Rosie Whiting
Rosie is a London based Costume Designer and Maker. She has a BA (Hons) in Performance Costume from Edinburgh College of Art and has gained specialist training in costume design for dance as a participant in “Clothes and Choreography: An interdisciplinary research” at Oslo National Academy for the Arts and as Graduate Intern in the costume department at Trinity Laban Conservatoire of Music and Dance. She has worked with choreographers including Russell Maliphant, Ingrid MacKinnon, Ashley Page, Andrew McNichol, Mikaela Polley, Cameron McMillan, Joss Arnott, Sara Wookey, Zoi Dimitriou, Hagit Yakira and Bim Malcolmson.
Theatre credits include: “Papercuts” at The Royal Conservatoire of Scotland, “A Midsummer Summer Nights Dream” by Gin and Tonic Productions and “Usynlige Grenser” by Oyteateret.
Short film credits include: “Gothic Boy” (selected for London Short Film Festival and British Shorts Film Festival, Berlin), “Entertainment” (selected for Royal Scottish Academy, New Contemporaries) and “Plastic Man” (part of Scottish Documentary Institute: Bridging the Gap)
Image credit: JK Photography
Featured Work
99 Moves
99 Moves was looking at lineages of movement and pleasure in dancing. With the choreographer I discussed creating both a uniformity and a distinct sense of the dancers as individuals, a look that was both contemporary and strongly rooted in the past and recognisable symbols of dance culture.
The shell suit jacket became the focal point of the design and the palette and balance of silhouettes was built around the jackets I sourced. The choreographer wanted shell suit jackets from early on so I sourced one for each performer and created a palette around these as a focal point of the costume design.
PRODUCTION CREDITS
Image credit: JK Photography
Featured Work
Sugar Plum Cha Cha
The piece was based on the geometry that underpins the classical vocabulary of ballet.
The Choreographer defines her work as sitting somewhere between ballet and clowning, the subtle and the ridiculous. The dancers physicality reminded me of Dr. Suess characters and the choreography of Oskar Schlemmer’s Triadic Ballet. I drew on these influences aiming to create costumes that had a clean silhouette, but were playful and fun!
I like to be in rehearsal as much as possible so I can understand how the costumes need to be able to move on the bodies of the dancers and to offer my thoughts on the development of the choreography and how it relates to the development of my process. ”