Research into paper costuming begins with books and pictures. Collecting images that inspire a design is how I begin to research the creation of any costume. Sculptures, origami and costumes all done out of paper supply images and beginnings of ideas. I am researching both period costumes made out of paper products as well as modern, abstract costumes also made out of paper products. Printing and dying the paper pieces is one way to enhance the costumes, and there is ample research into how to dye and print paper products. How to attach the paper elements is another step in the process: gluing, stapling, sewing, pinning and folding the products are some ways to hold a costume together. Creating sample dresses is another step in the research, since experimenting is the best way to find out what will or will not work. Creating costumes for dance involves the elements of design with focus on movement, yet line, texture, light and color are still important to the final product. Documenting my findings will help find the optimal mix of factors. I would like to make a dress on my own that moves, looks and feels like fabric. Other researchers have successfully made historical dresses that look like a real costume, and I hope to find the same success.
The collaboration starts with abstract costumes. Finding ways to incorporate text and paper, along with interchangeable or transforming costumes, could enhance the dance and offer something new to the artistic statement. I am working alongside a choreographer to create a final product that incorporates paper with a dance that can tell a certain story, which will continue to be fleshed out and inspired through a journey in France. The designs need to be worked through, because we haven't decided whether the costumes should look like paper or look like fabric, whether they should move and flow or should be stiff and flat, or even whether print should be used to provide a statement or context or the paper should remain inkless. The costumes may need to tear throughout the choreography, allowing for a deterioration of the costume and, perhaps, the physical dance. The idea of the dance started with the concept of a cartoon look with outlines and two dimensions; if that element remains crucial to the choreographer going forward, then I could suggest studying Ennio’s style of cardboard and paper costumes as a reference.
I continued my research by working with paper. Without designing, I started draping newspaper to mannequins and testing ideas. A problem I encountered was the problem of ink rubbing off onto the mannequins or hands of the draper. It creates a mess. Another issue was how to close the costume. Zippers are too heavy for paper. Hooks and eyes would rip out of the paper just as often as the paper would rip. Velcro is just as weak as the paper. It seems the best way for a costume made of newspaper to be closed onto the dancer is with tape, or the costume should be designed with no closure at all, so that it slips on and off the dancer directly. If cardboard would be used, then Velcro would be suitable so long as stress is not put on the Velcro. Elastic wouldn't work since the paper has no strength; with cardboard elastic would remain an option.
As of yet, I have not worked on making historical costumes; this could still be explored in the workshop at Mélisey. Physical research revolved around abstract and contemporary dance costumes, and after discussing the choreography and what the choreographer was interested in pursuing, historical costumes seemed out of place. The first piece of choreography will need a modern looking dress that moves like fabric. Tissue paper will be optimal for this section, since it moves like organza and can be layered to provide an ethereal quality. However, it is very thin and fragile, so any piece that must stretch or has any pressure applied to it must be reinforced with glue or tape, or be easily replaceable after each performance. I found Franz Zeir's book on sculpting paper to be very useful regarding heavy paper. By folding and carefully slicing paper to relieve pressure, a geometric three-dimensional shape can be created that retains a decent amount of strength.
Paper can be sewn, which could reinforce it and provide interesting patterns. Perhaps paper maché should be used on the bodice of the costumes. It provides a sturdy base that would ensure the dancer would not lose their costume. My physical research of working with paper and testing different draping and patterning techniques makes me think the final pieces should be reinforced in some way. Painting over the costume with white glue would create a clear layer that could possibly keep the paper from ripping, but it wouldn't allow the same movement. Paper has no bias – no stretch. The problem with this fact is that it provides no easy movement or strength to resist ripping or tearing. The optimal fabric to work with for the first costume would be Tyvek, which is a synthetic paper that was used in the sixties to make disposable clothing and transformable costumes.1 However, buying it on rolls is expensive. It would not be usable in France to create costumes due to its price, transportation and acquisition difficulties. Newspaper, the cheapest paper to acquire, will be used for the costume in the second part of the dance. Newspaper can be sculpted or 'draped' into shape. It can be painted and printed on to provide a greater visual stimulus. It also can be cut and draped such that is resembles fabric.
While in Paris, more paper can be acquired for the final creation process while in the city. In addition, modern museums may provide an idea of how to create interesting designs with fabric, which can be translated into paper. For instance, weaving fabric creates a visual image but also provides biases and creates strength. Weaving paper can create similar results. Twisting paper into a rope gives a modern and interesting look to the costume while providing texture. Braiding paper also provides strength for the costume and gives a unique and interesting look.
A challenge with creating the designs on the mannequins in the St. Louis shop during the preliminary phase of research was that none of them were sized to the draper's measurements. They could not be tried on after their creation to test durability or types of movement. Once in France, the created costumes can be tested on the dancers to see what techniques are the best for the piece and the design changed and adapted accordingly.
Quinn, 121.↩