This thesis presents the written documentation and evaluation of the costume design of Southern Illinois University Carbondale’s production of Intimate Apparel.Chapter One is a detailed analysis of the script, including the historical background of the main character and the time period in which the play is set. The second chapter discusses my design process and collaboration with the director and other designers. Chapter Three is a description of the build for the show as well as problems that arose during the process and the resulting solutions. The final chapter is a self evaluation of my design process and an assessment of the build. In the appendices of this document are alternative designs for the show, essential paperwork, renderings for each character, and production photos.

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AN ABSTRACT OF THE THESIS OFDanielle Silfies, for the Master of Fine Arts degree in Theater, presented on April 7, 2023, at Southern Illinois University Carbondale. TITLE: LITTLE WOMEN…HAVE BIG FEELINGS A COSTUME DESIGN THESIS ON LITTLE WOMEN: THE BROADWAY MUSICALMAJOR PROFESSOR: Wendi Zea This thesis is a gathering of research, analysis, design, and production work done for the costumes for the production of Little Women. The musical production took place in the McCloud Theater at Southern Illinois University from December 8th- December 11th, 2023. This musical is based on the famous book, Little Women, written by, Louisa Mae Alcott. The story explores the life and trials of the March family. The musical focuses primarily on the journey of Jo March and her struggles, and eventual success. The story investigates what it means to be family and emphasizes the bonds shared between the sisters. Chapter 1 focuses on the initial foundational information that will support the costume design. This includes, a selection of research looking into Louisa Mae Alcott and family, the Civil War, and the effect the war had on the families left at home. A section on character analysis that investigates the characters backgrounds, motivations, and relationships. It also includes my own personal goals for the production. Chapter 2 focuses on the design process. It dives into the collaboration with the other creators and shows the process behind the final designs. Chapter 3 explores the production process. It tells about the actual building, alteration, and realization of the garments. Chapter 4 will be a reflection from the feedback that was given by peers and professors. Lastly, the appendices will show all the relevant research, rendering, paperwork, and show photos (provided by John Lambert).

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The intent of this thesis reflects my own artistic work within the expressive modes of fashion and costume design, through which I have been drawing a conceptual and aesthetic parallelism with the couture work of French fashion creator Paul Poiret (Paris: l 879-1944). It is also my intention to demonstrate, by my own designs, the anthropological possibility for a cross-cultural dimension to both experience and the transference of influences in a sarto1ial material culture. Sartorial hybridism can be comprehended in broad social and cultural phenomena like theatre, haute-couture, and fashion. It can also be specifically incorporated in a particular interdisciplinary creative process of work, and develop an oiiginal idea of intercultural patterns of dress. The creative intercultural dress project evolves from an artistic notion that grasps multiple material culture realities in a wide pool of aesthetic options. It develops a creative feed-back from surveying, reading, and interpreting classic and contemporary forms of dress hybridism in costume history. As anthropologist and dress creator, visualizing the impact of cultures on and through historic, traditional, and modem costumes has supported my belief that cross-cultural dress is a syncretic form of art, representing a creative reinterpretation of heterogeneous worldwide cultural material, imaginatively resulting in the formation of conceptually new fashionable configurations of clothing.

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"Reading Costume Design" identifies and theorizes an important shift in costume practices: in the mid-nineteenth century, it was common for actors to wear their own clothing onstage or to choose a garment from a theatre's generic stock, without coordination with other costumes or attention to the particular demands of a role. By the early twentieth century, however, costume was firmly established as an expressive artistic tool in building a character and shaping the complete theatrical experience, overseen by a professional designer who routinely received credit in the program. By focusing on this specific moment, my dissertation reclaims theatrical costume as an object of theoretical inquiry (a text), while maintaining its place as an object of material culture, fully embedded in a particular historical context. I use the figure of the professional costume designer - and her rising prominence across the performing arts after 1880 - as a lens to focus on the changing relationship between the stage, fashion, and visual culture. "Reading Costume Design" argues that this historical shift reveals an important change in the status of costumes: from craft to art. At the beginning of my period, costumes impressed audiences as bravura displays of wealth, spectacle, or craftsmanship; by 1920, theatre practitioners and audience members viewed costume as an expressive art form, and its designer as an artist. As art objects, costumes acquired additional semiotic value, conveying new kinds of information to spectators. Designers created costumes for audiences to "look through" - reading costumes not only for their surface beauty or accuracy but also for commentary or reflection upon the text or overall performance. As a form of expression in their own right, costumes interacted in more collaborative or critical ways with the literary and musical texts. I contend that in this fertile period, four kinds of artists made key contributions to this expanded expressive model of costume design: performers, directors, couturiers, and painters. I use the term "proto-designer" to denote these artists, who helped to shape the profession of costume design from adjacent fields. Each of my four chapters studies one type of proto-designer, focusing on two or three significant examples. Major figures discussed include Georg II of Saxe-Meinengan, Richard Wagner, Marietta Piccolomini, Ellen Terry, Lucy Duff-Gordon (Lucile), Paul Poiret, Edward Gordon Craig, Leon Bakst, and Pablo Picasso. "Reading Costume Design" shows how theatrical Modernism established norms of costume design that are still with us today, analyzing the consolidation of costume choices into the hands of one individual (the designer) as part of Modernism's investment in the single artistic consciousness. This project highlights the importance of costume design as an object of study, able to move across different genres within the performing arts (theatre, dance, opera) and to offer fresh perspectives on fields such as theatre history, media and celebrity studies, art history, gender studies, aesthetics, and material culture.

Diss.--Sprach- und Literaturwissenschaft--Wuppertal, 1984. / Bibliogr. p. 233-251. Index.

Typescript, etc. / Digitized by Kansas Correctional Industries