The Tempest: Costume Design
On my board, I focused mainly on the character of Miranda. In terms of costume design, the images pinned demonstrate the elements and principles of design that reflect what Miranda's final costume would look like. Also, there are other images that are pinned which depict the historical era of the play. The Tempest was written by William Shakespeare during the 1600s. In the play, the characters originally come from Italy, so I incorporated some influences from the Italian Baroque era.
This picture emphasizes the focal points of the model's hair, face and dress. The picture is placed horizontally, adding to the difference in direction and viewing field. The hair, texture of the dress and makeup are all representations of Miranda's character.
This painting illuminates the beginning of the play. You can see the evil in the eyes in the background and lines of thunder and rain directed towards the ship. The eyes symbolize Prosperos' since he is the one who planned the entire shipwreck as an act of revenge towards his brother Antonio. Antonio had conspired with Alonso to take the throne (Duke of Milan) and kidnapped Prospero and Miranda, and set them out to sea in hopes of death. However, Prospero and Miranda survived.
This painting is called "The Tempest" by Arthur Rackham. It adds value and color, as the shades of blue, pink and gold are emphasized. The spirits and fairies are shown in the midst of the sea. Prospero uses magic and spells to aid in his act of revenge.
Here is a painting done by Maggi Hambling called "Wave". It captures the element of design known as space. The image has depth and creates a three-dimensional effect. The color scheme is also strong and visually powerful. It is analogous to the violent storm known as "The Tempest".
When I read Act 1, scene 1 of The Tempest, this is what I envisioned. This painting entitled "De Windstoot" was done by Willem van de Velde II in 1707. The contrast in color is important as it goes from dark on the top to light in the middle, and dark on the bottom again.
This is a painting by Ludolf Backhuysen. [Dutch Baroque Era Painter, ca.1631-1708] It represents the historical time period of The Tempest, which was believed to be written around the 1600s.
Although I focused more on the costume design for Miranda, I found this piece to be interesting. It is an actual depiction of a male suit during the Baroque era (circa 1660). The pattern on the shirt is intricately detailed, and the color schemes are brown, black and white. I envision Alonso, Sebastian, Antonio and Ferdinand to wear similar costumes like this one.
This picture emphasizes the era in which The Tempest was written in: "The Baroque: A period of artistic style that used exaggerated motion and clear, easily interpreted detail to sculpture, painting, architecture, literature, dance, and music. The style started around 1600 in Rome, Italy and spread to most of Europe."
This is another original Italian design of the Baroque era. It was done around 1600-1620. I would replicate this design into Miranda's costume as it would prove the historical time period of the play. The visual representation of touch is indicated here, and it seems soft and delicately woven. [ITALY: Border 1600-20 linen (needle lace) (punto in aria), 20.3 x 137.1 cm, National Gallery of Victoria, Melbourne]
Here is an image of an original Italian design in cloth. I would incorporate this in the costume design of the characters, especially Miranda. The texture, or surface quality of the material is visually represented. The piece is carefully and delicately woven. The pattern is magnificent. [Italy: 1600-1660. Piccolomini, Gullia (maker)]
"Ponte dei Sospiri (Bridge of Sighs), in Venice, Italy. The Baroque bridge that spans the Rio di Palazzo hasdark origins. The bridge was constructed of white limestone in the early 1600s to connect the inquisitors inside Doge’s Palace to the prison across the river. The structure was called the Bridge of Sighs because the view of Venice through the grilled windows of the enclosed overpass was thought to be the last glimpse of the outside world convicted prisoners saw before they were executed."
The Cobbe Portrait (1610), The Chandos Portrait (early 1600s) and the Droeshout Portrait (1622); three of the most prominent of the reputed portraits of William Shakespeare. He is the writer of The Tempest, among other classics, and a historical figure in English play-writing.
I found this picture of a cloud twister formation to be symbolic to Act 1 of the play. Prospero is the mastermind behind the violent storm and through magic, he oversees that the storm hits his victims and make sure they are deserted on his island. The three-dimensional effect and proportion of the twister is clearly emphasized.
This beautiful leafy headpiece would be perfect for Miranda during the wedding scene with Ferdinand in Act 2, scene 4. The green leaves with yellow accent flowers are very natural and simple. It would tie in to her gown. The hair is also something I would consider using.
The setting of The Tempest is on an unknown, deserted island which is inhabited by Prospero, Miranda, Caliban and magical fairies and spirits such as Ariel. I found this picture to be a great representation of what I envisioned the island to be, and when the crew of men are mysteriously brought to the island.
Adding to the scenic representation of The Tempest, I thought this painting was powerful in depth, space, shape, color and value. I imagined the characters Alonso, Sebastian, Antonio, Ferdinand and Gonzalo all on the ship at sea, in the midst of the violent storm. The waves are seen on right with the dark and dreary colors.
This hairstyle represents Miranda in most of the scenes. I imagine the braids and her hair tied, just as in the previous painting which was my first inspiration.The yellow pom poms however are a contrast. They are cute and adds color, shape and proportion to the hair.