There are dozens, even hundreds of communities who have committed themselves to costume play. These people are drawn by the allure of these imaginative worlds. Our commitment to exploring these communities through documentary was reached from several points of view.
Sarah’s studies included several courses analyzing costume, apparel and dress of all kinds. This led her to an ability and love of looking at clothing as a door into understanding culture, values and personality. Clothing is such an intimate part of who people are and how we see our selves. What we wear reflects not only the larger culture we are a part of, but also our subcultures and within that, who we are as individuals. The link between identity and the materials we wear is strong. Within communities of reenactors, costume players and LARPers, textiles and dress are a central focus. They are an integral part of creating the ground for the players to interact and identities. There is an incredible amount to be read and appreciated by the intricate and detailed garments crafted by the participants.
Shelby and Sarah both share a mutual fascination with stories. Many of these costuming communities enter the worlds through narrative by reenactment and dress. We hope to be able to pursue a deeper understanding of narrative theory. Stories allow us to exist in worlds that free us from our natural constraints. They engage our imaginations and our dreams. They also provide a way of learning that is motivating and engaging in ways that linear rote memorization could never provide. The communities have tapped into a wealth of experience through their engagement of narrative at such an intimate level. The Civil War reenactors will take a specific moment in history and play out the exact story. The Renaissance Faire is filled with stage performers and street actors who are acting out fantasies as well as historically based plays. Others, such as the “Trekkies” connect themselves to a world of stories from books, films and television. Story, with its plot, characters, conflict and resolution is a vital part of the drama for these episodes we hope to complete.
Another element that we have discovered in our research is the level of rules and regulations that is a key part of the play engaged in by the costumers and reenactors. For example, the documentation of the Society for Creative Anachronism, a popular international organization dedicated to researching and re-creating the arts and skills of pre-17th-century Europe, has many pages of documentation and pamphlets with rules of order and conduct. Star Trek costumers study the ranks and details of the costume and culture of their interest. Much of the environment that is created is managed by the rules that are followed. The rules of dress and behavior fill the gaps where the narrative can’t alone offer enough detail.
So many types of individuals are drawn into these activities for the creativity of the costume and dress, the joy of the stories and the warmth of the communities that are developed. These are all elements that we find attractive and valuable, and worth the time to pursue for the scope of this project. We hope you enjoy exploring these fantastical worlds along with us.
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