Costume renderings for Pool Boy by Holly Cain.
Q: What was your inspiration and what kind of research went into your design, specifically the Sultan’s design?
A: It is rare to design a show that requires not only contemporary fashion, but also takes place in the current season. Since the setting for Pool Boy called for both of these, I was able to draw inspiration from fashion magazines that were currently on the shelf. Since women’s fashion tends to follow more specific trends, it was important to utilize the two women in this show to create a tone for the design and indicate that the time is now. At the same time, I tried to use hints of a timeless or classic type of glamour that gives us a sense of the Bel Air. So, some of my research comes from a more classic Resort fashion source.
The other, more subtle story is told through the colors in the costumes. The wealthy, more affluent crowd wears flashy colors and bold prints while the service oriented characters don neutral tones and soft colors.
As for the Sultan, the inspiration for his clothes is taken directly from a character in real life who leads a similar lifestyle to that of our character, Prince Azim, seen here with some of Hollywood’s best.
Q: How much of your design was shopped and how much was built?
A: For this production, given the size of the budget, it was necessary to shop almost everything in the show. The only costume that was built was the swimsuit for Mrs. Duval. It was very important that this costume have a couture look and also function in a variety of ways, including the topless scene. Therefore, it was better to create a suit that would do everything and fit the actress perfectly. Everything else in the show is purchased from discount designer stores or rented from the closets of the actors themselves.
Q: What excited you about this piece?
A: There are several aspects of this project that I enjoyed. The first thing that excited me was the script and the music, which is fun, different, and very contemporary. I also knew that this project would involve a lot of flexibility and problem solving, being that it is a new musical, and that challenge excites me. But, the thing the became the most exciting aspect of this show was all the amazing and talented people that I worked with to create this collaborative work of art. This is the best part of the experience, the process, and can be especially magical when you have the right combination of artists feeding off each other’s ideas, listening and adjusting constantly, all with the work as the central interest.
Q: What are the differences designing for a musical like Carousel in the larger Mainstage verses designing Pool Boy in the intimate Stage 2?
A: Well, there are many obvious differences like size, budget, and time period. One of the challenging things about a show with seven actors like Pool Boy is that you have fewer bodies to tell your story. In a show like Carousel, you have a chorus to show the design sense and paint a more complex picture of the people onstage. With Pool Boy, you only have a few actors in most scenes so, it’s a little bit like having just three crayons to color your landscape. So, each decision carries more weight when you design in that context and each piece must be perfect.