With performances nightly through Aug. 30, the Pageant of the Masters continues to captivate audiences from around the world with its theme “A La Mode: The Art of Fashion.” Critics and audiences alike have raved about the show’s stunning artwork re-creations and live-action spectacle, making it summer’s must-see event. With a focus on fashion, the Pageant’s costume director, Reagan Foy, has played a pivotal role in bringing these masterpieces and influential fashion trends to life. To offer a glimpse behind the scenes and the intricacies of costume design for the Pageant, Foy shares her insights with us.
Q: Could you share a bit about your journey to becoming a costume director and what initially sparked your interest in costume design?
A: I started making clothes at a young age, taught by my grandmother. Fast forward to high school and college, when I got involved in theater, I found myself more in love with the costumes and how they were made than with performing. I had a mentor who saw something in me and really pushed for me to obtain a degree in costume design for theater.
I was fortunate enough to begin working at South Coast Repertory and Opera Pacific right after grad school, which then led me to the Pageant of the Masters in 2008. I found my true calling in costume crafts and loved starting at the Pageant as the Headpiece Maker. It was a unique form of craft that challenged me, and my love for sculpting made it come pretty easily after learning the “Pageant Way,” which is distinct from other approaches used in traditional theater productions.
When the costume director position became available in 2016, I was happy to take on the challenge. The great thing is that Pageant gives me the opportunity to continue to practice and create costumes from so many eras that I am continuing to gain knowledge of costume construction, which I just love.
Q: Can you describe the costume creation process from initial concept to the final product? What materials and techniques are used? How much time is typically invested in each costume?
A: The Pageant costuming process starts with selecting two volunteer cast members for a single role, typically of similar size. I take their measurements to figure out the best way to pattern their costume. Next, I cut the pattern from muslin, a 100% unbleached cotton used for almost all our living pictures. My stitchers then sew the costumes, incorporating velcro closures to accommodate varying sizes.
After the initial sewing, I have a fitting with the volunteer to make any alterations needed. We place them in the set to determine if further adjustments are needed based on how they are posed and the best way to flatten the fabric. Once all adjustments are made, the costume goes to the paint shop, where our costume painter uses textile paint to achieve the correct color and add details like bows, ruffles, and buttons.
Then, the costume is ready for its rehearsal and the summer shows. The entire process can take anywhere between one to two weeks per piece.
Q: How does the costume department collaborate with other departments, such as makeup, headpiece, and set design, to create a cohesive visual experience?
A: The costume department works closely with the headpiece and construction foreman to achieve a cohesive look for each piece. This sometimes means adding Velcro in areas to make sure the fabric is connecting with the headpiece or the set in the manner that it does in the painting. Our foreman may also create skirt armatures instead of the cast member actually wearing a skirt so that we can ensure that the skirt will look consistent every night.
Q: What was the most challenging aspect of creating costumes for this year’s theme?
A: The biggest challenge this year was the number of costumes we needed to create. This year’s production required almost double the number of costumes our shop normally produces for a show. This meant hiring additional stitchers and a few freelance costumers. We also had the Pageant’s makeup director help us with shopping for the live actors who played spectators during the fashion runway show. In total, we created 83 costumes for the tableaux, and costumed 104 different looks for performers.
Q: Is there a particular costume or tableau from this year’s show that you’re especially proud of? What makes it stand out?
A: My favorite tableau this year was Edith Head’s sketch of Tippi Hendren’s costume from the Alfred Hitchcock film “The Birds” because it presented the biggest challenge. I always love the challenging ones, especially when we get it right. I initially thought of it as being a dress and jacket, like her costume in the movie, but during rehearsal, I realized it wasn’t going to work. I had to take a moment and think of it in the “Pageant Way.” In creating costumes for the Pageant, we sometimes need to think beyond real-world garment construction to achieve the visual effect onstage. I quickly realized the costume needed to be capri pants and a bodice, with separate fabric pieces attached to the set. Once the cast member was in the set piece, these flat pieces would be Velcroed to her to create the illusion of the jacket and skirt. It worked! I love seeing it every night.
And, of course, there is the gold dress Grace Kelly wears in the movie “To Catch a Thief” for our runway model. I requested that it be one of the costumes we did a real version of. I knew it was going to have our audience gasping in amazement every night, so I was happy to re-create it.
Foy’s passion for costume design is evident in every stitch of the Pageant of the Masters production “Á La Mode: The Art of Fashion.” With just weeks remaining in the Pageant’s season, audiences have a limited opportunity to experience the magic of “Á La Mode: The Art of Fashion.” The Pageant of the Masters runs from July 6 to Aug. 30 at the Festival of Arts in Laguna Beach. Tickets start at $45 and can be purchased at foapom.com. A ticket to the Pageant of the Masters is also a season pass to the Festival of Arts Fine Art Show.
