The Armor Costume de théâtre par Samantha Chijona Garcia and Vladimir Cuenca

Le design The Armor Costume de théâtre par Samantha Chijona Garcia and Vladimir Cuenca est un lauréat très estimé du prestigieux 2020 A' Design Award d'Argent dans la catégorie Arts du Spectacle.

ArgentArts du Spectacle· 2020

The Armor Costume de théâtre

par Samantha Chijona Garcia and Vladimir Cuenca

Client : Jazz Martinez Gamboa

Lauréat du A' Design Award d'Argent dans la catégorie Arts du Spectacle

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Couleurs

Le Design

À propos de The Armor Costume de théâtre

L'Armure est un costume de théâtre conçu pour le personnage de Richard III dans une mise en scène d'une pièce de Shakespeare. Le costume est réalisé à partir de matériaux recyclés et de rebut. Des lignes métalliques sont cousues sur une veste de sergé, tandis que des jambières en cuir superposées forment une structure distincte, assemblée par des sangles et des boucles en cuir. Un gant de cotte de mailles ferme la manche, et un chapeau de velours doublé de bandes métalliques fait office de heaume. Les six éléments peuvent être ajoutés ou retirés au fil des transformations du personnage durant la pièce. Le design évoque à la fois le roi et l'homme vulnérable qui l'habite.

La Reconnaissance

À propos du A' Design Award d'Argent

The Armor Costume de théâtre est lauréat de l'A' Design Award d'Argent, une reconnaissance énormément prestigieuse décernée à des designs haut de gamme, superbes et impressionnants. Les lauréats Argent sont des œuvres tout à fait brillantes et extrêmement créatives qui illustrent l'expertise, le talent et la perspicacité remarquables de leurs concepteurs. The Armor Costume de théâtre est censé être une œuvre merveilleuse, une vitrine de savoir-faire, remarquablement professionnelle et profondément innovante. Ce design lauréat de l'A' Design Award d'Argent est une invention très notable et admirée, qui sert l'art, la science, le design et la technologie et en repousse les limites. The Armor Costume de théâtre est une création très enviée qui éveille les désirs, apporte des sentiments positifs et suscite émerveillement et étonnement.

Les coulisses du design

Dossier de presse

Crédits, membres de l'équipe et détails techniques fournis par le designer.

Propriétés Uniques: This armor, made with fully recycled materials, mixes metallic corset nerves referring to the classic western armor, topped by a butcher's chainmail glove that evokes the bloodthirsty of the character with leather leggings overlapping layers denoting the various faces assumed by the character during the plot. From a modernist vision in terms of fabric, overlapping and weaving of pieces the structure refers to the vulnerability of the King and the man who lives at the same time in Richard III.
Dimensions & Emballage: Armor- 45cmx30cmx55cm
Helmet- diameter:57cm High: 23cm
Mots-Clés: Costume design, Shakespeare, Richard III, Armor, theater, cuban designer, Samantha Chijona Design, schijonag.
Technologie de Production: The armor is compound by 6 pieces. 1: The metal structure, it is metal lines sewn on a twill weave jerkin jacket, 2: the leather armor, leather gaiters overlapping forms an independent structure that joins the rest of the set with leather straps closed by buckles, 3: The metal glove, a chainmail glove closes the cuff to give the sleeve a shot, 4: The helmet,
a velvet hat lined with metal strips works as an armor helmet 5: The pants, a black twill pants and finally 6: Black leather boots to the knees.
Défi de Conception: The development of the piece became a challenge, I wanted to do something great for the character but working in Cuba is always difficult due to the lack of resources, so while researching, I also located materials. Looking in an antique warehouse I found these old pieces of unused corsets bones and leather leggings and decided to use them. With only one month to prepare the entire theater play with more than 16 characters we were detained in this armor for a week, assembling, testing and sewing piece by piece in search of achieving an attractive but useful result.
Recherche: My research flew over two essential aspects, the historical and the technical. After having studied for years Western and Japanese armors, the challenge of creating one was wonderful. I had to solve how I should use the historical engineering structures in those garments with the modern materials I had in hand. I read and compiled images and information, of the western armor, I appropriated the metal and the order of the parts while from the Japanese I took overlays of leather pieces sewn with cord. The result was a very visual and modern armor that keeps its basic function, protection.
Inspiration: Having studied for years structures that we use when dressing and that have protected and distancing ourselves from the real world I choose one of my favorite, the armor. I took advantage of the study of Western and Japanese war pieces and modernized it with the use of materials and disused pieces. The text of Shakespeare's play emphasizes the two faces and the physical problem of the character I used it as inspiration to separate and show the two parts of Richard III.
Durée du Projet: The project started in June 2018 in Havana, Cuba and ended in September 2018 in Havana, Cuba.
Flux Opérationnel: The piece is compound by 6 small parts, the main three, armor jacket, pant and boots are easy to put, also it has another leather structure which should be placed with buckles while the hat and the glove are closed by an elastic piece. the interaction between the actor and the piece is determined for the modular form of the main piece, the person can take off the leather part, the helmet, the glove and keep only the base jacket, pants and boots, in the same way he can add more pieces throught the evolution of the character inside the theater play.
Brevets: Copyrights belong to Chijona, Samantha, 2018
Membres de l'Équipe: Designer and Creative Director: Samantha Chijona
Designer: Vladimir Cuenca
Crédits Images: Image 1,2,3,4,5: Samantha Chijona Photographer/ Samantha Chijona Designer /Richard III/ The Armor /Model: Maria Gabriela Sanchez, 2018