The costume design for the University of Central Florida Conservatory Theatre‘s production of Seamus Heaney‘s The Burial at Thebes: A Version of Sophocles’ Antigone took an ancient Greek classic by Sophocles and infused it with influences from avant-garde theatre. This thesis documents the process of designing the costumes from academic, artistic, and technical aspects. Through this process, I explored how to communicate abstract ideas about humanity into actual costumes and how multiple cultural heritages can be intertwined in a united visual which pushes the audience to think more critically about the story. The recurring themes of duality are central to the final costume design: silk chiffon chitons draped over seemingly nude tattooed bodies, representing the ever-present competing allegiances to the will of the gods or to the law of man. Working backwards through the process, this thesis discusses the avant-garde aims of the production and how they were achieved in design. The historical and cultural research, and how it directly influenced the costume design, is discussed for both Seamus Heaney and The Burial at Thebes, as well as for Sophocles and Antigone. Moving through a thorough script analysis and text-to-text comparison of Antigone and The Burial at Thebes illuminates the character and situation traits that are expressed in the design. Script-to-script comparisons reveal the heightened political language Heaney has created to make a story readily accessible to modern audiences. This gives Creon more humanity, thus magnifying the conflict, which is analyzed using conflict theory