Theatre

This show was my first opportunity to run a
costume department. I enjoyed working closely
with the director to execute her vision, and was
humbled to be trusted with such a huge role even
though I was still only a Junior in high school.

Our goal was to approach the 1920's from a
refined Downton Abbey angle instead of Great
Gadsby glitz. I researched dress silhouettes, color
palettes, noted actor body types, and considered
how the looks would change in relationship to the
character development.

Lead Student Costume Designer

Shasta College, Spring 2024

Gwendolyn

This gown had an intricate waistline,
flowing skirt, and added cape. I
didn’t like how patterned fabrics
detracted from the silhouelle details
so I decided to use a solid claret
satin and reverse it on the hem to
create a matte finish on the trim.
This accentuated the lines of the
gown. I added a complementary
Damask to the cape for a pop of
interest. I selected the patterns, and
built every part of the garment except
the zig zag waistline, where I leaned
on my professor’s skilled precision.

Theatre

This dress had a fun gathering detail that I enjoyed working on. Again, it
felt like the silhouelle would benefit from subtle contrasts instead of
patterns. I selected a soft pink with champagne trim to complement
Cecily’s naive femininity. Gwendolyn is an intense character so we put her
in bold colors, but Cecily uses her naivete to manipulate relationships so
we wanted to highlight her softer approach.

Cecily

Theatre

Lady Bracknell

I decided to be ambitious with
this jacket and made it
reversible so we could use it
twice. I particularly loved
constructing this skirt and jacket
because of the layers, details,
and challenges making a mans
body fit into a female period
costume silhouelle.

Theatre

The Sound of Music was my first experience in
costume design outside my own sewing room. My
role as the assistant was to mainly take
measurements, find garments in the wardrobe
closet that could work, and hem or adjust them to
fit. I also had the opportunity to learn about
patterns and sew accessories like bandanas,
bowties, and postulant capes. I selected the
gowns for the dance party and added
embellishments as needed to make them work
within the time period. This show changed my
trajectory from actor to costume designer and I
haven’t looked back.

Costume Design Assistant

Shasta College, Summer 2023

Theatre

Feature Film

This opportunity gave me so much insight into how
a film is made. I learned that time is money, so it’s
all about quick pivots, staying flexible, having
alternate options, and communicating clearly. Most
of the wardrobe was provided by the actors from
their own closets. So I was able to learn how the
production designer illustrated wardrobe
requirements to the actors through look books. I
also learned about the importance of a continuity
schedule. In real life, the main character wore the
same hiking outfit for a couple days before changing
to a new one. So we needed to create a guide to
remember which outfit paired with which scene -
because the don’t shoot the scenes in order.

Costume Design Assistant

LAMA Entertainment, Fall 2023

The first thing I had to explore was the
magnolia flower.

Next I wanted to find the similar shapes
in both images and lean into the
futuristic tone in the theatre.

Then I noticed the layering of the lights
and texture of the chiffon and wanted
to investigate a more traditional
approach.

Conceptual

The first thing I had to explore
was the magnolia flower.

I envisioned this gown in
something fluffy but structured
like silk taffeta with a sleek
modern bottice.

• Literal

• 1.

Conceptual

Next I wanted to find the
similar shapes in both
images and lean into the
futuristic tone in the
theatre.

For this garment I would
explore 3d printing textiles
to create a structured,
matte gown.

• Structural

• 2.

Conceptual

Lastly, I noticed the layering
of the lights. I was
reminded of the texture and
movement in chiffon and
silk. I also wanted to create
a more traditional shape for
variety.

• Movement

• 3.

Conceptual

California Poppies

Beta fish

Villa by Esfandir Abdeshah

PROMPT

Create a gown based on a single image

Conceptual

• 1.

• Poppy

Conceptual

2

Villa by Esfandir Abdeshah

• 2.

• Villa

Conceptual

Directing Change is a student film competition in
partnership with statewide efforts to prevent
suicide, and promote the mental health and
wellness of students. Through this program I
learned to write, film, and edit. It was a dream to
stay at the Biltmore, ride in a limo, walk the red
carpet, and network with Hollywood film
professionals.

2nd Place Winner / Team Pick

Directing Change, Spring 2024

Filmmaking

The FLICS commercial was my first experience on
set. I learned about the roles and now know the
difference between a DP and and 1st AC. I got to
practice pulling focus, worked with the grips to move
C stands, and even ended up getting to be a hand
model. I was surprise that eventhough it was so
face paced, everyone was fun, made jokes, and was
ready and willing to pivot.

Production Assistant / Hand Model

Cinematta Pictures, Fall 2022

Commercial

A lifelong pursuit

Like I said, my costume game started early
and never really let up. Theme days were my
jam and red day was my favorite. You won
based on how many red items you were
wearing, so I covered my shoes in red duct
tape to ensure my victory.

I remember the day I wrapped myself in a
down comforter to resemble a couture gown I
saw online. I called it my cupcake dress.

I was always outdoorsy, but I wasn’t going to
be catching frogs in anything other than a
pink princess dress.

I participated in lots of youth theatre
productions and thought I wanted to be an
actor. Turns out I just really love the clothes -
and hats.

Early Influences

Thank you for your
consideration

evafrap@gmail.com

Eva Franceschini