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22 lagunabeachindy . com AUGUST 9 , 2024
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role in bringing these masterpieces and influential fashion trends to life . To offer a glimpse behind the scenes and the intricacies of costume design for the Pageant , Foy shares her insights with us .
Q : Could you share a bit about your journey to becoming a costume director and what initially sparked your interest in costume design ? A : I started making clothes at a young age , taught by my grandmother . Fast forward to high school and college , when I got involved in theater , I found myself more in love with the costumes and how they were made than with performing . I had a mentor who saw something in me and really pushed for me to obtain a degree in costume design for theater .
I was fortunate enough to begin working at South Coast Repertory and Opera Pacific right after grad school , which then led me to the Pageant of the Masters in 2008 . I found my true calling in costume crafts and loved starting at the Pageant as the Headpiece Maker . It was a unique form of craft that challenged me , and my love for sculpting made it come pretty easily after learning the “ Pageant Way ,” which is distinct from other approaches used in traditional theater productions .
When the costume director position became available in 2016 , I was happy to take on the challenge . The great thing is that Pageant gives me the opportunity to continue to practice and create costumes from so many eras that I am continuing to gain knowledge of costume construction , which I just love . Q : Can you describe the costume creation process from initial concept to the final product ? What materials and techniques are used ? How much time is typically invested in each costume ? A : The Pageant costuming process starts with selecting two volunteer cast members for a single role , typically of similar size . I take their measurements to figure out the best way to pattern their costume . Next , I cut the pattern from muslin , a 100 % unbleached cotton used for almost all our living pictures . My stitchers then sew the costumes , incorporating velcro closures to accommodate varying sizes .
After the initial sewing , I have a fitting with the volunteer to make any alterations needed . We place them in the set to determine if further adjustments are needed based on how they are posed and the best way to flatten the fabric . Once all adjustments are made , the costume goes to the paint shop ,
Pageant of the Masters Costume Director Reagan Foy with one of the over 100 costumes created for this summer ’ s production “ Á La Mode : The Art of Fashion .” Photo / Christopher Allwine
where our costume painter uses textile paint to achieve the correct color and add details like bows , ruffles , and buttons .
Then , the costume is ready for its rehearsal and the summer shows . The entire process can take anywhere between one to two weeks per piece . Q : How does the costume department collaborate with other departments , such as makeup , headpiece , and set design , to create a cohesive visual experience ? A : The costume department works closely with the headpiece and construction foreman to achieve a cohesive look for each piece . This sometimes means adding Velcro in areas to make sure the fabric is connecting with the headpiece or the set in the manner that it does in the painting . Our foreman may also create skirt armatures instead of the cast member actually wearing a skirt so that we can ensure that the skirt will look consistent every night . Q : What was the most challenging aspect of creating costumes for this year ’ s theme ? A : The biggest challenge this year was the number of costumes we needed to create . This year ’ s production required almost double the number of costumes our shop normally produces for a show . This meant hiring additional stitchers and a few freelance costumers . We also had the Pageant ’ s makeup director help us with shopping for the live actors who played spectators during the fashion runway show . In total , we created 83 costumes for the tableaux , and costumed 104 different looks for performers . Q : Is there a particular costume or tableau from this year ’ s show that you ’ re especially proud of ? What makes it stand out ? A : My favorite tableau this year was Edith Head ’ s sketch of Tippi Hendren ’ s costume from the Alfred Hitchcock film “ The Birds ” because it presented the biggest challenge . I always love the challenging ones , especially when we get it right . I initially thought of it as being a dress and jacket , like her costume in the movie , but during rehearsal , I realized it wasn ’ t going to work . I had to take a moment and think of it in the “ Pageant Way .” In creating costumes for the Pageant , we sometimes need to think beyond real-world garment construction to achieve the visual effect onstage . I quickly realized the costume needed to be capri pants and a bodice , with separate fabric pieces attached to the set . Once the cast member was in the set piece , these flat pieces would be Velcroed to her to create the illusion of the jacket and skirt . It worked ! I love seeing it every night .
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And , of course , there is the gold dress Grace Kelly wears in the movie “ To Catch a Thief ” for our runway model . I requested that it be one of the costumes we did a real version of . I knew it was going to have our audience gasping in amazement every night , so I was happy to re-create it .
Foy ’ s passion for costume design is evident in every stitch of the Pageant of the Masters production “ Á La Mode : The Art of Fashion .” With just weeks remaining in the Pageant ’ s season , audiences have a limited opportunity to experience the magic of “ Á La Mode : The Art of Fashion .” The Pageant of the Masters runs from July 6 to Aug . 30 at the Festival of Arts in Laguna Beach . Tickets start at $ 45 and can be purchased at www . foapom . com . A ticket to the Pageant of the Masters is also a season pass to the Festival of Arts Fine Art Show .
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