New costumes for a new heroine
My process for designing the costumes for Robyn Hood first involved learning about the characters. I spoke to the directors and the choreographers about how they saw Robyn, Scarlet or Maid Marian in this version of the story, and what relationships or traits they wanted to emphasize. Next, I spent time researching the period. It was important to me as well as the production team to emphasize elements of the 1100s, and many of my choices regarding the silhouettes stemmed from that research. Most of the costumes are based on tunics and cottes from this period. As the story is told through ballet, these silhouettes were then altered to allow for the choreography, and to emphasize the dancer's artistry. I also thought a lot about color, and how it could be used to communicate character and power. I knew that I wanted the Sheriff of Nottingham to stand out as a figure of power, and did this by placing her and those associated with her in cool tones with a darker saturation. Robyn, Scarlet, and those who work with them are in warm tones, visually representing the way in which these women form connections with each other, rather than seeking power over each other.