The Costume Design Process for Courtship and Valentine\u27s Day

Courtship and Valentine\u27s Day are the last two installments in a trilogy of one act plays by Horton Foote. The plays depict the everyday life of a family between the years of 1915 and 1917 in Harrison, Texas. Both Courtship and Valentine\u27s Day are examples of slice of life realism. However, this slice of life is from a vantage point, as Horton Foote wrote about [the] period, but not from [the] period (McGonigle, Initial Design Meeting).;Above all else, the Director stressed that the purpose of both plays should be to support the journey towards finding and defining home. In an era where clothing had the potential to be visually stunning, the costumes needed to portray reality without overpowering the meaning behind the shows. Finding a visual balance between high-class and down to earth was an important consideration in the design process. Family portraits and yearbook photos constituted the bulk of my research within the period. Mug shots were also an excellent resource for lower class characters as they show people for who they really are, caught in a moment in their life that they were not expecting to be documented.;With research and final designs approved, my responsibilities moved to the build in the costume shop where I created a budget, organizational paperwork, coordinated fittings, and took charge of pulling and purchasing. The costume shop pushed through the production\u27s build in an organized and efficient manner, leading to the technical rehearsals and performances where adjustments were made as needed.;An important lesson that I have taken from this process is the importance of pushing to see the details of built garments in mockup fittings before moving into real fabrics, as well as the importance of asserting yourself as a designer, and communicating clearly with your costume shop. I am grateful to have had the opportunity to learn and grow with a piece which pushed me outside of my comfort zone