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@a-midsummer-nights-archive
British Hair Awards 2016 – Afro Finalist Collection – photo by Luke Nugen
This will forever be legit
fuck. This is the most gorgeous shit I’ve ever seen in my life. And honestly the first time in a loooong time I’ve been surprised by fashion. Gorgeous.
Warriors
I need an RPG to exist where these people exist ❤️
If anything comes to mind when looking through these fantastic pieces, it’s that they’re flower fairy couture. Jean Louis Sabaji creates the perfect playful elegance that ties in with the fairy-esque atmosphere of his dresses.
The vibrant colours, the flower petals, and elegant draping of the fabrics melt together into a dreamlike sequence of beautiful garden personifications.
Photo credits: x
FASHION FEATURE:
Let’s all take a minute or several to admire the extensive handiwork of Anita Quansah modeled by Ayoola Bakare.
"Anita Quansah London was created in 2006 by bespoke jewellery curator Anita Quansah. After obtaining a textile degree in 2003, from Chelsea College of Art and Design London, Anita Quansah has been working to develop and promote recycling in her designs by creating elaborate one of kind statement jewelleries. Her pieces are strong statements, which are a fusion of modern bohemian tribal mixed with her cultural background which is African. Anita Quansah entered the fashion industry producing works for the likes of Christian Lacroix, DKNY, Diane Von Furstenberg, Ischiko, Victoria Secret, Ecko and textiles Weisbrod Zurrer and Sandy Starkman and being involved with Indigo, Premier Vision in Paris and other such exhibitions.)
(source)
Philostrate and Athenian Attendants Act 1&5: Canali Fall 2011
Womens Athenian Attendants Act 5: Versace H&M Collection 2011
Act 5 Scene 1, Lines 70-5:
Theseus: What are they that do play it?
Philostrate: Hard-handed men, that work in Athens here, which never laboured in their mindes till now; And now have toiled their unbreathed memories with this same play, against your nuptial.
The costume choice for the Athenian attendants is based on the behavior of Philostrate, who draws a line completely between the social standing of himself and the Mechanicals by sneering at their performance and calling them "hard handed men"(5.1.70-5). I have placed them in a similar style to the Athenian nobles, but on a duller scale-- they are in all black tuxedos with bow ties that, while mimicking the clean cut grace of the nobles, still denote them as staff, calling to mind a butlers uniform.
The Athenian women attendants are dressed in a similar homogeneous style, in a simple but still rich black fabric and very little decoration, much like the uniform of a maid.
Nick Bottom as Pyramus, Act 5: Versace Spring/Summer 2013
Francis Flute as Thisby, Act 5: Emilio Pucci, Spring 2010
Act 5 Scene 1 Line 201-2
Pyramus: O, kiss me through the hole of this vile wall.
Thisby: I kiss the wall's hole, not your lips at all.
Both Pyramus and Thisby are dressed with an air of stereotypical ancient Greek and Roman fashion, but in a decidedly risque way in order to highlight the sexual undertones and humor of their performance of the play. I chose these with the thought that the Mechanical's would have thought they were historically accurate and would therefore fit in with the nobles sensibilities, but actually show far too much skin to be appropriate for the wedding.
With a donkey mask you can: Promote the Democratic Party Play a practically-themed joke on a farmer Scare your dog Make an as...
Act 4 Scene 1, Line 23-8
Mustardseed: What's your will?
Bottom: Nothing, good mounsieur, but to help Cavalery Cobweb to scratch. I must to the barber's, mounsieur, for methinks I am marvelous hairy about the face. And I am such a tender ass, if my hair do but tickle me, I must scratch.
I chose this tutorial for a donkey head with a working mouth because it seems to be highly customizable, which gives my production the ability to change the fabric, fur, size, and color of the head without sacrificing the realistic shape and quality of it. This way, it would be possible to make the head fit in with the highly stylized, couture outfits I have chosen for the rest of the cast. With this head, the actor can both breathe comfortably, have a built in microphone, and the audience can witness a moving mouth on the donkey, adding a layer of realism.
I neglected to choose simple donkey ears and facial fur for this exact reason-- I wanted to remove the metatheatricality of the scene, making the audience suspend their disbelief about magic for moment rather than thinking that Bottom is only the same actor with a donkey ear headband.
Tom Snout the Tinker as Wall: Alexander McQueen Spring/Summer 2013
Tom Snout as Wall: In this same interlude it doth befall that I, one Snout by name, present a wall; and such a wall, as I would have you think, that had in it a crannied hole or chink, through which the lovers, Pyramus and Thisby, did whisper often, very secretly. This loam, this rough-cast, and this stone doth show that I am that same Wall, the truth is so. And this the cranny is, right and sinister, through which the fearful lovers are to whisper.
I chose this look for Tom Snout the Tinker as a wall because of its patchwork pattern and stone-like colors. I reasoned that this would be a good costume because it mimics the slick, clean cut suits of the Athenian nobles, but still contains enough eye catching, almost obnoxious pattern to mark it as what the Mechanical's would call stylish. I refrained from costuming Peter Quince and Robin Starveling because of the idea that this subgroup is built of poor actors who only have enough money to make a few costumes, and everyone else wears what they already own; hence the Wall's ready-made attire.
Snug the Joiner Lion Mask: Andrea Masse-Tognetti
Act 5 Scene 1, Lines 219-26
Lion: You Ladies, you whose gentle hearts do fear the smallest monstrous mouse that creeps on floor, may now, perchance, both quake and tremble here, when Lion rough in wildest rage doth roar. Then know that I, one Snug the Joiner am a lion fell, nor else no lion's dam. For, if I should as lion come in strife into this place,'twere pity of my life!
I chose this mask first because I loved the look of it, because it clearly contrasts with the look of Bottom's realistic donkey head earlier in the play. This suggests to the audience that while Bottom went through a real physical change, the Snug has clearly not had the same bad luck. I thought it would be amusing if the mask was clearly fake because it makes the clear fear that they have of scaring the ladies and being executed more absurd. A simple fur coat could be added to the mask to complete the costume.
Hippolyta Act 1: Jean Paul Gaultier Spring 2010
Act 4 Scene 1, Lines 115-21
Hippolyta: I was with Hercules and Cadmus once when in a wood of Crete they bayed the bear with hounds of Sparta. Never did I hear Such gallant chiding; for, besides the groves, the skies, the fountains, every region near Seemed all one mutual cry. I never heard so musical a discord, such sweet thunder.
I chose this look for Hippolyta because I did not want to ignore her status as a warrior and foreigner to Athens like most other productions have done. We see some of this warrior personality shine through in Act 4 when she references her hunt with Hercules and Cadmus. I wanted to show her otherness in contrast with the clean cut, white-black-grey color scheme and slick cloth of the other Athenian nobles, having her wear leather and fashionable metal armor along with a textured blue fabric and complex braids. However, I wanted the armor to to be clearly for show rather than being practical to suggest to the audience that she is being both absorbed by the extra wealth and status as an Athenian Duchess that her betrothal to Theseus has brought.
Oberon and Titania Act 5
Oberon Act 5: Colleen Atwood
Queen Titania Act 5: Alexander McQueen's Savage Beauty Collection
Act 4 Scene 1, Lines 98-105
Oberon: Then, my queen, in silence sad, trip we after the night's shade. We the globe can compass soon, swifter then the wandering moon.
Titania: Come, my lord, and in our flight, tell me how it came this night that I sleeping here was found with these mortals on the ground.
I chose Oberon's wedding outfit to with the intention of it visually meshing with Titania's final outfit in the play, with both gold and feathers. This visual match is important in order to cement the idea that Oberon and Titania are no longer fighting with one another and that they are together as a couple once more. However, due to Oberon's status as "king of shadows" I wanted to outfit him in a high-collared raven feathered cloak with textured gold undertones, while Titania wears a gold feathered high-collared dress with white undertones to represent the idea that while he is shadow, she is light (3.2.347). The mermaid cut and gauzy white bottom of Titania's dress also calls to mind the design of a wedding dress, which of course parallels the weddings they are coming to bless.
Oberon Acts 2-5: Colleen Atwood
Act 4 Scene 1, Lines 60-66
Oberon: When I had at my pleasure taunted her, And she in mild terms begged my patience, I then did ask of her her changeling child,Which straight she gave me, and her fairy sent to bear him to my bower in fairyland. And now I have the boy, I will undo this hateful imperfection of her eyes.
I chose Colleen Atwood's design for Oberon because of its sharp, dark, almost serpentine appearance. I wanted to highlight the fact that while Oberon is the king of the fairies, he is by no means sweet-- he uses tricks and love potion to humiliate his wife, and manages to trick her out of her adopted son while she was under the influence of the cupid flower. However, Oberon's dubious behavior is often overlooked because only a few lines later he lifts the spell on Titania and they fall in love again.
Pucks outfit is meant to be a visual match to Oberon to mark them as co conspirators; but while Puck's outfit is vibrant and playful Oberon's is not, suggesting that his 'jokes' have a darker edge to them. Oberon's outfit contrasts with each of Titania's as well, because where he is dark and prickly, she often appears in much softer textures.
Theseus Act 5: Alexander McQueen Fall/Winter 2012
Act 5 Scene 1, Lines 89-92
Theseus: The kinder we, to give them thanks for nothing. Our sport shall be to take what they mistake: and what poor duty cannot do, noble respect takes it in might, not merit.
Theseus's wedding outfit is not that far removed from the the set Athenian noble's fashion, with contrasts the wedding attire of both Demetrius and Lysander, who appear in vibrant colors which suggests that they were changed by their journey in the woods and have cast off the social expectations that were set in place by them. However, although he has not gone through the dramatic journey the lovers have, Theseus does show a bit of whimsy in the final act. As a result, he appears in a bow tie rather than the straight laced tie of earlier acts. The final suit also appears to have a more playful cut, with two rows of buttons rather than one.
Theseus Act 1: Alexander McQueen Fall/Winter 2012
Act 1 Scene 1, Lines 83-90
Theseus: Take time to pause; and, by the nest new moon— the sealing-day betwixt my love and me, for everlasting bond of fellowship— upon that day either prepare to die for disobedience to your father's will, or else to wed Demetrius, as he would; or on Diana's altar to protest for aye austerity and single life.
Theseus's first outfit, a sharply cut white pinstriped suit with a tie, is intended to contrast with the plain dark suit that Egeus wears in the first scene, in order draw the audiences attention away from Egeus and to himself, as he is in a position of authority. This suit also contrasts with Hippolyta's textured blue knit dress and armor, although it is visually linked by the blue tie, suggesting that Thesueus and Hippolyta are a matched set, regardless of her attempts to distance herself with from both him and the other Athenian nobles in style.
Egeus Acts 1-5: Alexander McQueen Fall/Winter 2009
Act 1 Scene 1, Lines 22-45
Egeus: Full of vexation come I, with complaint against my child, my daughter Hermia.... And, my gracious duke, be it so she will not here, before your grace, consent to marry with Demetrius, I beg the ancient privilege of Athens: as she is mine, I may dispose of her, which shall be either to this gentleman or to her death, according to our law immediately provided in that case.
I chose Egeus's outfit to be the blandest and darkest of Athenian noble's fashion, because he is one who demands that the law be followed regardless of his daughters desires, even if it means her death. He carries a cane as a phallic symbol to enforce the idea that because he is both a man and a father, he owns his daughter as if she were an object.
Both this costume and the Athenian noble's fashion was inspired by a Japanese production I found on Global Shakespeare by director Elica Miwa, in which Egeus was physically violent with the cane, and the nobles wore very clean cut black and white suits and dresses.
Helena Acts 1-4: Krikor Jabotian 2009-10
Act 2 Scene 1, Lines
Helena: The wildest hath not such a heart as you. Run when you will. The story shall be changed: Apollo flies and Daphne holds the chase; the dove pursues the griffin; the mild hind makes speed to catch the tiger, bootless speed, when cowardice pursues, and valor flies.
I chose this dress for Helena because although it fits the sensibilities of the Athenian nobles, being both pale white and of a modest length, it has an interesting, almost floral cut to it which I think reflects Helena's willingness to pursue Demetrius into the woods regardless of social mores. This visual similarity to a flower in her dress is a direct parallel to the style of the fairies, which allows the audience to draw a the conclusion that she is more fairy in attitude than stodgy Athenian. This can be shown even further when Oberon refers to her as "nymph" (2.1.245). The small ornamentation on her shoes and jewelry also reflect this flair and departure from Athenian nobility's fashion, especially when shown in contrast to Hermia's distinct lack of ornamentation and relatively simple dress design.
Hermia Acts 1-4: Krikor Jabotian 2009-10 Collection
Act 1 Scene 1, Lines 79-82
Hermia: So will I grow, so live, so die my lord, ere I will yield my virgin patent up unto his lordship, whose unwished yoke my soul consents not to give sovereignty.
I chose Hermia's first outfit based on her situation and sombre countenance as the play begins, when she tells the most powerful man in Athens that she would rather live as a nun or die than marry a man she does not love. Her outfit is that of a proper Athenian noble woman, with a very modest cut, no decoration, and a soft white cloth. Even after she decides to elope with Lysander, Hermia's outfit still reflects her adherence to Athenian social mores, namely when she refuses to sleep near him in the forest to maintain her modesty.
Changeling Boy Act 2
Titania: The fairyland buys not the child of me. His mother was a votress of my order, and in the spicèd Indian air, by night full often hath she gossiped by my side... But she, being mortal, of that boy did die, and for her sake I do rear up her boy, and for her sake I will not part with him.
I chose the changeling boy's sherwani with the intention of creating a visual similarity to the rich colors, floral patterns, and jeweled ornamentation of the fairies. However, without the addition of makeup or a nature-filled headdress to signify that he is a fairy and by the style of the outfit, the audience can see that the boy is both human and non-Athenian.
