Dressing The Kings - A Discussion with Trevor Bowen, Guthrie Theater Costume Designer
Friday, May 10, 2024 at 2:42PMArticle by Becky Fillinger, photo/video provided
Guthrie Theater’s epic marathon production of Shakespeare’s history plays - Richard II, Henry IV and Henry V - is a major undertaking in all of the elements of producing a play - casting, directing, set design, choreography, sound, lighting and costumes. Let’s take just one element, costume design, for the three plays. There is one head costume designer, 3 design assistants (one for each play) and then a large team assembling the clothing, craft pieces, accessories and wigs – 40 to 50 people total! We spoke to Trevor Bowen, Costume Designer, about how he prepared to costume the three plays, collaboration with team members and how to get started in the business of costume design. Waiteth not on this one - the impressive theatrical event runs through May 25.
Trevor BowenQ: Can you walk me through your process of designing costumes for Shakespeare’s three history plays, Richard II, Henry IV and Henry V?
A: The beginning of the process begins with reading each script multiple times. From there, I’m in conversation with the director to discuss themes and key ideas in the play. After that, I research, including going to the museum or the library and understanding the history and context of each play.
Q: How do you begin conceptualizing the costumes, and what factors influence your initial ideas?
A: When reading through the script, I have to understand the action happening within each scene, the context and what’s really being spoken about in each scene. It helps me understand how we want to frame people and how we want to help shape what the audience is understanding. Beyond that, I just want to understand why they’re wearing this particular costume on this day. I want to build a mental wardrobe for each person, I want to have a sense of what their entire wardrobe looks like. I may also look at fashion references, but it’s really just a way for me to understand something culturally and how someone will respond to the garment, but it’s all in the context of the script.
Q: How many actors are you designing for in this three-play event? How many assistants/members of a costume crew are on your staff to produce the costumes?
A: There are 27 cast members in various roles, 3 design assistants (one for each play) and then the amazing team that’s putting all of the clothes, craft pieces, accessories and wigs together. I would say it’s about 40-50 people who are really getting the cloth together for these shows.
Q: How do you collaborate with the director, set designer, and other key team members to ensure a cohesive visual aesthetic for the production?
A: Theater is such a collaborative effort and I feel that it’s very much like a construction or building site. The set is our scaffolding, our frame where everything hangs. Costumes are the cartilage and ligaments of it all, sort of a connective tissue across the story. Regarding how we function, it varies across multiple channels with virtual and in-person meetings, but we’re always in constant conversation.
Q: How much input do the actors have in the costume design process?
A: We are dressing people, so it varies. Some actors are very involved and others just want to inhabit the space you create. I enjoy both! We are not dressing mannequins; I don’t ever want to dress a mannequin. I love that we have the opportunity to create costumes for actors to settle into and feel comfortable. If a performer is thinking about a costume when it’s not called for, I don’t think we’ve done our job well.
Q: What kind of historical research was necessary for your designs?
A: I’m looking at clothing from about 1300 – 1500. That’s where we’re playing with most of the shapes for Richard II. In Henry IV, it’s about 1300 – 1600, but the time frame is quite loose. What’s important to me in those historical resources is do they have emotional weight in regard to our stories? Do they have something the audience can latch onto or why this person is important? Henry IV is also where we dip into some contemporary fashion moments. In Henry V, we’re very much celebrating the north and south dichotomy. Clothes that are very battle worn and contemporary. Very high fashion, runway couture.
Q: How do you approach character analysis when designing costumes? Are there specific elements in the script that influence your choices?
A: I think it’s very important! Script analysis is #1 and if you don’t understand what was written or a particular character, you have no idea who they are. You don’t understand why they are saying the things they are saying. If you don’t have a clear understanding of this, it’s harder to bring out certain elements within the garment. For me, clothes live in between the space in the world, kind of like jazz or music. The note that is being played is just as important as the space between those notes/phrases.
Q: What advice would you give to aspiring costume designers or those interested in pursuing a career in theatrical costuming?
I would say enjoy reading! Also, be very observant. You’re working with people, so it’s good to understand what people have on, why they have it on and how they have it on. If a shirt is turned upside down, it’s still a shirt, wear it how you want to wear it. I think some of the rules people establish for themselves regarding dressing is quite inhibiting and not celebrating who they are and how they want to present in the world. So always be aware of that. Just because something is made a certain way doesn’t mean you have to wear it that way or you can’t break it apart to tell a certain story.
Q: Are there specific skills or experiences that you believe are crucial for success in this field?
A: I can only speak from personal experience, but I’ve found that the opportunities I’ve had to work daily in a costume shop have been invaluable to me to navigate through a shop and be able to communicate with artisans of many different disciplines.
Q: Thank you for sharing your viewpoints with us. How may we follow your news?
A: Check out my website, Trevorbowendesign.com or on Instagram @trevorbowen.
