Theatre Design & Technology - Summer 2020 - 57

ture. Chapter four examines the various
archetypes and genres that cosplayers explore. Winge observes in chapter five that
more than half of cosplayers are women
and many of the requisite skills, such as
sewing, are traditionally cast as "women's
work." Lastly, chapter six looks to the future of cosplay, noting developments such
as virtual reality as a platform for cosplay,
the development of a culture of consent
amongst convention attendees, and the
impact of social media and new technologies on the subculture.
Certain themes emerge from Winge's
research that are worth further exploration. The relationship between cosplay
and Japanese culture is a major point of
consideration. Largely white audiences
consume and develop affection for Japanese content. At what point do these affections and appreciating them through
cosplay and fandom become colonizing
forces? Of equal importance is Winge's
concern over sexual harassment of women who cosplay scantily clad characters.
Women achieve a sense of empowerment
and agency through these cosplays but
are vulnerable to sexual harassment and

assault. Lastly, concerns over exploitation
permeate the text. The openness and generosity demonstrated by cosplayers also
leaves them vulnerable to exploitation by
media. Despite investing hundreds of dollars and hours into their cosplays, most
cosplayers rarely profit from their work.
It is the photographers and media outlets
who profit the most, having invested very
little while raking in revenue.
Winge's book is rich with data and
analysis about cosplayers and their subculture. Unfortunately, the book itself is
difficult to wade through. The engaging,
personal tone of chapter one quickly dissipates into clinical academic jargon that
makes accessing the valuable insights of
the subsequent chapters challenging. The
majority of the text manages to make the
vibrant world of cosplay extraordinarily
dull. More problematic, however, is the
repetition of information throughout the
chapters. At least four times, Winge mentions Yaya Han's line of cosplay fabrics
at Jo-Ann's Fabrics as if it has not been
mentioned before. Multiple instances of
this kind of repetition make the text feel
more like drafts of the same research

from various angles. The book includes
many full-color photographs of cosplayers referenced in the research, but the
placement of these on plates disconnects
them from the text entirely. Additionally,
notes for the entire book are located at
the back rather than footnotes or end
notes for each chapter, forcing the reader
to flip back and forth to make connections
between notes, visual media, and the
analysis. Rather than being a focused exploration, Costuming Cosplay is a meandering saunter through poorly arranged,
clinical research notes. It is a shame that
such valuable research on an exciting topic is rendered so inaccessible. Readers in
search of analysis of material culture will
find this book interesting, but it has little
to offer for theatrical costume designers
other than an academic perspective on a
niche subculture.
Derrick Vanmeter (www.DerrickVanmeter.
com) is an associate professor of theatre design at
Clayton State University in Morrow, Georgia.
His professional practice features scenic, costume,
and projection design and research on inclusion
strategies for marginalized voices in theatre.

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