We caught up with Elisabetta Polito, the amazing costume designer of Hamlet, for an informal e-interview:
Have you always been interested in costume design?
No. I was working as a Graphic Artist in Montreal for many years before I got into costume design. I started studying Theatre in 2006 and when I saw “WICKED” in London, I realized that designing costumes would be what I was meant to do. When I was studying Graphic Design, one of my professors always would tell me that I should go into costume design and I always ignored his advice. Maybe some teachers actually know what they are talking about.
What is your favorite part about designing a set of costumes?
The psychology of the play. Bringing out the characters and their personalities through fashion. Seeing how they relate to one another. Understanding the time and place and taking it to another level. I like the creative process, knowing the rules and seeing how I can break them.
Is there a specific kind of play you feel yourself drawn to design?
Unconventional. I like plays that allow for a lot of artistic expression. I am normally drawn to a dark and absurd design esthetic. I love the bizarre. Each play brings on their own set of challenges. A new world that I need to break into. It has their own set of needs and requirements. Not every play can or will be “crazy”. If a play requires period clothing then that is what I will do because it is respective to the characters. But if I get one which can be designed with an unconventional twist, it’s like putting me in a candy store!
GAN-e-meed’s “Hamlet” is set in a contemporary world: what sort of inspirational images or ideas are you using to create your design?
Contemporary can be interpreted in many ways. With respect to Hamlet and knowing that it would comprise of an all-female cast, my first intuition was androgynous fashion. I am using that as my inspiration and foundation for the costumes. I did a lot of research on different styles and found images pertaining to each character and created the world of Hamlet.
A lot of my ideas involve textures, weight, asymmetry and layers. Hamlet is so dark and insane and to create “his” world I continuously think of the sickness that eats away at him.
Are there any unusual challenges you are facing with this particular show?
Normally getting everyone on the same page would be a challenge. Having an actor uncomfortable with their costume with respect to movement, look, etc. but I have been fortunate with this production that I am working with a great director and a great cast. Collaboration has been so huge throughout this process and I thrive in this kind of working environment where everyone is open to suggestion and we are able to talk things through. In the end its all about problem solving and putting on an awesome show. No personality is bigger than the other that we can’t work it out.
How is the gender of the cast influencing (if at all) your design choices?
Initially knowing the gender of the cast steered me towards androgyny. Looking at it now, my design choices could remain the same if this production of Hamlet happened to have men and women in the cast. I adore the idea of an all-female cast and I do not want to shy away from the fact that they are women playing these roles. They do not need to look like typical men, tape themselves down, or put on facial hair. That is the beauty with androgynous clothing.
Even with a mixed cast, roles can be interchangeable. All depending on how the director wants to play it out. I can easily put a man in a dress like I can put a woman in a suit. The actors need to find their character and play that character. Doesn’t matter who is underneath the clothing.
