The Armor Toanielkostúm troch Samantha Chijona Garcia and Vladimir Cuenca

The Armor Toanielkostúm troch Samantha Chijona Garcia and Vladimir Cuenca is in heech wurdearre winner fan de tige prestizjeuze 2020 A' Design Award yn Sulver yn de kompetysje-kategory Útfierende Keunsten, Poadium, Styl en Dekôrûntwerp.

SulverÚtfierende Keunsten· 2020

The Armor Toanielkostúm

troch Samantha Chijona Garcia and Vladimir Cuenca

Klant: Jazz Martinez Gamboa

A' Design Award yn Sulver Winner yn de kategory Útfierende Keunsten

60,069

Ferifiearre Priiswinner

Ferifiearje Prisstatus foar #102743

Besykje Side Besjoch by A' Design Award Parseberjocht Priisbadge

Kleuren

It Untwerp

Oer The Armor Toanielkostúm

De Armor is in toanielkostúm makke foar it personaazje Richard III yn in toanielútfiering fan in stik fan Shakespeare. It kostúm is makke fan recyclede en ôftanke materialen. Metalen linen binne op in keperen jaske naaid, wylst oerinoar lizzende learen skynbeskermers in aparte struktuer foarmje, ferbûn troch learen riemen en gaspen. In malienkolder-hânskoen slút de mouwe ôf, en in fluwielen hoed mei metalen strips deryn tsjinnet as helm. De seis dielen kinne tafoege of fuorthelle wurde as it personaazje feroaret yn de rin fan it stik. It ûntwerp wjerspegelet sawol de kening as de kwetsbere man dy't yn him skûlet.

De Erkenning

Oer de A' Design Award yn Sulver

The Armor Toanielkostúm is in winner fan de A' Design Award yn Sulver, in bûtengewoan prestisjeuze erkenning foar topûntwerpen dy't prachtich en yndrukwekkend binne. Sulverwinners binne tige briljante en ekstreem kreative wurken dy't de treflike ekspertize, it talint en de skerpsinnigens fan har ûntwerpers yllustrearje. Fan The Armor Toanielkostúm wurdt ferwachte dat it in prachtich foarbyldwurk is, opmerklik profesjoneel en djip ynnovatyf. Dit winnende ûntwerp fan de A' Design Award yn Sulver is in tige opfallende, bewûndere útfining dy't foardiel bringt en de grinzen fan keunst, wittenskip, ûntwerp en technology ferleget. The Armor Toanielkostúm is in skepping dêr't breed oerjûn wurdt, dy't winsken wekker makket, positive gefoelens bringt en ferwûnderjen en fernuvering opwekket.

Efter it Untwerp

Parsepakket

Credits, teamleden en technyske details levere troch de ûntwerper.

Unike Eigenskippen: 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.
Ofmjittingen & Ferpakking: Armor- 45cmx30cmx55cm
Helmet- diameter:57cm High: 23cm
Labels: Costume design, Shakespeare, Richard III, Armor, theater, cuban designer, Samantha Chijona Design, schijonag.
Produksjetechnology: 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.
Untwerpútdaging: 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.
Undersyk: 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.
Ynspiraasje: 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.
Projektdoer: The project started in June 2018 in Havana, Cuba and ended in September 2018 in Havana, Cuba.
Operaasjestreamferrin: 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.
Patinten: Copyrights belong to Chijona, Samantha, 2018
Teamleden: Designer and Creative Director: Samantha Chijona
Designer: Vladimir Cuenca
Ofbyldingskrediten: Image 1,2,3,4,5: Samantha Chijona Photographer/ Samantha Chijona Designer /Richard III/ The Armor /Model: Maria Gabriela Sanchez, 2018