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

Researching designers is crucial for understanding how sustainability can drive creativity in costume design. Innovators like Vivienne Westwood, Issey Miyake, and Bethany Williams show how ethical practices, recycled materials, and circular design can shape garments that are both functional and expressive. Their work inspires new ways to approach costume-making—not just as clothing, but as meaningful, responsible storytelling.

Initial Visuals

This reversible frock coat offers six distinct styling options, each enhancing versatility and sustainability in costume design. Worn on its plain side, it presents a neutral, minimalist base made from recycled textiles, ideal for various characters. Reversed, it reveals bold patterns from second-hand fabrics, allowing quick visual transformation. Detachable elements—such as a neck cloth or tie made from fabric scraps and lace cuffs crafted from vintage trims—add historical detail and theatrical flair without needing full costume changes. Removable sleeves convert the coat into a vest, supporting fluid role transitions, while attachable puffy shirt sleeves made from repurposed bedsheets create dramatic, period-inspired silhouettes. Each variation reflects circular design principles and extends the costume’s functional and expressive potential.

Final Product

The final costume was made in a child’s size due to time and material constraints but fully demonstrates the design concept. Various attachment ideas are included throughout—such as removable sleeves, cuffs, and accessories—to showcase the ease of transformation. These interchangeable elements allow directors to see the potential for adaptation and choose the most suitable configuration for their specific production needs.

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.

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.

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.

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.

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.

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'.

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.

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.

The 6 Visuals

1. Plain Frock Coat
Visual: The base reversible frock coat in its plain, neutral side (e.g., muted greys or blacks).

This is the foundational state of the costume, made entirely from recycled fabric sourced from discarded garments and textile offcuts. Inspired by Issey Miyake’s minimalist efficiency and functional design ethos, this side serves as a versatile base that can support multiple character interpretations. Its simplicity also allows attention to shift to performance while reducing visual clutter.

2. Patterned Frock Coat
Visual: The reverse side of the coat, showing bold patterns or textures (e.g., florals, stripes, or rich colours).

Revealing the coat’s duality, this patterned side creates a stark visual contrast to the plain version, allowing for instant transformation between characters. The fabrics used here are remnants from second-hand curtains and upholstery samples, reflecting Vivienne Westwood’s idea that materials carry a narrative and historical weight. This reversible design doubles the use of one garment, reducing costume duplication.

3. Attachable Neck Cloth / Tie
Visual: The coat with an added detachable necktie or period-style cravat.

This detachable element, inspired by historical menswear, adds period-specific detail while maintaining adaptability. Sourced from old shirt scraps and curtain edging, the tie contributes to characterisation without requiring an entirely separate costume. This modularity reflects circular design thinking, encouraging reconfiguration over replication.

4. Attachable Frilly Lace Cuffs
Visual: Close-up of lace cuffs added to the sleeve ends of the coat.

The lace cuffs, made from vintage doilies and discarded lace trims, provide a theatrical flourish that can shift the costume’s tone from casual to formal. These add-ons represent sustainable embellishment—transforming waste into expressive design—while echoing Tanya Aguiñiga’s approach of using decorative craft to bring meaning and identity to materials.

5. Removable Coat Sleeves
Visual: Coat shown sleeveless with the arms detached and placed beside it.

The removable sleeves allow for instant visual and functional transformation—moving from a formal frock coat to a vest-like garment. This feature enhances the actor’s ability to switch roles fluidly. The sleeve design reflects Patrick Jouin’s influence on designing for disassembly, with sustainability embedded in modular construction.

6. Attachable Puffy Shirt Sleeves
Visual: Puffy white sleeves attached underneath the coat or worn alone with a waistcoat.

Constructed from repurposed bedsheets and old dress shirts, these puffy sleeves add historic drama and enable visual layering. Their exaggerated form is inspired by the expressive silhouettes of Rei Kawakubo, adding theatricality through structure. Detachable and reusable across costumes, they further the circular approach by being interchangeable between productions. These are the six ways your costume can be worn.

Process Evaluation

This project has been one of the most rewarding experiences of my design journey so far. From the start, I knew I wanted to create something that not only looked good on stage but meant something deeper - something that challenged how we think about costume in theatre. Designing a sustainable, multi-functional waistcoat for Hamlet, inspired by the Theatre Green Book, gave me the chance to do just that.

I chose Hamlet because it’s a text I already had a strong knowledge of. In a previous module, I set the play during the Industrial Revolution, which opened up so many creative costume possibilities. Structured tailoring, layered textures, and period-appropriate silhouettes. I loved how rich it was visually, and being already familiar with the themes and characters made it feel like the perfect foundation to build from. I didn’t have to worry about understanding the text, I could just focus on pushing the design.

Creating this piece really allowed me to explore ideas I had been passionate about for a long time. I’ve always been fascinated by reversible costumes, especially after experimenting with multi-roling in a sixth form performance. This project gave me full freedom to take that idea further, with the added challenge of making it sustainable. Every material I used had a previous life, from offcuts and old garments to vintage scraps. That gave the piece a sense of history that I found really exciting. I wanted each fabric to tell a story, just like the character wearing it.

I’m genuinely proud of the final piece. I created a reversible, adaptable waistcoat that could serve different character moments and still feel cohesive. Although I wish I had more time to create it full-scale and add more fine detail, I still feel that it clearly represents my vision. It reflects the thought, care, and creativity I poured into it. If anything, working within limitations made me more inventive, and I now see how powerful sustainable design can be—even when it’s small in scale.

The process of making and documenting this piece also helped me connect more emotionally to my work. Keeping a visual diary, using collage and handwritten notes, allowed me to reflect not just on what I was doing, but why I was doing it. I realised how much I care about making theatre more conscious and less wasteful.

Looking back, this project has really shaped how I see myself as a designer. It showed me that sustainability doesn’t mean compromising on creativity. It can actually push you to be more original and intentional. I would love to see more theatre designers explore this kind of work, especially for smaller productions where every costume counts. What I created may have been just one piece, but I hope it shows what’s possible when design, storytelling, and sustainability come together.