costume designer
ABOUT ABAGAIL
Abagail is a 2020 graduate from Missouri State University with a BFA in Theater and Dance with an emphasis in Costume Design. She is currently the Wardrobe Supervisor for Charleston Stage Company in Charleston, South Carolina. In addition, she designs, stitches, styles and maintain wigs, and more for the company.
Abagail also has teaching experience in a class setting as well as mentorship. Right now, she leads teams of high-school apprentices backstage and gives them the critical costume knowledge they need for the future careers.
Abagail was fully vaccinated in Spring 2021 and will abide by all health and safety precautions as directed.
Download Abagail's Resume Here
Environmentally conscious costume designers are using second-hand costuming more frequently to help tell a character’s story. At Missouri State University, Abagail Jones shows how accessible it is to use secondhand clothing in the theater industry.
Jones, senior costume design major, said the bright lights of the stage are no stranger to secondhand clothing. With a portfolio consisting of numerous designs for MSU’s mainstage productions, Springfield Tent Theatre and independent films, Jones said she uses secondhand clothing, or clothing donated to the theater and dance department. She is also able to alter this clothing.
Specifically, student-directed films by graduate Candice Bruce titled “Cult for a Day” and MSU’s 2019 production of “The Rimers of Eldritch” are almost entirely thrifted by Jones and other technical theater workers.
Developing costumes based on the description in a play can be a laborious task. This pinpointing of flourishing ideas is not the only concern that comes with designing a character’s garb. Costume designers like Jones are increasingly cognizant of the impact of fast, cheap clothing production on the environment.
The textile industry is a key player to the downfall of our fragile ecosystem, Jones said. She advocates for lessening its impact, thus influencing her choice of used clothing in theatrical productions.
The textile production industry produces over 1.2 billion tons of greenhouse gas yearly. It is an estimated 10% of total global emissions.
“We’re all more aware of the impact of secondhand, and I’m overjoyed that it’s cool to want to save the planet,” Jones said. “As someone whose livelihood depends on [the textile] industry, you have to be consciously aware of that.”
Not only does shopping secondhand lessen the abuse on the planet, but it can help tell a narrative in ways most rapidly-produced clothing cannot. When talking of developing characters through costuming, Jones emphasizesd worn, uncommon clothing displays personality and history as soon as a character steps on stage.
“I like to think about that character waking up in the morning, going to their closet, and picking something out,” Jones said “You have to know your characters like the back of your hand to be able to justify [their costume]. I love thinking about how they interact in the world in those clothes.”
Therefore, Jones can employ beaten overalls and jeans for a farmer or vintage glittering jewelry for a woman from old money. The possibilities are endless as long as the designer is willing to donate the time it takes to look through Goodwill racks or flea markets.
Cameron Perry, a junior musical theater major, worked with Jones’ costuming in MSU’s adaptation of Shakespeare’s “The Comedy of Errors,” where he played Dromio of Syracuse.
Perry emphasized the point of the costume completing the character.
“Putting on a costume is what helps me finally be able to completely dive into the character 100%.”
Regarding secondhand shopping for theatrical productions, Perry said as long as you give a costume purpose, it shouldn’t matter where you get them from. The actor is supposed to wear the costume, not vice versa.
Whether the production is fantastical or realistic, thrifted clothing often has its place on the stage.
These methods that Jones has been using to adapt her costume designs can also find a place in your closet.
Jones engages her knowledge of costume studies to create her own outfits and analyze others, especially regarding second-hand items.
“Texture, color and pattern and can completely dominate an outfit in a gorgeous way.”
Jones said to not be afraid to look for funky items when shopping second-hand. There are ways to get cool clothes for cheap, showing your story before you open your mouth.
Thrifting has become popularized for people of all economic backgrounds, which Jones refers to as a “first wave of thrift shopping.” Second-hand clothing can create unique style profiles for an individual while also being applied to situations that we would usually assume companies break the bank for, like theatrical productions.
“The only downside I see to this is the markup of secondhand,” Jones said, fearing that private sellers will take advantage of rising popularity and eliminate the opportunity for people who need to second-hand shop due to financial reasons.
“I understand that business is business, but that was not the intention of the person that donated the garment in the first place.”
From the eyes of a costume designer, second-hand shopping is a key way to be fashion-forward, environmentally conscious and creative.
Costumes hang in the MSU costume closet in Craig Hall.
Kate Brown/ The Standard
Building to the top: Missouri State included in Onstageblog.com’s “Top 30 College Theatre Design and Tech Programs.”
October 18, 2019 by Conci Nelson
"In 1962, Tent Theatre was first conceived as a summer solution to a hot box theater with little ventilation and no air conditioning. At that time, it’s safe to assume no one would have imagined that during the subsequent six decades Tent Theatre would transform into a cornerstone of the department: an experience which provides students concentrating on stage management the opportunity to seamlessly transition from apprentice into card-carrying members of Actor’s Equity.
While Tent Theatre has certainly served to elevate the department, it by no means is the only asset the department of theatre and dance (T&D) has to offer. Since faculty member and coordinator of the BFA in design, technology, and stage management (DTSM), Cynthia Winstead, came to Missouri State University in 1990, she has observed changes that have transformed the program during her tenure. “The program is much more professionally oriented with specific classes in all the DTSM areas,” conforming to “all the requirements for a BFA DTSM degree as put forth by the National Association of Schools of Theatre (NAST).”
Additionally, since 1990, the faculty and staff has not only doubled, but is comprised of individuals with impressive professional credits and educational experience in theatre who are all
“WELL AWARE OF HOW TECHNOLOGY IS CHANGING OUR ART FORM AND WE STRIVE TO INCORPORATE THOSE DEVELOPMENTS INTO OUR CLASSES AND DEPARTMENTAL PRODUCTIONS”
without undermining the value of the traditional craftsmanship required of all areas of design and technology.
According to Joseph Price, who is entering his second year as producer of Tent Theatre and serves as department head of T&D, last year the department “had a record of number of applicants for the BFA programs last year,” a clear indication that Missouri State University is becoming increasingly well known for endowing students with the skills and experience necessary to not only survive, but succeed in their future professional endeavors.
It remains important to both the department of theatre and dance and the College of Arts and Letters to grow and improve all aspects of their programs. The facilities are not only well-maintained, but constantly being improved: the most recent addition being the LED wall and the upgraded projection equipment, and there are hopes Tent Theatre will one day have a permanent home.
DTSM alums can be found working in every major market in the country. In fact, Winstead says that when recent graduate, Steve Milosevich, was offered a position on the stage management team for New York City’s Shakespeare in the Park, he was told he was a desirable candidate because he had previous “experience with the unique challenges of outdoor theatre because of his work with Tent Theatre.”
Having a program that provides the opportunity for students to “engage with professional actors, directors, and designers,” “work on important plays and musicals in front of sold out houses,” and in which “faculty and staff get the benefit of doing creative research on a professional stage” are three of the qualities Price lists off that he feels distinguishes Missouri State’s program from other schools.
From our faculty and program concentrations, to our facilities, and of course, Tent Theatre, MSU provides a truly unique opportunities to her students. Still no matter how much students, faculty, staff, and alumni love it here, as Price says,
“IT’S GREAT TO BE INCLUDED ON THE TOP 30 LIST AND IT SPEAKS TO THE GREAT WORK THAT IS BEING DONE IN THEATRE AND DANCE.”
The first time appearing in a top 30 list for a program and a school is exciting, but 2019-2020 marks our second year on the list, a clear sign that such a distinction is the result of the caliber of our programs and the opportunities they provide, and not a passing fancy."
Costume shop manager, Samantha Morrow, reviews the digital design renderings of Abagail Jones, DTSM senior. Photo Credit: Conci Nelson, 2019
Cynthia Winstead and DTSM senior at work in the costume shop. Photo Credit: Conci Nelson, 2019
The Outsiders of The Rimers of Eldritch
May 3, 2019 by Hailey Hance
"Our last show of the season is upon us in The Rimers of Eldritch. The show follows the decaying town of Eldritch, Missouri as they confront a tragedy that shakes their community. One of the central characters is Eva Jackson, played by Lauren McDowell. Eva is an outsider in Eldritch and a young woman with a leg deformity. Being shown as an odd one out in the town of Eldritch, McDowell expresses how she hopes her character and others will speak to the audience: “I want them to see that people are always more than the labels we attach to them.” Eva helps to illustrate that though people may seem odd or different from the outside, there is always a person behind those differences.
Andrew McGowan plays the role of Peck Johnson who is perceived as a sort of father figure for the town. McGowan describes him as “a farmer, real distant, and masculine.” He shares similar sentiments with McDowell about the importance of knocking down these walls within the town and hopes the audience is able to reflect after seeing this production. He states, “As people, we group ourselves and create outcasts among those not in our ‘group.’ Can we truly progress as humans if outcasting continues? Is it instinctual? If stopped, will society civilize itself and realize the bigger picture? I hope they question this throughout.” Realizing there is always a story behind everyone’s lives, whether their different from us or not, is a central theme to The Rimers of Eldritch and an important lesson to our own society.
While The Rimers of Eldritch itself is timeless, this production primarily focuses on era of the 60’s in Missouri. Costume designer Abbie Jones tried to create pieces that truly reflected life here in Missouri during that time. In her research for the show, she used pictures from her own family to inspire the costumes for each character. She explains: “Since the show takes place in Missouri, I wanted to do as much primary research as possible… It’s all very linked back to real Missouri people in order to make the town of Eldritch both recognizable and realized.” The personal connection to the Missouri heritage makes this play truly feel like it could be a slice out of our own history, making the story feel indeed timeless.
The Rimers of Eldritch runs this weekend through Sunday, May 5th. Tonight and tomorrow’s performances will be at 7:30 PM and Sunday’s will be at 2:30PM in Coger Theatre. Before the show, be sure to check out the Lanford Wilson Collection in the lobby to have a look inside at the Missouri playwright’s life and inspirations."
Abbie Jones’s Grandma Joanne Cross inspiring Cora Groves.
Abbie Jones’s Uncle Gary Jones and Grandpa Terry Jones inspiring the male chorus.