The Most Frequently Asked Question:  “What should I have in my portfolio?”

Any portfolio, no matter how big or small, should be a representation of your work and abilities.  But do not think of it as only showing your theatre or costume work; it may also contain examples unrelated to costumes or the theatre.  The most important thing that a portfolio should do is give us (the committee) an idea of what you are capable of doing and what potential you have for further development.

Therefore, consider any or all of the following to include in your portfolio

• Drawings, sketches or doodles of any kind and in any medium/media, or photos of these.

• Photos of costumes, masks, or clothes you have designed or made from your own pattern or a commercial pattern.  Halloween, holiday pageants, school plays, proms, etc. all make for creative occasions.  Even put an original in your portfolio for your interview.

• Any examples of “costume crafts” or fabric modification like dyeing, tie-dyeing, fabric painting, embroidery, appliqué, quilting, beading, etc. are good to include.

• Photos of ceramics, paintings, jewelry, banners, collages, or other art projects.

• Photos of your process- from start to finish.

Remember, your portfolio doesn’t have to be fancy, but it should be neat and be more than a collection of programs or posters (unless you have designed them).

If you have any questions concerning your portfolio, your interview or the application process, please don’t hesitate to contact me.  I look forward to meeting you and seeing your work.

Dean Mogle, Professor
Head of Costume Design and Technology
College-Conservatory of Music
University of Cincinnati
Dean.Mogle@UC.edu
513-556-9411

Applicants to the Graduate Costume Design and Technology program are required to present a portfolio of their work during their interview.  This portfolio should contain a representative sampling of realized and theoretical (class) projects and should demonstrate both product and process.  Costume designers should demonstrate a proficiency in the visual communication of character through line, silhouette, color and fabric, while costume technicians should demonstrate their ability to successfully translate a two-dimensional design into a three-dimensional garment through cut and construction. Costume designers should demonstrate some knowledge of costume history while costume technicians should demonstrate some knowledge of period patterning and construction.  And while your entire portfolio may be digital, we also require samples of the “real things”.

Our program addresses the dual importance of design and technology in training. Therefore, while not everything listed below will be in every portfolio, the applicant should use the following suggestions to help organize and present their work. 

Costume Design

To best demonstrate the applicant’s research skills

• Informative and evocative research examples/collages pertinent to the costume design for a particular production, real or theoretical, including character, period silhouette, fabrics, etc

To best demonstrate the applicant’s understanding of character and script

• Preliminary sketches and/or character development drawings
• Brief character descriptions may be useful
• Stated production concepts, practical or theoretical

To best demonstrate the applicant’s understanding of and ability to manipulate and use media

• Class projects or exercises in figure drawing, color studies, rendering techniques, etc
• Color plots for theoretical or produced productions
• Finished color renderings with swatches and possible cutting/construction notes

To best demonstrate the applicant’s production organization

• Designer’s production bible including budget information for a produced production
• Character/Action plots
• Pull/Build/Buy lists
• Costume plots and/or dressing lists
• Production and/or costume photographs of produced work.

Costume Technology

To best demonstrate the applicant’s construction skills

• Photographs of 4-6 (recommended) completed garments showing both the interior and exterior
• Recommended close-up photographs of the garment on a dress form or table
• Photographs of the garment on the performer or fit model
• Actual corsets or other small garments that demonstrate the applicant’s strengths in construction are acceptable to bring to the interview.

To best demonstrate the applicant’s patterning and fitting skills.

• Representative renderings and/or research materials that best support the pattern development for 2-4 completed garments
• Fitting, pattern development and construction process photographs are highly recommended.
• Recommended close-up photographs of the garment demonstrating interior and exterior sewing and construction details (if different garment than above)
• Photographs of the actor or fit model wearing the garment (if different garment than above)

To best demonstrate the applicant’s skills in costume crafts

• Examples of 2-4 completed craft items which may include millinery, jewelry, painting and dyeing, armor, leather work, casting and molding, etc.
• Representative renderings and or research materials that best supported the development process of the craft item.
• Pattern development, construction and fitting, process photos
•  Small pieces that easily travel are acceptable to bring to the interview

To best demonstrate the applicant’s skills in costume shop management
Appropriate paperwork for one or more realized or theoretical productions including:

• Pull/Buy/Build lists
• Costume calendar indicating planned deadlines
• Fitting schedules
• Wardrobe check-in sheets and quick change pre-sets
• Any paperwork describing the organizational process of costume production as well as and management of dress rehearsals, run and strike.
  

Dean Mogle, Professor / Head
Costume Design and Technology
College-Conservatory of Music
University of Cincinnati
Dean.Mogle@UC.edu
513-556-9411

Regina Truhart, Assistant Professor
Costume Technology
College-Conservatory of Music
University of Cincinnati
Truharra@UCmail.edu