Spotlight On YAFies: Jan Wong and Ainsley So

How did you become a set / costume designer?

Jan: Initially, I was interested in costume design, so I applied to study Theatre Set and Costume Design at The Hong Kong Academy for Performing Arts. Gradually my interest in space – how to utilise an area flexibly to tell a story – started to take over and I became a stage designer.

Ainsley: I studied Theatre Set and Costume Design to combine my interest in arts and storytelling, and realised that I loved making costumes and hunting for costume-related treasures. Since then, I’ve continued learning and gaining new experiences.

What stages are involved in designing the set / costumes for a theatre production?

Jan: Chatting to the team, reading the script, coming up with ideas, more discussions, drafting designs, scrapping everything and starting over, planning, drafting layouts, drafting construction designs, building models, liaising with the construction team… The stages and order are slightly different for every project.

Ainsley: Basically it’s about reading the script, creating designs for the characters, having discussions with the creative team, collecting suitable materials, producing, fitting and altering.

Which part is the most challenging?

Jan: Deciding what I want. Realising what I actually want to do, how to do it, and how to convey a message through the stage design – it’s taught me a lot about myself.

Are there particular things you need to consider when you choose fabric?

Ainsley: We need to consider the nature of performance. For a dance performance, for example, we normally use light, stretchy material that allows the dancers to move. With a good combination of fabric and lining, we can create beautiful costumes that are also comfortable to wear.

What’s special about the set / costumes for 24:7:365?

Jan: The design includes three stylised eyes – a reminder of how people see us and how we see ourselves. OCD (obsessive compulsive disorder) is an emotional difficulty that focuses on seeking a balance in repetitive behaviours, so I used a lot of white to expose the traits that someone with OCD would find it hard to handle.

Ainsley: 24:7:365 documents Harper’s mental journey. It also includes more than 30 performers with the same mindset but different features. To create a sense of individuality within the group, I’ve chosen tie-dye for the costume design to present the same colours in a variety of patterns. Design elements are also echoed across the costumes and set to give a stronger sense of Harper’s inner world.
 

What inspired the set / costumes for 24:7:365?

Jan: The script and my feelings about life. I think all of us have moments of anxiety and moments when we have to push ourselves. I put these ideas into my design.

Ainsley: The script describes Harper’s struggle with obsessive compulsive disorder in an authentic and interesting way. I had a lot of discussions with Lindsey, the director, about how we could express Harper’s development through the costumes. The careful set design and thoroughness of our discussions gave me a natural inroad into Harper’s world.

What’s the most unforgettable set / performance you’ve designed for?

Jan: The set for Principle by the Hong Kong Repertory Theatre. A three by three black grid was hung from the ceiling to project light onto the stage in various sizes and amounts. For the audience, it looked like the performance took place on an empty stage, but the characters were connected by light – sometimes they were illuminated, sometimes they were not. I could tell a story just with the lighting and show whether relationships were close or distant, as well as give a sense of spaciousness or crowds. That was close to being my ideal set.

Ainsley: It was a show with 35 characters played by three actors, and quick costume changes in costumes. It was very challenging, but also a fun experience.

What qualities are important for being a set / costume designer?

Jan: The willingness to observe, imagine, listen and think.

Ainsley: Good time and resource management, the ability to design for different time periods, and, most importantly, a passion for diving into new characters.

If you could have one superpower, what would it be?

Jan: To be able to fly. It would give me so much more freedom.

Ainsley: Time travel for sure! It would be great to be able to see into the future and revisit forgotten memories in the past.

What is your favourite film? 

Jan: Alfonso Cuarón’s Gravity. The whole experience is more than just a film.

Ainsley: The Pixar film Coco, I really envy Miguel’s experience meeting his great-great-grandfather. My favourite scene is when Mama Coco joins in as Miguel sings “Remember Me” to her.