Coming at Costume Design From the Artist’s Perspective

Designing costumes is a process that involves the sum total of life’s experiences, says designer Jim Miller.
Coming at Costume Design From the Artist’s Perspective
Jim Miller's rendering of Raina Petkoff from George Bernard Shaw’s “Arms and the Man” in a 1981 production. Courtesy of James Miller
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“Costumes don’t make a character; they help an actor do his job. They allow the actor to become a character,” said James Madison Miller, an award-winning designer. The charismatic teacher and theater artist is retiring late this summer after 36 years of costume designing, choreographing, and directing at the University of Missouri and its professional Summer Repertory Theatre.

At this point in Miller’s career, designing costumes is as easy as falling off the proverbial log. But looked at from another perspective, it is a complicated process that involves the sum total of life experience, as Miller explained in a phone interview on June 3.

A rendering of Littlechap by Ross Weldon, a student inspired by Jim Miller,  in the 1987 Summer Repetory Production of "Stop the World I Want to Get Off." Jim Miller is on the left in the photograph and the finished 3-D design on the actor on the right. (Courtesy of James Miller)
A rendering of Littlechap by Ross Weldon, a student inspired by Jim Miller,  in the 1987 Summer Repetory Production of "Stop the World I Want to Get Off." Jim Miller is on the left in the photograph and the finished 3-D design on the actor on the right. Courtesy of James Miller
Sharon Kilarski
Sharon Kilarski
Author
Sharon writes theater reviews, opinion pieces on our culture, and the classics series. Classics: Looking Forward Looking Backward: Practitioners involved with the classical arts respond to why they think the texts, forms, and methods of the classics are worth keeping and why they continue to look to the past for that which inspires and speaks to us. To see the full series, see ept.ms/LookingAtClassics.