COSTUMES.ORG -- THE COSTUMER'S MANIFESTO WIKI

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The Costumer's Manifesto: FLEX YOUR HEAD MENTAL AEROBICS
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Footnotes for RESUME PAGEFootnotes for
  
FLEX YOUR HEAD MENTAL AEROBICS
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[[Advice1pagesResume| RESUME PAGE]]
  
EXERCISES FOR INDUCING CREATIVITYNON-SPONTANEOUSLY
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==1==
  
==NON==
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Since I am an academic, who happens to be a costumedesigner, I make a point of listing my education first. The choice of which categories youput first in your resume, can and should be a clue to the reader about where your ownpriorities in your work lie.
  
SPONTANEOUS CREATIVITY:Sounds like an oxymoron, right? Wrong. All the methods described in the
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[[Advice1pagesResume#1|1.Back to ResumePage.]]
  
[[Advice1pagesFaking|NONprevious chapter]] can be used to induce creative thought, as well assave creative thoughts acquired earlier. Besides which there are other more active thingsyou can do to get your mind working.
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==2==
  
==DRAWING==
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I am fortunate in having a rather weird and memorablesubject for my dissertation. It helps you to stick in peoples minds. Try when working onyour resume to remember the thing or things you've done that might cause you to be mildlymemorable in a stack of very similar documents. Not all Ph.D.'s list the title of theirdissertation in a resume. Because I know mine sounds memorable, I do.
  
ON THE CREATIVEIMAGINATION: Betty Edwards, the author best known for her ground breaking book of drawinginstruction: Drawing on the Right Side of the Brain, wrote another great but lesserknown book called Drawing on the Creative Imagination. This book is full ofpractical exercises for developing creativity, easy to follow by anyone over the age ofseven. I recommend you buy it and read it ASAP. In addition, reading her work hassuggested to me a number of crazy ways to tap into your subconscious design talents. Theyare:
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[[Advice1pagesResume#2|2. Back to Resume Page.]]
  
[[ManifestoAdvice#NON|DRAWINGNon-Spontaneous Creativity]]
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==3==
  
[[ManifestoAdvice#DRAWING|Drawing on the Creative Imagination]]
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This is a perfect example of something that could beomitted over time. Since I have a BA, MA, and Ph.D., it hardly matters that I also had twoyears of junior college. However, I haven't dumped it because it is a well known juniorcollege with lots of famous graduates, and very many of my West Coast colleagues eitherwent there or know someone who did. My high school, whose only famous student was a 16year old ax murderess, is long since gone from my resume.
  
[[ManifestoAdvice#TWENTY|Twenty Questions]]
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[[Advice1pagesResume#3|3.  Back to Resume Page.]]
  
[[ManifestoAdvice#JETSONS|The Jetsons]]
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==4==
  
[[ManifestoAdvice#WHO'S|Who's This Fabric?]]
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Please note how much information is packed into asmall orderly section. One of the main keys to resumes, is to convey as much informationas possible, in as easy to digest a manner possible. Also, the order of this section againshows the reader which areas I am most proud of. Teaching costume history and design comesfar before work on the Faculty Senate and as department chair, another way I try to tellthe reader who I am, and what my priorities are.
  
[[ManifestoAdvice#WALK|Walk This Way]]
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[[Advice1pagesResume#4|4.Back to Resume Page.]]
  
[[ManifestoAdvice#DOORWAY|The Doorway]]
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==5==
  
[[ManifestoAdvice#BODY PARTS|Body Parts]]
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I try to be as accurate in describing my position inany work situation as possible. Heavily inflated resumes usually "smell funny"to the reader, a super-accurate looking one builds confidence in the credentials set outin them.
  
[[ManifestoAdvice#DADA|Dada Calisthenics.]]
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[[Advice1pagesResume#5|5.Back to Resume Page.]]
  
Remember please, these are brain-flexing exercises so they willbe strange sounding. Many of these ideas can be done by whole classes or groups at once.
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==6==
  
==TWENTY==
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. However, there are times when it helps to fudge. Thereal name for this course was Appreciation of Great World Drama, which sounded so verypretentious and silly, I "shortened" it.
  
QUESTIONS: When thinking aboutdesigning costumes for characters in a play, look at each character and answer thefollowing questions:
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[[Advice1pagesResume#6|6 Back to Resume Page.]]
  
You can support my site by buying products offered by my affiliate sponsors:
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==7==
  
[[File:AmazonBooksUndressingcinema.gif]]
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Although this play has nothing seemingly in it toconnect it to costume design, it sits in my resume to tell folks I'm capable of working inother areas of theatre.
  
If this character were a car, what car would it be? If thischaracter were a plant, what plant would it be? If this character were a food, what foodwould it be? If this character were an animal....etc.
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[[Advice1pagesResume#7|7. Back To Resume Page.]]
  
You can add as many more questions of this type as you need. Sayfor instance you imagine Bianca in Taming of the Shrew this way, your answers mightbe: a pink "Mary Kay" Cadillac, a white rhododendron, a strawberry sundae withwhipped cream and a cherry, and a white cockapoo. What you're looking for is a visual imagefor the character that you can use in their costume design. Depending on how realisticyour production is you will use this image literally or only figuratively. Of the abovementioned images for Bianca I feel the sundae works best, and I would probably design hercostume to look suggestive of a super sweet dessert, begging to be eaten.
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==8==
  
THE
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However, I do not shorten the titles of my articles.The reason for this is simple, by giving them their full length, they are much moreexplanatory of my specialized interests and knowledge.
  
==JETSONS==
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[[Advice1pagesResume#8|8.Back To Resume Page.]]
  
: C.Neil Vipperman of Atlantainadvertently fell upon the Jetsons method while working on his MFA at the University ofGeorgia. He was assigned by his director to do the six "characters" in SixCharacters in Search of an Author, as timeless futuristic costumes. At the last minute, afterthe fabric was bought, and the day before cutting was to start, the director askedthat the designs be changed to their original 1920's period. Staying up all night in apanic, Neil zipped through changing the designs by adapting his "Jetsons"costumes, as we in the UGA costume shop called them, into 1920's silhouettes. Strange tosay these new designs were even better than the ones he worked on for weeks because theycontained all the color and shape ideas that the futuristic set had, without distractingshoulder pads and stiffened collars. Working on the show in another period allowed him toextract the essence of each character without being mired in period detail. Adding theperiod look last in the process let the characters look timeless, while still having anindication of their 1920's origin. To replicate this process one simply tries to design ashow in another period: modern, futuristic, Elizabethan, or whatever. Then later oneredesigns the show in the appropriate period, using ideas borrowed from the first designs.This is an especially good method for shows that sometimes seem to be happening in twoperiods at once like Marat/SadeLa BeteAll For Love, or JuliusCaesar
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==9==
  
==WHO'S==
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This is also not a costume related piece of writing.I leave it in, along with several other references to my traveling talents, to hopefullyattract an employer who wants a professor to start a travel study program for theirdepartment.
  
THIS FABRIC?: This is a good one for awhole costume class to do together. Take out fabric samples for an assortment of fabriccolors and textures. Spread them on a table and ask the class to write on slips of paperat least three adjectives describing the sort of person they imagine wearing that fabric.Have them put the slips in piles next to each fabric sample. When everyone is finishedread them out loud. Most fabric colors and textures will suggest similar adjectives tomost people. These are three lists my class did:
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[[Advice1pagesResume#9|9. Back to Resume Page.]]
  
Orange SpandexYoung, brainless, annoying, cheerful,energetic.
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==10==
  
Scruffy Wool TweedOld, sick, professorial, tired,educated.
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Papers are much easier to find time to do thanarticles. If you are having trouble demonstrating your areas of interest, and only havedesign credits (which usually don't say what your interests are,) volunteering to lectureon topics of interest at theatre conferences is a pretty painless way to give your resumesome personality. Besides which, to get conference folks to come, you need the sort ofcatchy titles that look intriguing in print.
  
Plaid Flannel lMasculine, stable, practical,strong, comfortable.
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[[Advice1pagesResume#10|10. BackTo Resume Page]]
  
A few fabrics will give off contradictory images in a group, andthis is almost more interesting than the more obvious ones. If you have a person in yourclass who comes from a different culture, she will likely get different images from therest of the group. A discussion of different cultural meanings for colors, will inevitablyput everyone to thinking about where their own beliefs on color originate.
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==11==
  
==WALK==
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Areas like this help to tell people I'm able to runmy own costume shop. The dates also tell that I "worked from the bottom up"through the craft areas, so I know them thoroughly.
  
THIS WAY: Remember the joke in YoungFrankenstein where "Ay-gor" tells Dr. Frankenstein to "walk thisway" i.e., like a limping hunchback? Characters in plays are usually individuals, whoshould have individual ways of walking. Think like an actor, and try to walk, stand andsit like each character. When you feel yourself inside the body of the character, you willquickly find the "center" of that imaginary person's body. This is a good cueabout the costume's center of focus, and should also help you to determine the type ofshoes necessary. For example, in Guys and Dolls the posture of Adelaide as awiggling S-curve semi-stripper, pretty well requires she wear heels to help push out herbackside and bust
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[[Advice1pagesResume#11|11. Back to Resume Page.]]
  
[[File:GuydollsImagesGuys47.jpg|JETSONSWHO'SWALK]]
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==12==
  
Costume design for Adelaide in Guys 'n' Dolls
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Explanations of what you did need not be lengthy.Every reader may not understand every abbreviated description, but most will if you stickto the main point.
  
.This can also be a really great project for awhole costume class: Divide into two groups that switch off. One "performs"while the other watches. The performing group is asked to try to walk like a particularcharacter. The watchers pick a favorite walk from the group that is then demonstrated anddiscussed with regard to center, posture, and shoes. Then the watching group performs withanother character, etc... Until the whole character list has been debated. This is a verygood exercise in schools where actor's and tech/design folks have got into an adversarialposition. The actors in class will usually demonstrate their knowledge and ability inphysically manifesting the character, and the tech/design folks will have lots of goodideas about how to help the performers in the discussion. It ends up getting them to bothbond and improve communication.
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[[Advice1pagesResume#12|12.Back to Resume Page]]
  
THE
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==13==
  
==DOORWAY==
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A memorable or unusual job can stick on your resumefor years. It aids in interview conversation, because people are always curious about it.It also aids in being remembered in a stack of resumes. I recall reading close to fiftyresumes for a choreographer position once, and the two I still remember were respectivelya Mouseketeer and a Royal Ballet dancer years before I was born. Neither was stupid enoughto "drop" these long ago credits, although their work accomplished since hadlong ago made their old work irrelevant.
  
: This is a similar idea, buteasy to do just with pen and paper. Before you start any kind of design drawing, Imagineeach character standing, back lit, in a doorway, where all you see is a vague silhouetteor lump like shape: Is it hulking, bristling, flowing, top-heavy, bottom-heavy, smooth,skinny, amorphous? Make a series of small rectangles on paper, and in each draw the shapethat is suggested to you by that character. Then, as you design, try to incorporate eachsilhouette into each design.
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[[Advice1pagesResume#13|13. Back to ResumePage]]
 
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==BODY PARTS==
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: This was suggested to me bya show where I tried to make costumes that the actors could alter themselves for differentcharacters (for more on this see the section on
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[[Shows100pagesMuchado|DOORWAYBODY PARTSOmnicostumes]]). I included in my designs alot of masks on elastic straps (we were doing
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[[Shows100pagesMuchado| Much Ado]], which has lots of masks andmistaken identity in the plot). I gave them to the actors and told them to put them on thebody parts that seemed important to their character. Margaret, the oversexed maid asked tohave hers stitched to her breasts, Borachio, her boastful lover, wore his as a codpiece,the messenger boy put his on as knee pads, the fashionable and handsome young noblemen,Benedick and Claudio wore theirs as shoulder pads, a pregnant maid wore hers on her belly,the truthless Don John put his directly covering his heart, and so forth.
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Body Parts, therefore is where you pick an object, like a mask,or decoration, or something, and pin the tail on the donkey with each character. Askyourself, what body part is the center of their focus? Put the decoration on that part ofyour body, and try to move with that part leading the movement. Does it feel and lookright? If not, try moving the decoration till the "character" appears to bemoving naturally for him/her. Then when you know where the center of that character is,you can design the focal point of the costume to enhance that center. Again, this is funto do in a group.
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==DADA==
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CALISTHENICS: This is definitely one todo in a group unless you are very brave. This is pure brain flexing, without any directconnection to doing your designs, but it leaves everyone's creative batteries recharged.It is also just plain fun. It helps to read Tristan Tzara's Dada Manifesto 1918just before commencing. The object of each exercise is to concentrate on engaging in themost absurd and senseless acts possible. If your group is a bit slow, and/or shy, it helpsto give each person a piece of paper and ask them to describe the most absurd andsenseless act that the group can do. Then you read them out loud and choose a plan ofaction. Examples my students have thought of are:
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Go to the Fairbanks airport and put "lei's" of ice cubes on incoming passengers returning from Hawaii, while singing "Aloha Ohe".
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Dressed in gas masks, rubber gloves, lab coats, and sun glasses, enter the women's toilet, like a panel of industrial experts, inspect each toilet with much flushing, "testing" and fanfare. Then inform all around (and each other) that the toilets have been tested as safe. Stick up huge intimidating signs that say "THERE IS NOTHING WHATSOEVER WRONG WITH THE TOILETS" and "THESE TOILETS ARE SAFE."
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Beating drums and dancing in a circle, fling ice cubes in the air while chanting "Snow, SNOW, snow, SNOW!" etc. Then calmly inform onlookers that this ritual sacrifice of ice cubes will ensure snow within the week. Solicit donations of ice cubes from people with soda drinks for the purpose.
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You can also, with a suitably deranged group leader or leaders,simply venture out without a plan, and do senseless things: ceremonial presentation ofbroken coat hangers to important people, children's games like "Doctor, Doctor, Ifeel sick" or "Mother may I?", singing popular song lyrics in Tibetan chantstyle, falling to the ground and "worshipping" objects of ordinary life likewater fountains and trash receptacles, etc. The idea is to get everyone to open theirminds to the natural possibilities for absurdity in everyday life, and to see things withnew eyes in their daily world. The exhibitionistic aspect of the thing alsosuper-sensitizes and energizes people who don't usually perform, thus making them feelsuper-charged.
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==Product Links==
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[[File:AmazonBooksOurnewclothes.gif|link=http://www.amazon.com/exec/obidos/ASIN/0810965402/thecostumersmani|TWENTY Our New Clothes : Acquisitions of the 1990s]] TWENTY Our New Clothes : Acquisitions of the 1990s
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[[File:AmazonBooksFashionindetail17th.gif|link=http://www.amazon.com/exec/obidos/ASIN/084782151X/thecostumersmani| Fashion in Detail : From the 17th and 18th Centuries]]  Fashion in Detail : From the 17th and 18th Centuries
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[[File:AmazonBooksArtofdress.gif|link=http://www.amazon.com/exec/obidos/ASIN/0810963175/thecostumersmani| The Art of Dress : Clothes and Society, 1500-1914]]  The Art of Dress : Clothes and Society, 1500-1914
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[http://www.amazon.com/exec/obidos/ASIN/0415139570/thecostumersmani|Undressing Cinema : Clothing and Identity in the Movies]
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[[File:AmazonBooksEikoonstage.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0935112537/thecostumersmani| Eiko on Stage]]  Eiko on Stage
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[[File:AmazonBooksJulietaymorplaying.gif|link=http://www.amazon.com/exec/obidos/ASIN/0810935171/thecostumersmani| Julie Taymor: Playing with Fire]]  Julie Taymor: Playing with Fire
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[[File:AmazonBooks2Costumesandscriptseliz.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0888642261/thecostumersmani| Costumes and Scripts in the Elizabethan Theatres]]  Costumes and Scripts in the Elizabethan Theatres
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[[File:AmazonBooksZiegfieldfolliespap.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0486248119/thecostumersmani| Ziegfeld Follies Paper Dolls in Full Color]]  Ziegfeld Follies Paper Dolls in Full Color
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[[File:AmazonBooksMakingfacesplayinggod.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0292752474/thecostumersmani| Making Faces, Playing God: Identity and the Art of Transformational Makeup]]  Making Faces, Playing God: Identity and the Art of Transformational Makeup
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[[File:AmazonBooksHollywooddressedandun.gif|link=http://www.amazon.com/exec/obidos/ASIN/0847821102/thecostumersmani| Hollywood Dressed & Undressed : A Century of Cinema Style]]  Hollywood Dressed & Undressed : A Century of Cinema Style
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[[File:AmazonBooksKabukicostumespaper.gif|link=http://www.amazon.com/exec/obidos/ASIN/0486288560/thecostumersmani| Kabuki Costumes Paper Dolls]]  Kabuki Costumes Paper Dolls
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[[File:AmazonBooksPatternsfortheat.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0896761258/thecostumersmani| Patterns for Theatrical Costumes : Garments, Trims, and Accessories from Ancient Egypt to 1915]]  Patterns for Theatrical Costumes : Garments, Trims, and Accessories from Ancient Egypt to 1915
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[[File:AmazonBooks3Moulinrougetheosplendig.jpg|link=http://www.amazon.com/exec/obidos/ASIN/1557045070/thecostumersmani| Moulin Rouge: The Splendid Illustrated Book That Charts the Journey of Baz Luhrmann's Motion Picture]]  Moulin Rouge: The Splendid Illustrated Book That Charts the Journey of Baz Luhrmann's Motion Picture
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[[File:AmazonBooksHowtodressdancers.gif|link=http://www.amazon.com/exec/obidos/ASIN/0871272083/thecostumersmani| How to Dress Dancers : Costume Techniques for Dance]]  How to Dress Dancers : Costume Techniques for Dance
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[[File:AmazonBooksWings.jpg|link=http://www.amazon.com/exec/obidos/ASIN/1892041103/thecostumersmani| Wings : Backstage With Cirque Du Soleil!!!]]  Wings : Backstage With Cirque Du Soleil!!!
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[[File:AmazonBooksFelinnicostumes.gif|link=http://www.amazon.com/exec/obidos/ASIN/8886158823/thecostumersmani| Fellini : Costumes and Fashion]]  Fellini : Costumes and Fashion
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[[File:AmazonBooksBalletsrusses.gif|link=http://www.amazon.com/exec/obidos/ASIN/1577150341/thecostumersmani| Ballets Russes]]  Ballets Russes
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[[File:AmazonBooksFrompagetostage.jpg|link=http://www.amazon.com/exec/obidos/ASIN/0435070428/thecostumersmani| From Page to Stage : How Theatre Designers Make Connections Between Scripts and Images]]  From Page to Stage : How Theatre Designers Make Connections Between Scripts and Images
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[[File:AmazonBooksBaksttheart.jpg|link=http://www.amazon.com/exec/obidos/ASIN/1859954995/thecostumersmani| Bakst : The Art of Theater & Dance (Temporis Series)]] Bakst : The Art of Theater & Dance (Temporis Series)
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Latest revision as of 00:55, 23 January 2014

Footnotes for RESUME PAGEFootnotes for

RESUME PAGE

1

Since I am an academic, who happens to be a costumedesigner, I make a point of listing my education first. The choice of which categories youput first in your resume, can and should be a clue to the reader about where your ownpriorities in your work lie.

1.Back to ResumePage.

2

I am fortunate in having a rather weird and memorablesubject for my dissertation. It helps you to stick in peoples minds. Try when working onyour resume to remember the thing or things you've done that might cause you to be mildlymemorable in a stack of very similar documents. Not all Ph.D.'s list the title of theirdissertation in a resume. Because I know mine sounds memorable, I do.

2. Back to Resume Page.

3

This is a perfect example of something that could beomitted over time. Since I have a BA, MA, and Ph.D., it hardly matters that I also had twoyears of junior college. However, I haven't dumped it because it is a well known juniorcollege with lots of famous graduates, and very many of my West Coast colleagues eitherwent there or know someone who did. My high school, whose only famous student was a 16year old ax murderess, is long since gone from my resume.

3. Back to Resume Page.

4

Please note how much information is packed into asmall orderly section. One of the main keys to resumes, is to convey as much informationas possible, in as easy to digest a manner possible. Also, the order of this section againshows the reader which areas I am most proud of. Teaching costume history and design comesfar before work on the Faculty Senate and as department chair, another way I try to tellthe reader who I am, and what my priorities are.

4.Back to Resume Page.

5

I try to be as accurate in describing my position inany work situation as possible. Heavily inflated resumes usually "smell funny"to the reader, a super-accurate looking one builds confidence in the credentials set outin them.

5.Back to Resume Page.

6

. However, there are times when it helps to fudge. Thereal name for this course was Appreciation of Great World Drama, which sounded so verypretentious and silly, I "shortened" it.

6 Back to Resume Page.

7

Although this play has nothing seemingly in it toconnect it to costume design, it sits in my resume to tell folks I'm capable of working inother areas of theatre.

7. Back To Resume Page.

8

However, I do not shorten the titles of my articles.The reason for this is simple, by giving them their full length, they are much moreexplanatory of my specialized interests and knowledge.

8.Back To Resume Page.

9

This is also not a costume related piece of writing.I leave it in, along with several other references to my traveling talents, to hopefullyattract an employer who wants a professor to start a travel study program for theirdepartment.

9. Back to Resume Page.

10

Papers are much easier to find time to do thanarticles. If you are having trouble demonstrating your areas of interest, and only havedesign credits (which usually don't say what your interests are,) volunteering to lectureon topics of interest at theatre conferences is a pretty painless way to give your resumesome personality. Besides which, to get conference folks to come, you need the sort ofcatchy titles that look intriguing in print.

10. BackTo Resume Page

11

Areas like this help to tell people I'm able to runmy own costume shop. The dates also tell that I "worked from the bottom up"through the craft areas, so I know them thoroughly.

11. Back to Resume Page.

12

Explanations of what you did need not be lengthy.Every reader may not understand every abbreviated description, but most will if you stickto the main point.

12.Back to Resume Page

13

A memorable or unusual job can stick on your resumefor years. It aids in interview conversation, because people are always curious about it.It also aids in being remembered in a stack of resumes. I recall reading close to fiftyresumes for a choreographer position once, and the two I still remember were respectivelya Mouseketeer and a Royal Ballet dancer years before I was born. Neither was stupid enoughto "drop" these long ago credits, although their work accomplished since hadlong ago made their old work irrelevant.

13. Back to ResumePage

"The Costumer's Manifesto"
by Tara Maginnis