Thumbelina
Allied Design. Theoretical. Dance Production. © Brittannie McKenna Travis 2020
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Allied Design. Theoretical. Dance Production. © Brittannie McKenna Travis 2020
Brittannie McKenna Travis. She/Her. Costume Design and Technology.
2021 NATIONAL KENNEDY CENTER AMERICAN COLLEGE THEATRE FESTIVAL
National Randy Lutz Allied Design and Technology Award
and
Stagecraft Institute of Las Vegas Award
Course objective.
Course objective.
Course Name: Costume Design II - Graduate.
Description: The concept of the course was to design, develop and execute a specialty, animated costume piece (wings) for a fantasy character (any genre).
Note: There is not an assigned script or playwright. The task was to pick any fantasy character, and design/construct using researched factual/evocative information.
Photo of final Thumbelina wings.
General Information.
General Information.
Title: "Turquoise and Velvet". Artist: Dan Gerhartz. Medium: Oil.
Summary of Analysis + Paperwork.
Summary of Analysis + Paperwork.
Production Type: Dance - Ballet.
Period: Baroque (focus on Southern Baroque, Spanish and Italian, in 1622-1635).
Locale: An oversized Baroque-inspired palace (as the characters in the story are seen as small in scale to their environment).
Character: Thumbelina.
Plot/Concept (idea behind design): Thumbelina sprouts wings during the pas de deux with the cruel and haughty villain, who intends to force her to be his bride.
Theme: Beauty isn't a person's self-worth. Even though beauty is central to the tale of Thumbelina, her natural talents and ability to be compassionate to the supporting characters in her story are worth more than her appearance. Instead of allowing the viewpoints and sentiments of others to take root, Thumbelina determines her own self-worth and is a force to be reckoned with in each trial she faces.
Mood: Ornate. Power. Ostentatious. Grandeur. Richness. Drama. Dynamism. Movement. Wealth. Fast-paced. Tension. Emotional Exuberance. Active.
Colors: Rose Pink. Teal Blue. Hunter Green. Gold. Ebony Black.
Textures/Patterns: Curving lines. Hard. Marble. Fragile. Soft. Velvety. Cool. Prickly. Floral. Embroidery.
Words that Evoke Visual Imagery: Columns. Night sky. Roses. Satin. Europe. Clouds. Spanish. Italian. Brocade. Kingdom. Palace. Moon. Monarch. Noble Court. Silk. Expensive. Velvet. Stars. Thorns. Identity. Chandelier.
Paperwork: Work Hours.
Paperwork: Work Hours.
Research + Inspiration.
Research + Inspiration.
Costume Statement.
Costume Statement.
To design a pair of wings that embodied the lavish, opulence and exuberant ornamentation of the Baroque period in a simplistic, minimalistic style. A visual representation of Thumbelina's outside world (judgement, greed, materialism and vanity) and inside spirit (strength and grace) in a juxtaposing manner that resonates with Thumbelina's character.
Factual Research.
Factual Research.
Information About Research (top to bottom):(1) An intricate close-up on the detailing of Baroque architecture with floral motifs and curving lines. (2) An interior photograph of Baroque architecture. (3) Detailed close-up of a painting of Baroque fabrication/textile and the intricate construction of the pearls, jewels and tassels on the hem. (4) A Bust of Maria Barberini Duglioli, circa 1626-27, by Finelli. (5) The exterior of the Palace of Marques de Dos Aguas in Valencia. (6) A portrait of Anne of Austria wearing a dark gown with a lace collar and virago sleeves, circa 1625. (7) A baroque art piece from the Metropolitan Museum of Art.
Description: The main principles and elements that I extracted from my factual research included the deep black color with gold metallic accents, geometric (circular) shapes, silky/luxe fabrication and texture, elaborate nature-inspired motifs, dramatic light with dark contrast, dynamism in the shape and form, strong use of negative space, extravagant style, ornate and heavily excessive ornamentation, exuberant detail (of pearls, lace, beading, tassels, etc.).
Inspirational Multi-Media.
Inspirational Multi-Media.
Description: The exterior/interior of the Palace of Marques de Dos Aguas (PMDA) was a source of inspiration for the design of the wings. The PMDA is a nobility palace, historically important in the city of Valencia.
Evocative Research.
Evocative Research.
Description: My main evocative inspiration included the Emerson String Quartet’s concert of the Shostakovich Quartet No. 8 in C minor (Op. 110), the Autumn/Winter 2012 Dolce and Gabbana fashion show, and the chandelier. To me, the power, strength and beauty of a chandelier was an interior décor item that I felt embodied my character, Thumbelina. With this, for my final wings (best summarized from an article of research), I envisioned “curving lines, gilt and gold.”
Inspirational Quotes.
Inspirational Quotes.
- "Thumbelina what's the difference if you're very small? When your heart is full of love you're nine feet tall!" - Danny Kaye (Hans Christian Anderson - Film, 1952)
- "Never assume that loud is strong and quiet is weak." - Unknown.
- "Beauty is not in the face; beauty is a light in the heart." - Kahlil Gibran
- "Elegance is when the inside is as beautiful as the outside." Coco Chanel
- "Beauty begins the moment you decide to be yourself." - Unknown
- "Vanity working on a weak head, produces every sort of mischief." - Jane Austen
- Thumbelina: "I wish I had wings." Prince Cornelius: Maybe someday you will." (Film, 1994)
"Nothing can dim the light that shines from within." - Maya Angelou
Inspirational Multi-Media.
Inspirational Multi-Media.
Thumbelina Evocative Research.mp4Student-Edited Video: Phantom of the Opera +Emerson String Quartet
Happily Ever After: Fairy Tales for Every ChildThumbelina
The Royal Opera HouseRomeo and Juliet"Dance of the Knights"
Description:
(1) The first video is an interpretation of the dramatization that I felt was evoked from the visual imagery that I compiled. I researched, arranged and edited this audio and visual multi-media presentation as it is a true representation of how I visualize my wings interacting and engaging on stage.
(2) The second video is titled Happily Ever After: Fairly Tales for Every Child - Thumbelina (Season 2, Episode 2 - Episode Aired 20 April 1997). My interpretation of the characteristics and plot of Thumbelina originated from this episode. This is a video that I watched throughout my childhood that reflects the identity I envision for the character I crafted my wings for.
(3) The Royal Opera House's production of Romeo and Juliet (2019) is how I envisioned the features of the wings complimenting the scenery. As I envisioned the scenery and the wings as one piece.
Sketches + Rendering.
Sketches + Rendering.
Color Scheme.
Color Scheme.
Left to Right: Jet Black, Teal Blue and Marigold/Gold.
Rough Sketch.
Rough Sketch.
Image pulled from Research.
Description: The idea was to design wings that abstractly resembled and embodied a chandelier in shape, form and style. The graph drawing of the design of a chandelier is a item of research that allowed me to understand the geometry of the structure.
Medium: Graphite.
Final Rendering.
Medium: Digital.Final Rendering.
Construction process.
Construction process.
Technical Thumbnail Drawing + Mock-Up.
Technical Thumbnail Drawing + Mock-Up.
Description: During the development phase, I discovered that by manipulating wire I could construct similar shapes and styles from the factual research. So, I decided that wire would be my main material for the final design and construction of the Thumbelina wings. To recreate the shiny fabrication of Baroque silk, I used a black satin ribbon, and then I added lights attached to a bendable wire for the chandelier lighting effect.
Medium: Pen.
Materials.
Materials.
18-Guage Copper Wire.
Jewelry Wire.
Battery Operated LED Lights with Copper Wire.
Black + Gold + Blue Satin Ribbon.
One Medical Walking Crutch.
Scrap Muslin Fabric.
Organza Fashion Fabric.
Hot Glue.
Full-Scale Development.
Full-Scale Development.
Description: The first of four completed wing pieces with yards of black satin ribbon individually wrapped and hot glued to the 18-guage copper wire.
Challenge No. 1: The first challenge was replicating symmetrical shapes with the wire on the left and right. The wire was easier to bend and manipulate into loop shapes on the right side. Yet, on the left side the wire wanted to be straight, not curvy. The solution was to not "control" the wire . . . but to "guide" the wire. I would let the wire form the way it wanted, and create the symmetrical curves based on the direction that it wanted to bend.
Description: All four completed wing pieces.
Description: The beginning of attaching the wing pieces to each other. I used an unbleached muslin, to weave and create knots to attach the wire together.
Description: Using the LED string wire lights, I began to wrap them around the copper wire base, and then started to add the decorative jewelry wire.
Description: Using the base of a pair of crutches, I attached the wing pieces using the unbleached muslin. The black satin ribbon was wrapped and hot glued around the poles of the crutches. Then, the black fabric scraps were used to cover the muslin.
Challenge No. 2: A major challenge during the construction process was developing a suitable harness that could carry the weight and scale of the wings. I used different sources of metal and fabrics to connect the four pieces of metal swirls together. Each time the wings would collapse. After more intensive research, I decided to use a spare pair of crutches as the main harness. Using unbleached muslin fabric, I weaved and tied the wire to the crutch with knots. Then, I covered the muslin with the fashion fabric.
Description: The two bows made of blue satin and gold-wire ribbons.
Description: A side view of the smaller second pair of wings attached to the main structure.
Challenge No. 3: A minor challenge was safety using the decorative wire. The pointy ends (where the wire was cut from the roll) had the possibility of pricking and scrapping against the performer's skin. I began to trim all of the point edges using wire cutters to reduce the proximity to the skin. This was unsuccessful - instead of long pointy edges, there were short pointy edges. After a brainstorming session, I decided to bend the pointy ends inward, and this proved to be successful.
Description: The straps were made of black belts, and were painted with gold acrylic. At this stage all of the lights are added as well as the second pair of wire for the intricate details. The back of the wings is covered and wrapped with fabric to hide the battery packs.
Final Wings.
Final Wings.
To check out more of Brittannie's work, please click the link below for direct access to her web portfolio. Thank you!
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