top of page

Costumes II  - 2D/3D Design & Construction


Claire Bronchick

2D Top: Repetition and Variation of teardrop-shaped fabric over the surface of the top! Contrast between the neon-bright colors. 

3D Skirt: Made of a deconstructed pleather jacket. Playing with the contrast between interior and exterior textures and colors, and the asymmetry of the different pieces scraped together.

Ella Spencer

For my top I utilized gradation and repetition of shape. The top is two large crocheted circles (one teal and the other dark green) and bagged them out. Because they are crocheted you can see each ring from new rows, this causes the gradation. I also repeated the circle shapes and colors in my makeup. The bottom is deconstructed denim jeans connected using the teal yarn. There is a contrast in texture between the yarn and the denim.

Jo Barber

For my 2D/3D costume, I used an old sheet and some cardboard to create a 2D triangle skirt and an old dress to create a 3D drawstring top. I implemented a pattern through both the pattern on the top and the pattern of the small triangle sewn into the skirt. I implied the shape through the skirt itself and the triangle detail on the skirt. I used repeated lines to add structure to the bottom corners of the skirt which also added a rough texture to the fabric itself. With the colors of both pieces, I tried to use spring-like colors to keep myself hopeful about the future as I was constructing the garment.

Jenna Heleen

The first element I decided on for my costume was the circle shape for my skirt. I wanted to play with the structure in order to exaggerate the 2D silhouette and rigged a single-layered hoop skirt using a hula-hoop, muslin strips, and a muslin waistband. This base layer was then covered with a neon green plisse fabric I had on hand. The height and silhouette of the circle skirt reminded me of a tutu, inspiring me to continue the mock-ballet style in my 3D garment, by way of the fitted, boned bodice and the arm ruffs. The plisse material was used for the main sections of the bodice and complemented with a panel of blue from an old project, and peplums and arm ruffs in purple from the pockets and legs of a pair of plaid pajama pants. Blue was also featured in the baker's twine used to lace up the corset-style back and attach the arm ruffs. This created a palette of cool colors. I varied the intensity of this palette by contrasting the bright neon with the deep purple and the pale blue. The texture was incorporated both by the fabric choices themselves (the bumps of the plisse, the crispness of the blue cotton, and the plushness of the purple flannel), as well as by leaving the edges of the flannel raw and frayed. The purple twill-tape boning channels added elements of straight vertical line, which contrasted the curving lines created by the princess seams joining the blue and green sections of the bodice. Finally, pattern, as well as line, was incorporated in the purple plaid. 

Katya Choodnovskiy

For my 2D garment, I employed repetition, gradation, and contrast. I repeated the overall shape of the pillow-case-shirt by sewing on numerous rectangles all over the garment. I employed gradation by using different sized rectangles and sewing one on top of the other, varying them in size. I added contrast to the garment through the use of two different fabrics: the regular, matte black fabric and the slightly metallic and sparkly dark blue fabric which were also cut into rectangles. For my 3D garment, I once again used contrast through the use of the two different-colored fabrics. The wrap skirt itself is made out of a matte black fabric and the two strings that tie the skirt together are made out of the dark blue sparkly fabric. I also employed variation by making the two sides of the skirt different shapes so that when they overlap, there is a variation between the two sides.

Isabel Kettler

I was mostly concerned with the contrast between softness and harshness in my costume. The stiffer denim of the bodice and the sharper lines of the triangle shape created a form that was much less malleable than the repurposed t-shirt skirt. The netted skirt also allowed me to play with negative space in contrast to the unbroken shape of the bodice. However, the color and patterns of the skirt and bodice complicate notions of softness and harshness in the costume, as the bodice is a floral-patterned navy-blue fabric, whereas the t-shirt skirt is two warm, bright colors, with noncontinuous grey embellishments. 

Ally Thomas

This costume was made by deconstructing two different garments to create one cohesive dress. It employs contrast of texture, as one is a lighter weight knit and the other is a stiff cotton blend. The is also contrast of the pattern: floral vs a solid. However, these two patterns complement each other in color palette. As far as shape, there is a lot of roundness used throughout the dress. There are two-dimensional circles on the sleeve seams, as well as a three-dimensional circular structure created through the peplum at the waist. Additionally, the straight line contrasts with the fuller gathered hem of the peplum. 

Joanna Eisenberg

In my 2D/3D costume, I started with the 2D square as my skirt. I used repetition of the square shape to create a three leveled skirt. I employed variance of color and texture by covering each square in a different type of fabric in different colors. The bottom fabric is the least vibrant in color but the softest to the touch. The middle fabric is deep in color and slightly corser to the touch. On the top square I put a soft bright color on top, cut into many different squares, and a greenish tweed material on the bottom, which has its own squares. The tweed helps tie the skirt to the top, which is fitted (3D) and made from a pair of leggings and a pair of stretchy jeans. The repetition of the square shape is contrasted by the lines made by the rope attaching them. This rope was made from plastic bags and each section is tied together to form a triangle. By placing the squares at different angles, I created an asymmetry in the skirt. The blue under skirt is attached to the top square and also adds a touch of asymmetry. 

Because the squares are made from a cardboard base, the tension created by hanging them from my shoulders caused the front of the middle square to fold up, this added a nice bit of variance and changed the balance of the skirt so that you look more toward the middle than the large bottom piece.



 Backwards Ski

Composed by: Bill Ruyle

copyright Drop Lift Music BMI

bottom of page