At Earrings Plaza, a Herald Square emporium devoted to all things bright, beautiful and cubic zirconium, the costume designer Montana Levi Blanco plucked a pair of feathery blue danglers from the hook. “Something with a tassel might be fun,” he said.
Mr. Blanco, 34, is designing Jeremy O. Harris’s “‘Daddy,’” which begins performances at the Pershing Square Signature Center on Feb. 12. Set poolside, on the periphery of the Los Angeles art scene, the play (a coproduction from the New Group and the Vineyard Theater) namechecks Gucci sunglasses, an Hermès Birkin bag, a Tiffany bracelet — items Off Broadway budgets won’t cover.
So you won’t find him in Bergdorfs or Barneys. Try Rainbow and Forever 21. When a character has to look classy: Zara.
Earrings Plaza has a special place in his heart — and wallet. “It’s like this encyclopedia of jewelry,” he said, noticing the parrot pin he’d used in “In the Blood” and the earrings in the shape of Africa that had graced “Fabulation.”
“Some of it is pretty hideous, but there’s always a treasure,” he said hopefully, as morning flurries swirled outside. In deference to the weather, he’d topped what he calls his uniform — a black Dickies coverall cut down into a romper, black tights, black Adidas, various necklaces and scarves — with a rough-stitched red coat.
Since graduating from the Yale School of Drama in 2015, Mr. Blanco has quickly become the go-to designer for Off Broadway and regional productions that demand something more than realism.
Working tirelessly and pretty much constantly — after “‘Daddy,’” he moves on to “Ain’t No Mo’” at the Public, “Djembe!” at the Apollo Theater Chicago, “Skylight” at Princeton’s McCarter Theater, “A Strange Loop” at Playwrights Horizons, and that’s just the spring — he can conjure extravagances of color, pattern, texture and shape for less than the cost of a single Birkin bag. Way less.
“He’s part anthropologist, part conceptual artist,” said Sarah Benson, a director who has worked with him on “In the Blood” and “Fairview.” Speaking by telephone, she also marveled at his “amazing aggressive shopping.”
At Earrings Plaza that shopping yielded three pairs of tasseled earrings, some ’80s-style triangle numbers, restrained rhinestone clip-ons (“I mean, I don’t want to say church lady”) and a bling-y peace sign pin. Somehow it came to . Mr. Blanco kept the receipt.
Born in Albuquerque to a single mother, Theresa Blanco, he had a close relationship with her mother, Stella Blanco, an artisan who designed lampshades. “I grew up playing with fabric and fringe and electrical wire, a lot of the things I now deal with on a daily basis,” he said.
He earned a dual degree in oboe and history at Oberlin College’s conservatory program. While studying abroad in 2004, he saw an exhibit at London’s Victoria and Albert Museum called “Black British Style.” “It was the first time that I’d ever thought about the stories that clothing can tell,” he said.
In graduate school at Brown University, he worked toward a master’s degree in public humanities, exploring he said, “the black experience through clothing.” He figured he’d eventually look for work in a museum, but in his last semester he stumbled into a set design class. On his second try, and now focusing on costumes, he got into Yale School of Drama.
The director Lileana Blain-Cruz met him there. They worked together on Branden Jacobs-Jenkins’s “War,” and Ms. Blain-Cruz was immediately struck by “how he dealt with contemporary clothes in a heightened way,” she said. “He thinks about color and palette like a visual artist does.”
A few years later, during an Off Broadway run of “The Death of the Last Black Man in the Whole Entire World,” he would tell her that the character Queen Hatshepsut absolutely needed watermelon fingernail polish. “And I was like, ‘Yes. Yes, she does.’ ”
Mr. Blanco’s job, as he sees it, is “to figure out how best to tell the story and how to make it beautiful.” After reading a script, he’ll begin to visualize a character, often with just a single garment or accessory, like the blue-green motorcycle jacket for Eddie Van Halen in the Atlantic Theater Company’s current production of “Eddie and Dave.”
He isn’t much of a tailor. “Nobody wants me to be doing a hem,” he said. Instead he’s a conceptualist who approaches clothing as adornment, as artifact, as potential signifiers of ambition, anxiety, desire.
From college on, he’s had a particular interest in exploring how people in less affluent communities show their style. “I feel like I’m participating in this long history of people of color who use what’s available to create something beautiful and new,” he said.
To create the Brooklyn of “Fabulation,” which recently ran at the Signature Center, Mr. Blanco made a close study of his own Bedford-Stuyvesant surroundings and channeled that street style into more than 40 distinct, buoyant looks.
“He wanted to honor the people in the neighborhood,” said Cookie Jordan, a hair, wig and makeup designer who often works with Mr. Blanco. “The joy, the family, the humor.”
Mr. Blanco doesn’t follow current fashion (see the Dickies uniform), and he has a complicated relationship to fast fashion, an industry that often exploits workers and generates waste.
But when he has to outfit a dozen or more characters for under ,000, fast fashion — plus vintage stores and a few costume stock houses — is a necessity, and a place like Earrings Plaza is a gift.
And every trip pays off. On the street, on the subway, he has his eye out for a distinct outfit, filing away each image into a mental catalog. At a Korean bakery near Earrings Plaza, he clocked a grandmotherly woman, her puffer lined with leopard, her pants tucked neatly into her boots, storing that ensemble for later use.
He also noted some bright pink socks peeking out of my black boots and guessed that either I had kids or I hadn’t done laundry in a while. Two for two.
Here Mr. Blanco describes three recent costuming challenges.
“The Death of the Last Black Man in the Whole Entire World AKA The Negro Book of the Dead”
To outfit the characters in Suzan-Lori Parks’s play, which Ben Brantley called, “a fever dream from which there is truly no waking,” Mr. Blanco explored African-American archetypes and caricatures, creating haunting collages that he made into sketches. From those sketches, he bought and built costumes that brought the past explicitly into the present.
“We wanted people to see the historical reference and then also understand who those people have become,” he said.
For the character Black Man With Watermelon, he began with clothing a sharecropper might have worn, then added a beanie.
For Queen-Then-Pharaoh-Hatshepsut, seen here in the gold dress, he asked himself “who are our urban queens?” and based her look around women he saw on his corner, “the girls with the door-knocker earrings and the chains and the sequins.”
The character And Bigger and Bigger and Bigger, in a black hoodie and persimmon shoes, evoked Michael Brown and other police shooting victims. Minstrel show figures, Blaxploitation heroes and a Norman Rockwell painting inspired other characters.
“Fabulation, or the Re-Education of Undine”
In Lynn Nottage’s satire of African-American striving, Mr. Blanco dressed a cast of eight in four dozen outfits. Initially he’d pushed for a heightened, comic sensibility, but after studying Brooklyn street style, he realized no pushing was required. “It’s already heightened,” he said. “I didn’t have to try that hard.”
Still, a scene set inside a social services department demanded particular ingenuity, as it included just about all of the cast and required a superfast change, which explains the bathrobe and the big coats.
The office worker he costumed is a tribute to women he knew who loved bejeweled sweaters. The grandma’s animal print hair bonnet is borrowed from girls he’d seen at the Fulton Mall. The man in the red-and-white Coca-Cola jacket is meant to reflect, “the pride you have in your look,” Mr. Blanco said. “In Bed-Stuy, and I’d venture to say in a lot of black neighborhoods, the idea of looking sharp, looking fresh, looking clean is paramount, regardless of how much money you have.”
“Eddie and Dave”
For Amy Staats’s “Eddie and Dave,” a loosey-goosey Van Halen tribute, women play male rockers — rockers who in real life often wore women’s clothes and favored feminine hairstyles. Mr. Blanco and the director Margot Bordelon determined that a sense of gender play was crucial. “The audience can never forget that these are women,” Mr. Bianco said. “That’s part of the fun.”
Each outfit, he decided, should mix men’s and women’s clothes, and he paid particular attention to fit and texture. After immersing himself in Van Halen pictures and the hair-metal aesthetic, he went shopping.
Here, the character Alex is dressed in a vintage black fringed jacket. Eddie wears a women’s motorcycle jacket over a men’s denim jumpsuit that Mr. Blanco found on ASOS. Dave’s leggings are women’s, the mesh shirt is men’s and the fur topper is a grandma cardigan.
For each look, “what was going through my mind was, is it too masculine? Is it too feminine?” Mr. Blanco said. “Really it’s a true mix, even down to the shoes.”B:
红姐红公式心水论坛【小】【白】【带】【走】【了】【应】【墨】【连】。 【其】【实】【如】【果】【就】【速】【度】【而】【已】，【小】【白】【自】【己】【去】【柳】【州】【城】【的】【速】【度】【要】【远】【快】【于】【月】【山】【书】【院】【的】【人】。 【说】【不】【定】【在】【办】【完】【私】【事】【之】【后】，【小】【白】【还】【能】【赶】【在】【他】【们】【之】【前】【到】【达】。 【只】【是】……【之】【前】【玉】【佩】【提】【到】【的】【应】【墨】【连】【会】【给】【天】【桥】【带】【来】【的】【灾】【难】【到】【底】【是】【什】【么】，【还】【是】【没】【底】。 【眼】【看】【着】，【当】【初】【所】【说】【的】【期】【限】【就】【要】【到】【来】，【小】【白】【表】【情】【越】【来】【越】【严】【肃】。 【不】【同】
【又】【过】【了】【两】【个】【星】【期】，【平】【安】【夜】【圣】【诞】【节】【也】【过】【了】，【沈】【安】【平】【都】【没】【有】【再】【见】【过】【祁】【少】【昀】。 【之】【前】【说】【他】【好】【像】【是】【变】【了】，【直】【到】【这】【一】【刻】【她】【才】【真】【的】【能】【够】【确】【认】，【他】【和】【从】【前】【不】【一】【样】【了】，【变】【得】【能】【够】【沉】【得】【住】【气】，【变】【得】【不】【急】【不】【躁】，【遇】【事】【没】【有】【说】【风】【就】【是】【雨】。 【起】【码】【她】【会】【以】【为】【祁】【少】【昀】【会】【迫】【不】【及】【待】【地】【质】【问】【她】【所】【有】【的】【事】【情】，【但】【结】【果】【却】【是】【没】【有】【的】。 【也】【或】【许】，【沈】【安】【平】【有】【一】【个】【大】
【康】【熙】【六】【十】【一】【年】【十】【一】【月】【十】【三】【日】，【康】【熙】【帝】【驾】【崩】【于】【畅】【春】【园】。 【四】【阿】【哥】【奉】【遗】【诏】【登】【基】【为】【帝】，【次】【年】【改】【元】【雍】【正】，【是】【为】【雍】【正】【帝】。 【雍】【正】【二】【年】，【八】【阿】【哥】、【九】【阿】【哥】【同】【时】【被】【圈】【禁】。 【同】【年】【四】【月】，【一】【支】【巨】【型】【船】【队】【抵】【达】【天】【津】【卫】【港】【口】，【离】【开】【大】【清】【近】【二】【十】【年】【的】【十】【阿】【哥】【归】【来】。 【八】【千】【虎】【狼】【之】【军】【护】【卫】【十】【阿】【哥】【回】【京】，【从】【雍】【正】【帝】【手】【中】【带】【出】【了】【被】【圈】【禁】【的】【八】【阿】【哥】红姐红公式心水论坛“【哼】，【弱】【者】！” 【如】【芒】【背】【刺】，【小】【个】【子】，【犀】【利】【的】【小】【眼】【神】，【没】【有】【一】【点】【同】【龄】【人】【该】【有】【的】【天】【真】【眼】【神】，【黛】【西】【慌】【张】【的】【出】【汗】【了】。 “【呵】【呵】，【给】【强】【者】【递】【果】【汁】。”【陪】【着】【笑】【脸】，【乖】【乖】【将】【将】【自】【己】【的】【果】【汁】【递】【给】【大】【佬】。 【在】【安】【娜】【的】【世】【界】【里】，【黛】【西】【这】【样】【子】【智】【商】【的】【角】【色】【连】【蹲】【在】【地】【上】【听】【自】【己】【讲】【话】【的】【资】【格】【都】【没】【有】。【自】【己】【好】【心】【提】【点】【她】，【她】【居】【然】【没】【记】【住】！【这】【么】【简】
【暗】【渊】【是】【什】【么】，【房】【小】【明】【还】【真】【的】【是】【一】【无】【所】【知】。 【除】【了】【在】【册】【子】【上】【有】【所】【提】【及】，【他】【从】【未】【在】【别】【的】【书】【上】【见】【过】，【更】【没】【听】【人】【说】【过】。 【便】【是】【那】【种】【神】【神】【鬼】【鬼】【的】【传】【说】【中】，【暗】【渊】【也】【从】【未】【有】【过】。 【但】【是】【暗】【渊】【的】【名】【字】，【却】【出】【现】【在】【罗】【浮】【生】【的】【口】【中】。 【房】【小】【明】【看】【向】【罗】【浮】【生】，【问】【道】：“【我】【能】【问】【一】【下】，【为】【什】【么】【叫】【大】【光】【明】【洞】【吗】？” 【罗】【浮】【生】【在】【房】【小】【明】【面】【前】【落】
【办】【公】【室】【里】【的】【八】【卦】【是】【最】【多】【的】，【办】【公】【室】【里】【的】【工】【作】【人】【员】【无】【疑】【是】【聊】【八】【卦】【的】【一】【把】【好】【手】，【看】【着】【这】【么】【多】【人】【围】【着】【自】【己】，【蓝】【夕】【又】【后】【悔】【又】【害】【羞】，【早】【知】【道】【就】【不】【该】【答】【应】【他】【公】【布】【恋】【情】！ “Hello everybody，【早】【上】【好】【啊】，【各】【位】【美】……”“【女】”【字】【还】【没】【出】【来】【沐】【阳】【原】【本】【的】【笑】【脸】【就】【僵】【住】【了】，【以】【往】【他】【来】【顶】【楼】【可】【都】【是】【被】【热】【情】【地】【欢】【迎】【的】，【今】【天】【这】
【刚】【开】【始】，【来】【加】【入】【他】【的】【人】【少】【的】【可】【怜】，【直】【到】【他】【带】【领】【几】【个】【人】，【完】【成】【了】【一】【笔】【震】【惊】【整】【个】【圈】【子】【的】【任】【务】，【这】【才】【使】【暗】【月】【名】【声】【大】【噪】。 【上】【门】【要】【加】【入】【的】【人】【络】【绎】【不】【绝】，【同】【时】【也】【增】【加】【了】【筛】【选】【工】【作】。 【历】【时】【一】【年】，【暗】【月】【组】【成】【完】【毕】。 【也】【不】【知】【道】【哪】【里】【来】【的】【记】【忆】，【他】【天】【生】【就】【会】【制】【作】【机】【器】【人】，【在】【它】【们】【的】【辅】【导】【下】，【暗】【月】【所】【完】【成】【的】【任】【务】，【无】【一】【失】【败】！ 【许】