The Armor 舞台衣装 by Samantha Chijona Garcia and Vladimir Cuenca is a highly esteemed winner of the very prestigious 2020 A' Design Award 銀賞 in 舞台芸術・ステージ・スタイル・舞台美術デザイン Competition Category.
銀舞台芸術· 2020
The Armor 舞台衣装
by Samantha Chijona Garcia and Vladimir Cuenca
Client: Jazz Martinez Gamboa
A' Design Award 銀賞 Winner in 舞台芸術 Category
Verified Award Winner
Verify Award Status for #102743The Design
About The Armor 舞台衣装
「The Armor（甲冑）」は、シェイクスピア作品の舞台公演におけるリチャード三世役のために制作された舞台衣装である。衣装はリサイクル素材や廃材を用いて作られている。ツイル地のジャケットには金属製のラインが縫い付けられ、重なり合うレザー製のゲートルは革のストラップとバックルで連結された独立した構造体を形成している。チェーンメイルのグローブが袖口を閉じ、金属片で裏打ちされたベルベットの帽子が兜の役割を果たす。6つのパーツは、劇中で人物が変化するのに合わせて着脱が可能である。このデザインは、王としての姿と、その内に潜む脆さを抱えた一人の人間の姿の双方を映し出している。
The Recognition
About the A' Design Award 銀賞
The Armor 舞台衣装は、見事で印象的なハイエンドのデザインに授与される、非常に権威ある評価である A' Design Award 銀賞の受賞作品です。銀賞の受賞作品は、きわめて輝かしく創造性に富んだ作品であり、デザイナーの傑出した専門知識、才能、洞察力を示しています。The Armor 舞台衣装は、素晴らしい代表作であり、驚くほどプロフェッショナルで、深く革新的であることが期待されます。この A' Design Award 銀賞を受賞したデザインは、非常に注目すべき称賛される発明であり、芸術・科学・デザイン・技術の境界に寄与し、それを前進させます。The Armor 舞台衣装は、多くの人に羨まれる創造物であり、欲求を呼び覚まし、前向きな感情をもたらし、驚きと感嘆を灯します。
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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