Costume Design

What to Prepare

For a Costume Design entry, the Thespian must prepare and present costume designs for a published work written for the theatre. Designs for performances of original work, poetry, fiction, screenplays, television, concerts, or any other medium are not permitted. Only one (1) Thespian may be involved in the design; no collaborations are permitted. Designs for either theoretical or realized productions are acceptable. The Thespian must prepare the following:

1. Five (5) costume renderings (either five different characters or a single character through five changes).
   • No more than five (5) costume renderings will be permitted.
   • No finished costumes are permitted.
   • Renderings should be at least eight (8) inches tall and must be in full color; large and detailed enough for the adjudicators to easily understand the design choices (whether in person or digitally). Template or traced character forms are permitted. Renderings may be hand-drawn or computer-generated.
   • Renderings may be presented on a display board or in a portfolio (bound or digital). The board or portfolio page should be clearly and neatly labeled with a title block that contains the following information:
     • Play or musical title and author(s)/composer(s);
     • Performance dates and facility in which it took place (if applicable);
     • Character’s name, act, and scene;
     • Entrant’s name and troupe number (optional).
   • Swatches must be included.
2. A portfolio of support materials (bound or digital) that must include the following:
   • One-page design statement that includes:
     • Unifying production design concept;
     • Theme of the show/recurring motifs.
   • Research, including:
     • Summary of given circumstances from the script;
     • Functionality requirements;
     • Genre, locale, and setting of the play (or other explanation of the world of the play);
     • Artistic and practical needs that impact the construction;
     • Sources of inspiration for design and color palette (if used).
   • Budgetary requirements or other constraints and considerations.
   • Preliminary sketches.
   • Costume plot for the chosen character(s), showing costume changes and indicating when costume changes happen.
3. A five to eight (5-8)-minute presentation summarizing the work with connections to concept, collaboration, and design decision-making. The Thespian may use digital media during the presentation (the Thespian must provide their own equipment for viewing), or the Thespian may bring photo boards or other visual aids to display along with the costume designs.
   • The Thespian should address general questions such as:
     • What are some of your responsibilites in your field?
     • How did the director's concept influence your work?
     • How did the style of the play affect your work?
     • If the production was realized, what challenges did you face in unifying the director's concept across all areas of your work?
   • The Thespian should also address category-specific topics such as:
     • Describe your collaborative design process (e.g., with your design team or director).
     • What role(s) did the other design elements play in designing the costumes for this production?
     • What challenges did you face due to other design elements of the production?
     • Do you think your designs helped to support the actor’s/director’s choices?
4. An optional written essay response to share additional information about the costume design with the adjudicators.

Slating: All Categories

Thespians must begin their presentation with an introduction known as a slate. The slate is not part of the performance, but is simply an informative introduction to the piece. This is an opportunity for students to be themselves and address the adjudicators in a comfortable, polite, and brief manner. The slate should include the following information:

• The Thespian’s name (or names, for group categories);
• Troupe number;
• Title of selection being performed or work being showcased (e.g., costumes from The Crucible);
• Name of the playwright(s) and/or composer(s).

A slate might sound like this: "Hello. My name is Jane Smith from Troupe 561, and I’ll be showing you costume designs from Pippin by Stephen Schwartz, Roger O. Hirson, and Bob Fosse." 

After the slate, time begins with the first word of the presentation. If a Thespian exceeds the time limits stated above, the adjudicator or room monitor will note the time and a final eligibility ruling will be determined. Exceeding the time limit may result in disqualification. 

Dress Code: All Categories

For all categories (performance and technical), Thespians will present themselves at adjudication or in their submission video as a blank slate, refraining from wearing clothing and/or accessories that distract from the performance or presentation. The goal is to level the playing field and allow the focus to remain on the work, not the aesthetics of the presenting Thespian(s). Thespians should follow these guidelines:

• Dress in simple, modest attire suitable for a professional interview or audition, in black or dark colors. Clothing should be appropriate for the situation so as not to limit or restrict movement or affect the performance. For technical categories, Thespians may choose to follow the guideline above or wear the black/dark-colored clothing traditionally worn by technicians.
• Acceptable footwear is neutral, not distracting, and may include character shoes and dance shoes (if category appropriate), dress shoes, sneakers, or boots.
• Theatrical makeup, costumes, and props are not permitted.
• Avoid wearing distracting items such a large, dangling jewelry, light-up footwear, or fashionably distressed clothing.

Skills Measured: Costume Design

• Ability to demonstrate an understanding of the costume design process;
• Ability to demonstrate an understanding of the artistic, functional, and practical constraints that impact design and the relationship to a unifying concept;
• Ability to research and understand the connection between style, period, locale, genre, and other historical and cultural influences on design choices;
• Ability to document, present, and clearly explain and justify design choices.

PRESENTATION

Explanation of the executed design, unifying concept, creative decisions, and process

RESEARCH

Evidence of research of the given circumstances of the script as well as artistic and practical needs which impact the design.  

INTERPRETATION

Design choices merge the unifying concept with the designer’s unique vision.

DESIGN JUSTIFICATION

Connecting the design choices to the artistic and practical needs of the production.

EXECUTION

Products presented convey ideas and choices that support the script and unifying concept.

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