Costumelogic

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Design for Ursula Iguaran

One of the longest surviving characters, Ursula’s costume goes through many incarnations. Beginning simply, she adopts a large draped skirt over a wooden crinoline, which later functions as an usher’s tray from which she sells her candy animals. In leaner times the pouches are turned inside out and all colour is drained from her ensemble.

Design for Pietro Crespi

Inspired by the mechanical toys he sells, with curved piping around seams to resemble hinges. Pietro’s sugary palette is turned inside out and pieces are removed until he is left in black, with long flowing red sleeves symbolizing his suicide through cutting his wrists.

Design for José Arcadio Buendia

Inspired by a series of rings; those of the tree trunk to which he is eventually bound; and the geometric rings of astrological and navigational equipment with which he becomes fascinated.

Jose Arcadio Buendia wears a rotating mask, which in turn covers his face with magnifying glasses during his periods of academic fervor, and then exotic feathers when he returns to his role as the alpha male of the village. The speed with which the mask rotates comes to reflect his loosening grip on reality.

Design for Melquiades

Arabian influences and brass structures that evoke an alchemist’s scales. His headdress curls and unfurls by pulling the ‘orbiting’ metal planets, the motion again emphasising the idea of balance. The concept is something foreign and quirky that mesmerizes the Macondo residents.

Design for Moscote

A slimy politician, this costume is inspired by all things fishy and amphibious. A sickly yellow/cream hue suggests his impotence, and gloves prevent his hands from getting dirty.

Design for Colonel Gerineldo Marquez

Focusing on his later immobility, the brass rings around his legs are both a support and a burden. The constructs around his shoulders are similarly constricting and heavy, yet he is not broken; remaining ever elegant and composed.

Design for Jose Arcadio

Emphasis for this costume is on size and sexualilty. Made almost entirely with thick leather and skins, reflecting his animalistic nature, and his skill as a hunter, with a weight-lifters belt and studded codpiece. His tattoos, by contrast, are embroidered onto a power mesh base.

Design for Mr Brown

The concept for this costume is contained beauty. The silhouette of the coat is akin to a specimen jar, holding all the beautiful colours beneath a giant net cape. Mr Brown is at once intimidating and peculiarly dazzling, to the local population, yet he remains as unknowable beneath his long coat as the Banana Company behind their barbed wire fences.

Design for Petra Cotes 

This costume is composed of many thick pads designed to look like muscle tissue and flower buds. These are gradually removed, exposing an angular black dress beneath, which transforms Petra from a symbol of fertility and decadence into a skeletal workhorse. 

Design for Pilar Ternera. 

Inspired by her night trysts, Pilar’s costume is all about the sensory: perfumed smoke emanates from her collection of pipes; tiers of wooden beads rattle as she walks; and long fringing conceals mysterious darkness under her skirts.

Design for Remedios Moscote.

Clean lines and intense orange and pink tones contrast with the heavily embellished black textiles worn by much of the cast. Her death by miscarriage/blood poisoning is depicted through costume using an underdress of velvet manipulated with shirring elastic.

Design for Santa Sofia de la Piedad. 

The weight of the brass elements, swinging like a pendulum as she moves through the house, contrasts with the transparency of the lace. She is both a constant, steady presence in the household, yet insubstantial, barely there at all.

Design for the French Whores.

This costume is about something luscious and full of vitality, but a little gaudy and superficial. Inspired by period fashion and the orientalism trend of the time, loose folds and drapes suggest something about the body beneath.

Costume Design for Colonel Aureliano Buendia

A gentleman’s velvet coat, with silver embroidery inspired by astrological charts, becomes a revolutionary’s vest once the sleeves and skirt are removed. As the character is worn down through the experience of war, his bony frame is emphasized by fish spines down the length of his arms and a heavy brass sash.

Costume Design for Aureliano José.

The concept for this design centres around the manner of his death: he is shot in the back. Aureliano José is one of a few characters who wear their death as an omen, relating to the inevitability and inescapable doom that they all face in Macondo. 

Textile manipulation and large resin cabochons create the appearance of ravaged flesh and glistening sores.