Costumes from the 1999 production of In Arabia We'd All Be Kings directed by Philip Seymour Hoffman.
How many pairs of shoes? 20ish
Trousers? I've actually forgotten how many.
Animal print? Used liberally.
Costumes are one of those of things in theatre. They help transport the audience to the world of the piece, and helps the actors to get into character.
So, no pressure.
I started getting costumes for the show pretty much as soon as I knew who was in it. It was an exciting task, and couldn't wait to get stuck in.
I remember a particularly joyous conversation on the phone to our director, Liam, when I realised the 90s were back in vogue in the middle of Penney's. (It's so hot right now)
So between that, and countless charity shops from Dublin to the wilds of Mullingar, we managed to find exactly what we were looking for. There was no better feeling than seeing something, and knowing that it was perfect for someone. And it happened time and time again.
I even raided my own wardrobes and jewellery boxes for "vintage" pieces. Being a hoarder has finally paid off.
We had our fittings late last week before our photoshoot. It was wonderful to see everyone transform into their characters. And like what they were wearing. Sure, some things didn't work out, but that just means we know what will now.
I can't wait to see the finished show. It's a blinder of a play, and I'm delighted to be a small part of it.
Jemma Curran - Costume Designer