Romeo and Juliet

by William Shakespeare

This version of Romeo and Juliet was done as a semi staged reading, with minimal set and costumes. We built a few pieces for the show that didn’t go on stage, as well as small accent pieces to help define character that were used on stage.

For this piece I drafted and built a dress for Juliet which did not go on stage. I also dyed eleven different scarves for use on stage, with patterns and colors representing character affiliations. For the scarves I used China silk and acid dyes.

Production Credits

Director: Brittany Proia

Costume Designer: Cesario Tirado-Ortiz

For this project, as we did not yet have our fabric, I spent my time dyeing several samples. I used this time to decide on the colors and resist techniques I would use.

For this project, as we did not yet have our fabric, I spent my time dyeing several samples. I used this time to decide on the colors and resist techniques I would use.

Once I got the fabric, I dyed several more samples to test how the acid dyes I was using reacted with the silk.

Once I got the fabric, I dyed several more samples to test how the acid dyes I was using reacted with the silk.

I recorded the procedure for each sample so I could easily reproduce colors. I used a total of five colors to achieve these effects.

I recorded the procedure for each sample so I could easily reproduce colors. I used a total of five colors to achieve these effects.

I gave the designer a chart as seen above, as well as some sample options.

I gave the designer a chart as seen above, as well as some sample options.

The samples showed range of colors and patterns, and with those options I could give a wide range of scarves tailored to the designers vision.

The samples showed range of colors and patterns, and with those options I could give a wide range of scarves tailored to the designers vision.

I dyed the scarves in batches, dyeing base colors in tandem, as well as different layers that could be dyed at once.

I dyed the scarves in batches, dyeing base colors in tandem, as well as different layers that could be dyed at once.

I dyed a yard per character, and then chose the best section of the dyed yardage.

I dyed a yard per character, and then chose the best section of the dyed yardage.

I cut each square, then used a ban-roll to hem the edges on an industrial machine.

I cut each square, then used a ban-roll to hem the edges on an industrial machine.

There was a total of 11 scarves.

There was a total of 11 scarves.

They were all styled differently, such as a shawl, neckerchief, scarf, etc.

They were all styled differently, such as a shawl, neckerchief, scarf, etc.

Juliet's was cut smaller to serve as a headscarf.

Juliet's was cut smaller to serve as a headscarf.

For this piece I was asked to build the above dress. It was designed for the party scene, and built from cotton pique, cotton, velvet ribbon, lace trim, and velvet for the waist cincher.

For this piece I was asked to build the above dress. It was designed for the party scene, and built from cotton pique, cotton, velvet ribbon, lace trim, and velvet for the waist cincher.

I drafted the skirt based on Edwardian trumpet skirts, and made a mockup with two hems for the designer to choose -- they chose the longer more dramatic hem.

I drafted the skirt based on Edwardian trumpet skirts, and made a mockup with two hems for the designer to choose -- they chose the longer more dramatic hem.

I draped the bodice to be fitted with a square neckline. The neck and sleeves have a smaller lace, and small ribbon I stitched to the neck. This also secures the neck facing.

I draped the bodice to be fitted with a square neckline. The neck and sleeves have a smaller lace, and small ribbon I stitched to the neck. This also secures the neck facing.

The skirt had a lot of trim, and I ended up having to stitch the top row of stitches on the machine, then stitching the bottom row of stitches (which catches the lace trim) by hand. The skirt is also hemmed by hand.

The skirt had a lot of trim, and I ended up having to stitch the top row of stitches on the machine, then stitching the bottom row of stitches (which catches the lace trim) by hand. The skirt is also hemmed by hand.

The back closes with a lap zipper, and the overskirt has a slit in the top to allow the zipper to open and close.

The back closes with a lap zipper, and the overskirt has a slit in the top to allow the zipper to open and close.

The waist cincher closes in the back with hooks and bars, and laces in the front. The piece also has some boning.

The waist cincher closes in the back with hooks and bars, and laces in the front. The piece also has some boning.