10618Re: [TheCostumersManifesto] costumes and lighting
- Sep 16, 2008Hi Sylvia,
In an ideal world, there should be compromise on both sides. I once picked an irridescent chiffon for a veil that looked like mud onstage. I blamed myself for a poor fabric choice, but my lighting designer immediately said, "No problem, I can make that look better." He said he could easily change a gel to a slightly different shade which would make the costume look better, but still keep his original intention with the lights. (I love working with that lighting designer!).
Honestly, I have never had a lighting designer tell me flat out that my choices just won't work and I have to change them. I have had them tell me that things might be difficult and we have worked out a comprise where sometimes I have made a change and sometimes they have. I think your lighting designer went about it poorly in assuming that her choices were more important than yours and therefore yours would just have to change.
At least you don't have to rebuild anything. As others have mentioned, meetings with the full design team and the director early on can usually help head off stuff like this. In the absence of that meeting, I usually send a swatch package or a scan of the fabrics to the lighting designer before I start my build.
Best of luck with the show,
NYC Fabric Finder
--- On Fri, 9/12/08, Sylvia Rognstad <sylvia@...> wrote:
From: Sylvia Rognstad <sylvia@...>
Subject: [TheCostumersManifesto] costumes and lighting
Date: Friday, September 12, 2008, 10:16 AM
I had a very unfortunate experience last night with the lighting
designer on the rock opera I'm costuming and would like some input from
other costumers who are perhaps more knowledgeable than I on lights. I
admit it's always been my weak spot. My designs have been finalized
for weeks, fabrics purchased and work underway. Last night was the
first run through so both I and the lighting designer were there. She
took a look at my swatches and said a lot of them wouldn't work,
specifically the rusts, coppers and yellow greens, of which there are
quite a few. Now I have to buy all new fabric for several costumes.
Obviously my question is--why can't she change her gels to make them
work? Are these just colors that shouldn't be put on stage ever or
what? I don't get it. Can someone enlighten me--no pun intended? In
retrospect of course we should have had a meeting several weeks ago but
I think both I and the director assumed she would be working with what
I had designed but she seems to be making it sounds like those colors
just won't work at all, period for anything at any time.
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