTS
To my influences and inspirations: Rei Kawakubo, Ida Müller, Francesca Granata, Jhon Cage, Mette Edvardsen, Runa Borch Skolseg, Daphne B and SAI.

Iztok Hrga

iztokhrga.blogspot.com

BIO
Slovenian costume designer from Ljubljana, Iztok Hrga has 25 years’ experience in creating and making costumes for big and small productions, from classical works to musicals, from alternative or street to dance theatre in different countries. Specialised in costume design for puppets and children's theatre, he is used to working in groups, in theatre ateliers or making costumes at home, and can create costumes in all stages, from sketches through pattern making and cutting to sewing or customising the costumes. He finished his BA in Textile and Clothing Design in Ljubljana, and his MA in Theatrical Studies in Barcelona. Currently he is doing his PhD titled “The scenographic and dramaturgical potential of electronics in costume design”.

CONNECTING TECHNOLOGIES

ABSTRACT
Luminous skins are hybrid costumes conceived by the material medium of textile and the immaterial medium of light that re-examine the frontiers of the costumed body and reshape the relationship between performers and spectators. They are the central element of a ‘swarm-based scenography’ of a show called L.E.D, where two performers dance in pitch dark only with the help of the light they wear. Embodied light that is moving in unison with the wearers continually focuses the attention on the costumes, making spectators perceive everything that happens through the eyes and bodies of the performers. The costumes are embedded with sensors and actuators and wirelessly communicate with each other, with the scenery and the audience without the need for exterior illumination, wall sockets or lighting technicians. Performers and interactive systems are equal partners. The play is not about technologies – complex electronics are used subtly to talk about senses, sensing, emotions and awareness.

Silje Sandodden Kise

www.siljekise.no

BIO
Silje Sandodden Kise is a Norwegian freelance scenographer, costume designer and theatre maker. She has been working since 2008 in a variety of genres: theatre, dance, music based and cross disciplinary projects and has been exploring ecological design as an artistic method in performance making.

CONNECTING SOUNDS

Sustain | Designer: Silje Sandodden Kise | 2017 | Bergen International Festival | Composition, concept, vocals: Bodil Lunde Rørtveit | Composition, concept, musician: Jørn Lavoll | Concept, direction, dramaturgy, visual idea: Vibeke Flesland Havre | Concept, costume design, set design, instrument design: Silje Sandodden Kise | Musicians: Bodil Rørtveit, Jørn Lavoll, Terje Isungset, Annlaug Børsheim, Magnus Brandseth | Sound design, instrument design: Thorolf Thuestad | Light design: Silje Grimstad | Instrument design, instrument building: Hans Kristian Senneseth | Costume assistants: Ceri Anghard Rimmen & Julie S. Jensen | set building: Even Kråkenes | Producer: Hjørdis Steinsvik | Sustain - The Concert

Røyst – eller Bodil slutter med innestemme. («Voice – or Bodil stops whispering») | Designer: Silje Sandodden Kise | 2021 | Det Vestnorske Teateret, Bergen | Vinterlysfestivalen | Composition, text, concept, performer: Bodil Rørtveit | Direction, text, concept: Ingrid Askvik | Scenography, costume design, concept: Silje Sandodden Kise | Costume maker: Julie S. Jensen | Sound design: Elaine Malteos | Light design, Bergen version: Jon Eirik Sira | Producer: Hjørdis Steinsvik, 7 Mil | Lyrics from Hilde Trætteberg Serkland, Greta Thunberg, Wendell Berry |
Røyst - eller Bodil slutter med innestemme

ABSTRACT
Two signature costumes from the costume designer’s collaboration with composer/singer Bodil Rørtveit, and their research on materials, their sound, and their effect in performances is the base for this presentation. The dresses are both connected and opposites. The dress of “Sustain” is composed of garbage bags with the theme over-consumption and ocean pollution. Meeting the sounds created by the singer and musicians playing on plastic instruments, this dress creates the impression of an ocean goddess. In “Røyst” (Voice), the idea was to recreate this moment with an opposite choice of materials. A short traveled material: Cones from the forests surrounding the city. The scenography of this performance fits 2 suitcases, for easy touring by train. One suitcase is full of cones; when lifted, a dress unfolds before the audience’s eyes. Slowly dressing up, the cones make a little sound, as a starting point for a vocal improvisation of forests’ sounds.

Kate Lane

www.katelane.co.uk

www.bravenewworlds.co

BIO
Kate Lane is an artist, scenographer and academic with a specialism in costume. She is the Course Leader for the BA Performance: Design and Practice at Central Saint Martins and is joint artistic director of performance collective ceschi + lane. Ceschi + lane is a collaboration between theatre maker and performer Valentina Ceschi and academic Kate Lane – the two previously collaborated under the name ‘Brave New Worlds’. They have been supported and performed with organizations such as Barbican Creative Learning, The Point, Eastleigh, Ovalhouse (United Kingdom), Arts Printing House (Lithuania), ACT Festival (Bilbao) and Scenofest at World Stage Design 2017 (Taipei). Exhibitions include the UK exhibit at PQ15, ‘Make: Believe’ exhibition at the V&A (2015), ‘Costume at the Turn of the Century’ (2015) & ‘Innovative Costume of the 21st Century: The Next Generation’ (2019), Moscow.

CONNECTING MEMORIES

ABSTRACT
This exhibited work is my reflections on the context and creative working process for the project Confinement with my performance collective ceschi + lane. The project looked at the historic traditions of post-natal confinement in the context of the global pandemic lockdowns. It consists of a site-specific costume-led performance at Walthamstow wetlands in London, a series of community workshops forming a collective artwork and a series of ‘echos’ in the form of short films. Within the project we examined how the costumed body can give materiality to memory, form connections with community and become a critical commentary in the context of current events and wider contemporary & historical cultural traditions. The core of this project is about connection through costume both with the ecology of the landscape in its site-specific location, with collective memory and with community.

REFERENCES
Glaser, Eliane (2021). Motherhood A Manifesto, 4th Estate: London.
Baraitser, Lisa (2009). Maternal Encounters, Routledge: London.

Laura Marnezti

www.marnezti.design

BIO
Laura Marnezti is a stage costume designer and visual artist specializing in sculpture. Her artistic interest focuses on exploring sculptural values to integrate them into her costume designs to create pieces that develop a dialogue between the performing and visual arts, naming her pieces "proxemic devices". Laura disseminates her research under the title “Costume as an artistic piece”. She has presented her work at the Prague Quadrennial 2019 and was the third-place winner in costume design in the Emerging Exhibition at World Stage Design 2022. One of her passions is teaching, which she does at various universities in Mexico.

CONNECTING METAPHORS

ABSTRACT
The idea of the performance is that the character inspired by a deer would go for a walk in the public space with the purpose of creating a connection with people able to transmit positive messages and encourage care during the confinement that began in 2020 due to the pandemic. The deer is considered an animal that can translate the language of the gods for humans. The character is considered a majestic being that maintains the balance between feminine and masculine energy, between the ethereal and the earthly. The costume is inspired by the Yaqui culture, the texture of the fabrics comes from the inspiration of the landscapes of Hermosillo Sonora Mexico. The colour palette is an inspiration between the earthly and the divine. The Deer was walking through parts of Hermosillo, with a signboard that said, "we are free women and men, but not immortal, please take care of yourself."

Fruzsina Nagy

www.nagyfruzsina.com

BIO
Fruzsina Nagy is a Hungarian costume designer from Budapest. She has directed several individual performances using costumes as the “main characters” on stage. She is interested in the relationship between the human body and its surroundings. She believes that costumes can be an individual form of self-expression. She likes to experiment and stretch the borders in her work. She teaches at the Hungarian University of Fine Arts and has won many prizes over the past decade.

CONNECTING COSTUMES

ABSTRACT
In this exhibition, I wanted to show some special costumes that I have designed in my visual performances which have real physical connecting elements, where the actors or singers are connected to each other through the costumes:

Instrument costume (Pesti Esti) - where an opera singer was singing in a gigantic costume, while the actors could make music on her “skirt”. The music they played connected the actors to each other as well as with the singer.
Sex costume (Taboo Collection) - where the female singers are connected by pipes to the male singer. Their voices were also connected in the pipes they sang into.
Call Center costume (The Issue) - in which 9 singers sang a song called ‘Connections’ and were connected physically with strings to the main character, “the Call Center”, until she took a pair of scissors and cut herself off, disconnecting herself from the others.

Charlotte Østergaard

www.charlotteostergaardcopenhagen.dk

BIO
Charlotte Østergaard is a Danish visual artist, designer, educator, and researcher. As a PhD fellow (Faculty of Fine and Performing Arts at Lund University, Sweden), she is currently doing artistic research studying multiple ways of hosting polyphonic co-creative processes and/or costume entanglements between various agents, positions, disciplines, perspectives, epistemologies, and methodologies. Her artistic practice is between costume, textile and fashion design. Central in Charlotte’s practice is perceiving that ‘anything’ has potential as material and that material is a facilitator for actions and communication between people. She has designed costumes for more than 65 contemporary dance performances, receiving several grants, and with an extensive exhibition practice. Her designs are presented at the Danish Design Museum and The National Gallery of Denmark.

CONNECTING CO-COSTUMERS

Community Walk - Creating temporal and spatial connections through and with co-costumed entanglements | Designer: Charlotte Østergaard | July 30, 2020 | Central Copenhagen (through different places as parks, squares, sidewalks, and pedestrians) | Co-wearers: Agnes Saaby Thomsen, Lars Gade, Paul James Rooney, Benjamin Skop, Josefine Ibsen, Julienne Doko, Anna Stamp, Daniel Jeremiah Person, Camille Marchadour, Tanya Rydell Montan and Jeppe Worning | 12 hours (one hour per each co-wearer) | Thanks to Metropolis festival for the invitation to the festival Walking Copenhagen (which Community Walk was a part of) - Charlotte Østergaard - Metropolis - Walking Copenhagen

ABSTRACT
This Critical Costume exhibition presentation derives from the twelve-hour costume-based ‘performative-walk’ Community Walk (2020). The frame for Community Walk was a bright yellow costume that physically connected two wearers. In Community Walk I, the researcher and costume designer, placed myself ‘in the centre’ of the co-wearing entanglements. For twelve hours I co-wore the costume in the central area of Copenhagen, DK connected to twelve different co-wearers. One hour with each co-wearing participant. In the video I share some of the values that are the foundation for my artistic practice and research – hence, for this project. I unfold aspects of the co-wearing experience. For example, that the costume orientated the co-wearers towards each other and that they as a connected pair had to navigate and negotiate the costume, by-passing spectator(s), and urban environment.

REFERENCES
Ahmed S. (2006), Queer Phenomenology – orientations, objects, Others, Duke University Press.
Ahmed S. (2010), Orientation matters, In (Eds.) Coole D. & Frost S.; New materialism – ontology, agency, and politics, Durham & London: Duke University Press.
Barad K. (2007), Meeting the universe halfway – quantum physics and the entanglement of matter and meaning, Duke University Press.
Bozalek V. & Zembylas, M. (2017), Towards a response-able pedagogy across higher education institution on post-apartheid South Africa: An ethico-political analysis, Education as change, 21(2), p. 62–85, DOI:10.17159/1947-9417/2017/2017
Haraway D. (2017), Staying with the Trouble – Making Kin in the Chthulucene, Durham and London: Duke University Press.

ACKNOWLEDGMENTS
Sally E. Dean, Jeppe Worning, Sofia Pantouvaki, Susan Marshall, Helle Graabæk, Rikke Lund Heinsen, Eva Skærbæk and lot of gratitude to my big (proximate and distant) co-crafting family.

Yuka Oyama

www.yukaoyama.com

BIO
Yuka Oyama is a Japanese-German artist who grew up in Malaysia, Indonesia, Japan, USA and Germany. She lives and works in Berlin and is Professor of Craft (Jewellery Art) at the University of Gothenburg, Sweden. Oyama’s artistic practice incorporates wearable sculpture, jewellery, choreographic experimentations, performances, and video. Her life-sized costumes that she calls ‘person-thing-hybrids’ function as material provocations that explore the disconnections often felt in contemporary life: the degeneration of human-to-human emotional communication and an increasingly eroded sense of belonging. Everyday objects are used to upset these disconnections, facilitating our ability to act beyond set conventions.

CONNECTING LIFE

SurvivaBall Home Suits | Designer: Yuka Oyama | 2021 | Berlin | Producer: Studio Yuka Oyama | Director / Script: Yuka Oyama | Production Management: inspiranten GbR (Annette Kolb, Frauke Harnack) | Production assistance: Treasure in Style, Berlin (Kati Hetmainczyk) | 1st camera and Editor: Sanson Film, Zurich (Angelo Sansone) | 2nd camera: Jasmin Preiss | Media Technology: Daniel Dobrodinsky and Thomas Fellberg | Photographer: Zoe Tempest, Zurich | Music: “Brimming with Anticipation” (2020) - Performed and composed by Psycho & Plastic (Alexandre Decoupigny & Thomas Tichai) - Presented by GiveUsYourGOLD 2020 “Anders Anderson Theme” (2013) - Composed and interpreted by David Scheler | Performers: 6 teenagers and young adults from Berlin (anonymity agreement) | SurvivaBall Home Suits (2021)

ABSTRACT
There are strong connections between the costumes that I make and my private life. My costumes are an exploratory device to find out solutions to deal with situations that are challenging in my life - things that trouble me, that I am doubting and try to understand what is going on. The costumes show me some kind of answers. I cooperate with my costumes, they are research tools to find out individual responses towards specific topics that I enquire, such as self-making, relationships, grounding, and heritage. I am interested in issues for which we have to make our own individual choices. My fieldwork entails interviewing respondents, translating their answers as wearable sculptures, and implementing performance with the interviewees. Performances that I undertake are often theatrical and take place in the public space.

REFERENCES
Baudrillard, J. (1996), The System of Objects. London, New York: Verson.
Douglas, M. and Isherwood, M. (1996), The World of Goods: Towards an Anthropology of Consumption. London, New York: Routledge.
Illouz, E. (2012), Why Love Hurts. Cambridge: Polity Press.
Nave-Herz, R. (2015), Familie heute—Wandel der Familienstrukturen und Folgen für die Erziehung, 6. Auflage. Darmstadt: WBG.
Tseëlon, E. (2001), Masquerade and Identities: Essay on Gender, Sexuality and Marginality. London and New York: Routledge.

ACKNOWLEDGMENTS
I thank many women who have mentored me. And hope to pass the knowledge to those to enjoy life.

Andrea Pacheco

BIO
Andrea Pacheco has designed costumes for numerous theatre productions and has worked on television. She is currently pursuing a Master's degree in Performance Design and Practice at Central Saint Martins, University of the Arts London. She has won several distinctions such as a bronze medal for costume design at the World Stage Design competition held in Taipei, Taiwan in 2017.

CONNECTING WOMANISM

ABSTRACT
Missing Daughters is a performance that aims to connect the Mexican ancient myth of Coyolxauhqui, the scarified goddess that became the Moon, with the contemporary and painful reality of Latin América. I'm convinced that myths do not remain as tales from the past, rather, they adapt to contemporary narratives in order to maintain models of supremacy. In the context of Mexico, these ideas deeply rooted in our culture, take the life of 10 women every day, while thousands of girls and women are abused on a daily basis. Missing Daughters aims to give an insight of the implications of living and dying as a woman in my country, with the hope that it can contribute to spreading awareness and immediate action. It was significant to me to explore costume as a way of registering loss, which I believe allows us to hold on to connections that might be forgotten or let go.

REFERENCES
Alba, A. & Guzmán, G. (2010). Making a killing: femicide, free trade, and la frontera. Austin: University of Texas Press.
Anzaldúa, G., Cantú. & Hurtado, A. (2012). Borderlands = La Frontera: the new mestiza San Francisco: Aunt Lute Books.
Chew Sánchez, Martha I. Feminicide: Theorizing Border Violence. Latin American Research Review, 2014, Vol. 49, No. 3. St. Lawrence, NY: The Latin American Studies Association.

ACKNOWLEDGMENTS
Special thanks to my tutors Pete Brooks and Athina Vahla.

Simona Rybáková

BIO
Simona Rybáková, PhD, is a Czech costume designer and independent researcher who studied at the University of Applied Arts in Prague, at the University of Art & Design Helsinki (currently Aalto University), and at RISD (Providence, USA). Her work includes designs for opera, drama, dance, film, TV, special events and multimedia. She curated the ‘Extreme Costume’ exhibition at PQ11. She was awarded the Swarovski Award '96, the PQ99 Golden Triga, best costumes at WSD 2013, WSD 2017 and WSD 2022, and an iSTAN Excellence Award 2018. She is the Head of the OISTAT Costume Design Sub-Commission (2015-2023), and a member of the Czech and the European film Academy.

CONNECTING WORLDS

ABSTRACT
This work is based on a family show inspired by seven fairy tales written by Hans Christian Andersen, which was the main inspiration for this theatre piece with strong artistic movement and musical elements. In the final video we combine production photos with metaphorical reactions to other connecting visuals. Costumes and stage design came to life thanks to the close connections of the whole team including the actors who became active co-creators of the play with the help of an interactive directing style. With the two porcelain figures, and the stories in the background, viewers are transported into the colorful world of Andersen’s imagination. What crystallizes from the clash of reality and everyday routine is a beautiful and poetic message not only about Andersen’s characters but about every one of us.

REFERENCES
Life and the nature itself.

ACKNOWLEDGMENTS
Thanks belongs to my directors Lukáš Trpišovský and Martin Kukučka for their continuous offers of great creative collaborations, for their trust, inspiration and respecting my work for more than 15 years already.

Susana Botero Santos

www.susanaboterosantos.com

BIO
Susana Botero Santos is a Colombian visual, textile and performance artist. She has worked as a designer for film and theatre. In her practice she reflects on the politics of the body when it is socially exhibited, in body - temporal or permanent - transformations and on appearance as a cultural phenomenon. Inspired by human anatomy she designs textile surfaces. She studied a Master in Textile Design at Chelsea College of Art and Design in London and is currently completing a Master in Direction of Devised Theatre in DAMU, Prague.

CONNECTING SKINS

Fasciarium & Anamorphosis | Designer: Susana Botero Santos (Señora Menudencia) | 2022 (work in progress) | Director and idea: Susana Botero Santos | Dramaturgical consultation: Sodja Zupanc-Lotker | Artistic consultation: Petra Hauerova and Cristina Maldonado | Music: Andrés Silva Diaz | Lighting design: Carmen Lee I Video: Enzo Perrier, Andrés Silva Diaz and Susana Botero Santos.I Content devised with: Michał Salwiński, Andrés Silva Diaz, Snæfríður Sól Gunnarsdóttir, Kirstine Hupfeldt Nielsen, Aljoša Lovrić, Sai, Yu En Ping, Mara Ingea, Daniel Victoria, Daniel Gibran Victoria Mancilla, Richard Janča and Nadezda Nazarova | Research support: DAMU Theatre Faculty of the Academy of Performing Arts in Prague and Hrdličkovo Muzeum Člověka

ABSTRACT
Fasciarium is a participatory visual and auditory landscape of the human body’s internal and external anatomy where audiences are invited to a fiction of an open laboratory where they can redistribute their fascia and rethink a more joyful human identity. Anamorphosis is a performative lecture where the artist exposes her personal body journey opening the space to other human creatures’ body stories. Started in 2019, this is research on human anatomy, textile design and performance. An exploration of the body as a field that is attractive in a visual, spiritual, and kinky way, along with costumes that have agency to create characters that heal, beautify or disfigure, make someone laugh or feel embarrassed. For the designer, identity is more of a costume that can be worn or removed, and body is a medium to shift identity, to touch intimacy, vanity, sexuality, and beauty.

REFERENCES
Umberto Eco (2007), On Ugliness. Italy: Bompiani.
Kristeva, Julia. (1982) Powers of Horror: An Essay on Abjection. New York: Columbia.University Press Translated by Leon S. Roudiez.
Barragan Luis Carlos (2018), El Gusano. Colombia: Ediciones Vestigio.
Tsutsui, Yasutaka (2006) Salmonella Men on Planet Porno. Richmond, London: Alma Books.

Julia Simmen

www.juliasimmen.de

BIO
Julia Simmen is a German visual artist, costume and stage designer, body architect and costume researcher. She has worked continuously since 2009 in costume and stage departments for opera, musical, ballet and TV productions. Julia’s work concentrates on exploring the concept of Body Architecture in the form of wearable sculptures, art pieces and costumes by experimenting with unconventional materials and techniques. This process is focused on the exploration of new boundaries and possibilities of costume and stage design.

CONNECTING SURFACES

Between Two “Tempests” | A Costume Design for a Contemporary, Interdisciplinary Theatre Play of a Cultural Mixed Creative Team from Europe and West Africa | Costume Designer: Julia Simmen | 2021 | Dortmund Theatre, Germany | Director and Video: Poutiaire Lionel Somé | Stage designer: Marion Schindler | Sound: Abdoul Kader Traoré | Co-author and storytelling: Bernice Lysania Ekoula Akouala | Performers: Bernice Lysania Ekoula Akouala, Marlena Keil, Nika Miskovic, Sarah Quarshie, Valentina Schüler | Zwischen zwei Stürmen – Schauspiel Dortmund | Zwischen zwei Stürmen: Theater Dortmund

ABSTRACT
In 2021, Julia Simmen was responsible for the costume design for the contemporary, interdisciplinary theatre play Between two Tempests at the Dortmund Theatre in Western Germany, directed by the Burkinabe artist and director Poutiaire Lionel Somé and co-written by the Kongolese poet Bernice Lysania Ekoula Akouala. Somé and Akouala connect this work with Shakespeare’s The Tempest (1611) and Négritude founder Aimé Césaire’s A Tempest (1969). The Martinican poet, playwriter, politician and co-founder of the Négritude movement, Aimé Césaire, kept the structure and the figures of the Shakespearean version, relocated the isle in the Caribbean and focused the story on Prospero, Ariel and Caliban. Both Tempest plays respond to Shakespeare’s original play by foregrounding issues of power, feminism, colonisation and culture. The former servants become the queens of the present version in both texts.

REFERENCES
Discourse on Colonialism by Aimé Césaire;
Exit Racism by Tupoka Ogette
Sisters and souls by Natasha A.Kelly
Fashion and Postcolonial Critique by Elke Gaugele and Monica Titton
Le Petit Prince by Antoine de Saint-Exupery

ACKNOWLEDGMENTS
Marion Schindler, Poutiaire Lionel Somé, Bernice Lysania Ekoula Akouala, Corinna Link, Marlena Keil, and the Costume Department of Dortmund Theatre

Qin Wenbao

BIO
Qin Wenbao is a well-known costume and stage designer in China dedicated to drama, opera, film, and television. He received the Gold Awards in Costume Design at World Stage Design 2017 (WSD2017) and at the International Stage Art Network (iSTAN) Stage Costume and Make up Design Competition and Exhibition. He is also Associate Professor of Stage and Costume Design at the National Academy of Chinese Theatre Arts (NACTA) in Beijing.

CONNECTING POETRY

Ink Wash Clothing Design: Li Bai's trip to ChangAn | Designer: Qin Wenbao | 2020 | Hefei Theatre

ABSTRACT
In recent years, one of Qin Wenbao’s costume design study focuses has been the use of abstract ink art into theatrical costume design. The costume designer attentively examines the modern transformation and development of Chinese opera stage art and elaborates on the design process and performance impact, as well as the influence on the creation of Chinese opera stage costumes, by examining his own design process. The argument is not restricted to the investigation of the costume-making process alone: it extends to examine costume creation as part of the development and changes of contemporary Chinese stage art, particularly through the relationship between the designer's creation and the performance of Chinese opera actors. This helps to understand the current state of Chinese opera stage costume creation, and provides relevant creative references for exploring the transformation and development of Chinese stage costumes.

CC2022 Online Exhibition

Costume Connections

CC2022​ Online Exhibition