The Armor لباس نمایشی by Samantha Chijona Garcia and Vladimir Cuenca is a highly esteemed winner of the very prestigious 2020 جایزه نقره‌ای A' Design Award in طراحی هنرهای نمایشی، صحنه، سبک و صحنه‌آرایی Competition Category.
نقرههنرهای نمایشی· 2020
The Armor لباس نمایشی
by Samantha Chijona Garcia and Vladimir Cuenca
Client: Jazz Martinez Gamboa
جایزه نقره‌ای A' Design Award Winner in هنرهای نمایشی Category
Verified Award Winner
Verify Award Status for #102743The Design
About The Armor لباس نمایشی
زره لباسی نمایشی است که برای شخصیت ریچارد سوم در یک اجرای صحنه‌ای از نمایشنامه‌ای اثر شکسپیر خلق شده است. این لباس از مواد بازیافتی و مستعمل ساخته شده است. خطوط فلزی روی یک کت جناغی دوخته شده‌اند، در حالی که ساق‌پوش‌های چرمی روی‌هم‌قرارگرفته ساختاری مجزا را تشکیل می‌دهند که با بندها و سگک‌های چرمی به هم متصل شده است. یک دستکش زره حلقه‌ای آستین را می‌بندد و یک کلاه مخملی که با نوارهای فلزی آستر شده به عنوان کلاهخود عمل می‌کند. شش بخش را می‌توان با تغییر شخصیت در طول نمایش اضافه یا جدا کرد. این طراحی هم پادشاه و هم مرد آسیب‌پذیر درون او را بازتاب می‌دهد.
The Recognition
About the جایزه نقره‌ای A' Design Award
The Armor لباس نمایشی برنده جایزه نقره‌ای A' Design Award است، شناختی فوق‌العاده معتبر که به طراحی‌های سطح بالای زیبا، والا و تأثیرگذار اعطا می‌شود. برندگان نقره آثاری بسیار درخشان و فوق‌العاده خلاق‌اند که تخصص، استعداد و تیزبینی برجسته طراحان خود را نشان می‌دهند. از The Armor لباس نمایشی انتظار می‌رود اثری شگفت‌انگیز و نمونه باشد که به‌طور چشمگیری حرفه‌ای و عمیقاً نوآورانه است. این طراحی برنده جایزه نقره‌ای A' Design Award اختراعی بسیار قابل‌توجه و ستوده است که سود می‌رساند و مرزهای هنر، علم، طراحی و فناوری را پیش می‌برد. The Armor لباس نمایشی آفرینشی است که به آن بسیار رشک برده می‌شود، خواسته‌ها را بیدار می‌کند، احساسات مثبت می‌آورد و حیرت و شگفتی برمی‌انگیزد.
Behind the Design
Press Kit
Credits, team members and technical details provided by the designer.
- Unique Properties
- 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 & Packaging
- Armor- 45cmx30cmx55cm
Helmet- diameter:57cm High: 23cm - Tags
- Costume design, Shakespeare, Richard III, Armor, theater, cuban designer, Samantha Chijona Design, schijonag.
- Production Technology
- 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. - Design Challenge
- 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.
- Research
- 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.
- Project Duration
- The project started in June 2018 in Havana, Cuba and ended in September 2018 in Havana, Cuba.
- Operation Flow
- 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.
- Patents
- Copyrights belong to Chijona, Samantha, 2018
- Team Members
- Designer and Creative Director: Samantha Chijona
Designer: Vladimir Cuenca - Image Credits
- Image 1,2,3,4,5: Samantha Chijona Photographer/ Samantha Chijona Designer /Richard III/ The Armor /Model: Maria Gabriela Sanchez, 2018
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