SADIE O'NEILL PORTFOLIO
The Green Book
Sustainable Costume Design – A Dual-Purpose Approach to Multi-Roling and Eco-Conscious Making
In Project 6, I will examine the merging of sustainability, ethical responsibility, and costume design as articulated in The Theatre Green Book: Sustainable Productions. I will concentrate on crafting a singular, transforming outfit from discarded cloth and recyclable materials. The costume will be a jacket for Hamlet (a continuation of a previous project). This costume will incorporate duality, including detachable components or reversible panels, allowing it to represent multiple personalities or roles. The objective is to emphasise how intentional, sustainable design can fulfil practical requirements in theatre while simultaneously minimising environmental impact.
The Theatre Green Book highlights actionable measures for low-carbon and circular theatre production. I am particularly enthusiastic about the prospect of integrating these concepts into innovative, practical costume design. This involves transforming abstract sustainability objectives into tangible, wearable solutions. I am especially motivated by the Green Book's emphasis on reuse, material monitoring, and waste reduction—themes that resonate with my intention to confront "fast fashion" inclinations in theatrical production.
I will procure all materials either second-hand or from textile waste streams, including offcuts, out-dated clothing, or discarded props. The design method will emphasise minimal new input, adaptability, and durability. I want the costume to convey a narrative not only through performance but also in its creation—each fabric fragment will embody history and significance. The reversible and removable design will enable a single costume to transform both visually and operationally, promoting efficiency in wardrobe departments and conserving manufacturing resources.
I plan to adopt an immersive, fine art-inspired methodology in documenting this effort. I intend to develop a visual diary that combines elements of a sketchbook and a reflective journal to document each phase of the costume's progression. This will be achieved through the use of collage, photography, textile samples, and handwritten annotations. This diary will contemplate sustainability not merely as a checklist but as a creative and ethical paradigm.
This project advances my professional aspirations of being a more aware and versatile designer. As an individual engaged in costume and performance art, I perceive this undertaking as an opportunity to cultivate novel methodologies that correspond with the shifting values of the industry. The collaborative nature of this project, which involves debating sustainable strategies with colleagues, procuring materials from local trash vendors, and addressing comments, will enhance my confidence in group environments while underscoring the importance of collective accountability in sustainable practices.
This initiative is beyond the mere creation of a single "green" outfit; it aims to reevaluate costume design to enhance resourcefulness, creativity, and accountability. I aim to demonstrate that sustainability is not a constraint but rather a catalyst for innovation and transformation.
Research
looking at designers who have done the same
initial designs
six different ways this cotume can be worn
final piece
the final garment
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The Research
Numerous prominent designers in the fashion, costume, and performing arts sectors are challenging conventions by investigating eco-friendly techniques, repurposing materials, and integrating circular design principles.
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Vivienne Westwood
Vivienne Westwood, a trailblazer in punk fashion, has ardently championed sustainability. She has consistently utilised recycled materials in her collections, advocating for ethical methods and minimising waste in the fashion industry. Her work combines high fashion with social concern, establishing her as a pivotal figure in the examination of sustainability. Her commitment to sustainability transcends the mere use of recycled materials; it involves the creation of clothing that disrupt the traditional fashion cycle. Westwood’s avant-garde, sustainable fashion ideology may inspire your costume design by prompting you to perceive eco-consciousness not as a constraint, but as a catalyst for creative liberation.
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Issey Miyake
Issey Miyake, a renowned Japanese designer, is noted for his incorporation of technology and ecological materials in his creations. He has investigated methods to diminish fabric waste, particularly through his pleated clothes, which optimise fabric utilisation and reduce waste in the design and production phases. Miyake's emphasis on functionality and variety in design corresponds with your objective of developing a reversible, multi-functional outfit. His methodology may inform your considerations in designing the costume to be versatile for many characters or roles, while preserving an emphasis on both the creative and functional dimensions of the outfit.
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Bethany Williams
Bethany Williams is a fashion designer known for her dedication to sustainability and social responsibility. She utilises recycled materials and partners with community-based organisations to develop her collections, frequently integrating waste fabrics from local sources. Williams' designs are socially conscious and emphasise cyclical fashion models. Her research may offer valuable perspectives on engaging with local supply chains by leveraging rejected or leftover materials from nearby suppliers while strategising the procurement of textiles and components for your Hamlet jacket. Her methodology corresponds with your ambition to craft a costume that conveys a narrative—each material in her creations possesses a tale linked to the individuals and communities who supplied them.
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Ellen MacArthur Foundation (Circular Economy)
Although not a designer in the traditional sense, the Ellen MacArthur Foundation's initiatives on circular economies have significantly impacted the design and fashion sectors, especially on waste reduction and the revaluation of material lifecycles. Their research and case studies offer significant insights into how your costume design may adhere to a circular approach. By implementing circular principles—such as planning for disassembly and ensuring materials are reusable or recyclable at the end of their lifecycle—the Hamlet jacket might achieve sustainability not only in its manufacture but also in its subsequent iterations.
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Rei Kawakubo / Comme des Garçons
Rei Kawakubo, the originator of Comme des Garçons, is recognised for her avant-garde methodology in fashion, frequently breaking traditional fashion conventions. Although her work is not exclusively focused on sustainability, her inventive designs contest conventional notions of form and function, potentially impacting the design of costumes with detachable and reversible elements. Her experimental designs may stimulate innovative thinking regarding garment construction and the creation of costumes that serve various purposes while challenging the conventional definition of a 'theatrical costume'.
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Patrick Jouin / Design for Circularity
Patrick Jouin is an industrial designer whose expertise in sustainable design concepts might offer a novel viewpoint for your project. His examination of circularity in design, particularly regarding materials and procedures that reduce waste, may offer significant insights for crafting a costume that is both useful and sustainable. These concepts can be applied by designing the Hamlet jacket for disassembly, facilitating the reuse or recycling of components post-performance.
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Tanya Aguiñiga
Tanya Aguiñiga is a designer and artist specialising in textile waste and traditional handicraft methods. She concentrates on creating art and design with a robust ethical foundation, frequently exploring cultural identity and societal themes in her work. Aguiñiga’s design methodology significantly influences the consideration of how costume-making processes extend beyond the mere physical garment, taking into account the socio-political setting and the potential for sustainability to meet cultural or local requirements.
The Potential Impact of These Designers on Your Work:
Recycled and Local Sourcing:
Similar to Bethany Williams, you may concentrate on procuring discarded materials and partnering with local waste streams to strengthen the circular economy.
Innovative Construction:
Issey Miyake’s focus on usefulness and minimising fabric waste may influence your strategy in creating detachable or reversible elements that optimise the utility of each material segment.
Narrative in Materials:
Vivienne Westwood’s promotion of utilising materials with a narrative may impact your choice to design a garment that is both visually striking and conveys sustainability via its composition.
Ethical Responsibility and Cultural Impact:
Tanya Aguiñiga’s integration of social themes into her designs may prompt you to consider how your costume could serve as a medium for conveying a broader message regarding sustainability in theatre.