Concept Boards 

The first location, the setting for Act I and Act III, is the Chandebise household.  Victor Emmanuel Chandebise is a successful businessman and his home communicates this affluence. He and his wife, Raymonde are definitively “Upper Crust”. A gentle, sophisticated palette of smoky blues, creamy yellows and soft grays inspired my costume designs for the characters who inhabit this space.  

The second location for “A Flea in Her Ear,” the Hotel Coq d’Or, (Act II) falls at the other end of the spectrum. This establishment is loud, boisterous and a bit seedy. The colors that stimulated my design for the characters linked to the hotel are rich jewel tones, bordering on garish. Their clothing needed to reflect not only the promiscuous nature of the activities within the hotel, but also a great range of socio-­‐economic status and occupations.

Costume Designs

Short Video with Production Photographs

South Florida Cappies

Our production of “A Flea In Her Ear” was reviewed by the South Florida Cappies. The Cappies are high school students interested in theatre and journalism who are trained as critics.  They then attend the theatrical productions of other schools in the program. Cappies write reviews of the performances they attend, the best of which are published online and in local newspapers.

Quotes from the published reviews about costume & makeup (I also lead the makeup team):

“Costume mistress Devon Horn designed and constructed each stunning costume in the style of early twentieth century Paris, each piece a work of art.” 

“The beautiful and elaborate costumes in the production were designed by 11th grader, Devon Horn. The costumes were time period appropriate and fit the actors perfectly.” 

“Makeup for an older character is a precarious task but Devon Horn captured the exaggerated age and senility of Baptistin, and allowed the old lady's features to enhance the character.” 

“On a technical note, costumes and makeup were phenomenal. The elderly look of some of the characters was so believable, even from different angles. Costumes were period appropriate and the colorful costumes on the louder characters helped to create a most comical feeling.” 

“You would have thought that the costumes, designed by Devon Horn, were bought or made by professionals. They stuck to the time period and were pleasant to the eye. The make-­‐up team also deserves a shout-­‐out. They did a wonderful job with each character, young and old alike, having some people ask whether or not one character was actually an adult or not.”

“The technical elements of the show were simply phenomenal. Costumes by Devon Horn were extremely period appropriate and well constructed. Each costume seemed to have an elaborate story to tell. Her mastery of color and material were very noticeable and her research conducted was very commendable.”

At the end of the year, the student critics vote for awards that are presented at a formal Cappies Gala, which is like a Tony Awards for High School Theatre. I was ecstatic to win the “Cappie” for “Costumes.” Our show was nominated as “Best Play” and I was also nominated for “Make­‐Up” and “Featured Actress in a Musical” for my role as Eugenie.