Stage 3: An analytical study (2)
An analytical
study of the costumes for Papageno and Papagena designed by Zandra Rhodes for
the Seattle Opera Company’s production of the Magic Flute in 2010
Title: Costumes for Papageno and Papagena from the Magic Flute
Artist: Zandra Rhodes
Commissioned by: Ian Campbell for the Seattle Opera
Date: 2010
Medium: Various materials including silks and plastic
Source: http://www.seattleoperablog.com/
Rhodes was born in 1940 the daughter of a fitter for the
House of Worth in Paris. Her mother was a flamboyant figure and brought Zandra
up to value the different and off beat. Rhodes became interested in printed
textile design and studied at Medway College and the Royal College of Art in
London. (Rhodes, 2005)
For many years Zandra Rhodes has been renowned for her
flamboyant and extravagant designs. In 2010 she was approached by Ian Campbell
who asked her to consider designing the costumes and set for a new production
of Mozart’s Magic Flute. Campbell told her that
He thought it would give complete rein to my imagination.
(Zandra
Rhodes talking on http://www.seattleoperablog.com/)
Rhodes was excited by the challenge and thought her style
would lend itself to the theatrical costumes needed to make a spectacular
production. She immersed herself in the
music and began to understand what each of the characters required in terms of
costume.
Papageno is a bird/man and his partner is Papagena. Rhodes studied other productions and found
the costumes didn’t stand up to robust treatment. The production she was to design for was to
be energetic and the costumes needed to stand up to rough treatment.
Rhodes wanted the costumes to be original, dramatic and
accentuate the fantasy of the opera. The
designs were drawn and then a way had to be found to fulfil the ideas – very
much concept led. The designs were to be interpreted by the experienced
seamstresses of the San Diego Opera costume shop and Zandra acknowledges her
debt to them.
 |
| Costume design for Papageno – Zandra Rhodes http://www.seattleoperablog.com/ |
Rhodes decided that feathers should be the
main component of Papageno’s costume but discounted the use of actual feathers
because they wouldn’t stand up to the rough treatment they would get. Instead she developed a silk and plastic
fabric which gave a feather like appearance
but was tough and resilient.
Zandra Rhodes
showing the "feathers" of Papageno's costume
The costume for Papagena needed to be just
as robust as the one for Papageno but Rhodes used a slightly different was to
interpret feathers. She used fringed
silk and lots of it to create a froth that had lots of body.
The costume makers were responsible for interpreting Rhodes
drawings and the shoulder decorations became little birds’ nests. On the bodice
rolled fabric made tendril like shapes.
 |
| Costume design for Papagena – Zandra Rhodes |
operafresh.blogspot.co.uk
Rhodes sourced her silk in India
but was surprised that San Diego was able to supply most of what she
wanted. She was thrilled with the finished
designs for the opera - they were much better than she had hoped. She has since gone on to design for Aida and The Pearl
Fishers.
Costumes
for Papageno and Papagena – Zandra Rhodes
Bibliography
www.operafresh.blogspot.co.uk
www.seattleoperablog.com.
Rhodes, Z. (2005). A
lifelong love affair with textiles. In Z. Rhodes. Camberley: Zandra Rhodes
Publications.
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