FROM THE ABYSS - 7

By Wayne C. Robinson, KĀ Carpentry

Our personal image is exactly that, personal! Physical, cultural and social constraints form an image of what we think we should look like. The way we dress and present ourselves to others, is an effort to convey who we are! It's the "fashion" statement! We can present ourselves as intellectual, sensual, hip, conservative, athletic, innocent, assured, formal or informal and these are related purely to attire. We can change our hair style, color, length and texture! We mix colors, style and fabric to project to others, a visual impression! All to create how we think others will perceive us! Sometimes it works.

In theater, the word "costume" covers it all, almost! Without researching "costume" I assume it's any attire created to dress a role. The difference may be that in theater there is a touch of caricature in design. The distinct contrast in leading roles and the bit parts melded into the supporting cast are usually quite easy to distinguish! In live theater, "costume" has always been evident; in film it waited until the advent of color, to establish its versatile impact on the creation of image.

With creation and image integral in Cirque design, the wardrobe department of KĀ is a shining representation of that design! With the created design of Marie Chantal Vaillancourt, they maintain the original show image in cloth, texture and color. Staffed with 22 technicians and attendants they toil from 7:00 a.m. until 1:00 a.m. five days a week! With staff rotation of shift and days off it provides eighteen hours of coverage most days. Not merely dress making, they are accountable for make-up/air brush painting, wigs, shoes, accessories, some props, as well as fitting and modifying to tailor fit the costumes. Many of the costumes are fitted and designed to accommodate and conceal rigging harnesses. While creation of costumes is primarily done in Montreal, it is their task to maintain its original look and insure proper fit.

Wardrobe technicians whirl through their shift sewing, attaching primping and painting to prepare the artists for the days performances. The attendants pre-set any number of quick change areas located around the theater and prep to adorn the artist in costume. In the creation and "load-in" of the show, the logistics of the Wardrobe Department were staggering. Dressing nearly 80 artists replete with make-up and accessories, was only the start. In a massive theater, they had to find appropriate locations to set and time costume changes. With the first "run through" lasting nearly fourteen hours and then boiled down to 93 minutes, virtually every second is accounted for.

With flying performers and incorporating fall restraint the costumes are designed to conceal any harness. Fall restraint is an attached tether that protects performers when they perform within six feet of any drop beyond 27 feet. The rigging department works hand in hand with wardrobe when a harness needs covering from sight. They insure that all standards of safety are maintained and the "look" of the show is artistic.

All costumes are created and manufactured at CDS Headquarters in Montreal. The facility staffs nearly 300 artisans that incorporate every aspect of creation and design in virtually any fabric. The Spearmen unitards are designed to portray performers tattooed and naked. The look is produced by programming tattoo design into the computer, then silk screens onto fabric in the shape of various body parts. Cut in that pattern and stitched together, it creates a seamless look. The Forest unitards were designed to accentuate the musculature of the body. It was achieved by photographing one of the artist's bodies and again silk screened from computer to fabric.

More than any other Cirque show, wardrobe uses leather to depict an operatic image. For footwear, KĀ again steps into new technology. The Spearmen footwear gives the illusion that they are barefoot, wearing leather gaiters! Actually they are wearing Asics (tm) athletic shoes with prosthetic toes attached. Way Cool! All of the footwear created utilizes a uni-sole". Although the footwear is varied, their soles are identical and provide for footing on all the different stage surfaces. Performing on surfaces that rotate from horizontal to full vertical and spinning a full 360 degrees, footing is critical for performance as well as safety.

In utilizing air brush painting, the KĀ show employs it in a little different light. While most airbrushing is used enhance the look, the KĀ show found its use time saving. Removed easily during a make-up change, it reveals the performers "base" make-up. While the airbrush depicts the individual, its removal presents all performers in like make-up and does so in minimal time.

From wigs, to costume, to shoe, to accessories, they maintain the artistic look of the performers. Kudos to Wardrobe, they truly are a "stitch in time!"

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