Learning is all about asking questions, and no one asks questions better than children. Boise State is home to more than 1,400 faculty members and researchers who are eager to answer these amazing questions.
Today, Professor of Theatre and Costume Design Darrin Pufall Purdy answers a child’s question: “What happens to the costumes after the performance is over?”
At Boise State, Pufall Purdy designs costumes for all of the Boise State main stage productions, teaches courses in costume and makeup design as well as musical theatre history. He has been teaching at Boise State for 15 years, and has been a professional costume designer for nearly 30 years. He often mentors students through their journey as a costumer while also advancing his research on the documentation and reconstruction of historical garments, particularly the habits of women religious.
Pufall Purdy holds a bachelor of Fine Arts in Musical Theatre performance, and said that as a costume designer he has “always understood clothing and the performer as inseparable in the act of storytelling. As a young actor working within the time and budget constraints of community theatre, I was often responsible for sourcing or constructing my own costumes.”
The first costume he produced as an actor was a scarecrow costume for a production of The Wizard of Oz in Woodstock, Illinois.
What happens to the costumes after the performance is over?
After a performance closes at Boise State University, costumes begin a new life behind the scenes, Pufall Purdy says. Each costume piece is carefully collected, checked in and inspected for any damage. Notes are often made about any repairs that may be needed. This process ensures that every garment is accounted for and assessed before it moves on to the next stage of its journey.
Once collected after a final performance, costumes are thoroughly cleaned. Depending on the fabric and construction, this may involve traditional washing for more durable materials like cottons and blends, or dry cleaning for delicate fabrics, structured garments or specialty pieces.
Cleaning is essential for preserving the integrity and hygiene of the costume so it can be worn again comfortably in the future. After cleaning, garments are returned to the extensive costume stock, which functions as a resource for future projects and productions.
Boise State’s costume stock is much more than storage—it is an active, ever-evolving collection that requires continued maintenance and organization by our staff and students. Costumes are carefully organized within specific categories, either by garment type (such as dresses, coats, uniforms or accessories) or by historical period, making it easier for designers and students to research, pull and build new looks for upcoming productions.
In some cases, entire costume collections are preserved as complete shows. This is especially valuable for productions Pufall Purdy knows will be revisited or that are frequently requested for community rentals. Keeping these collections intact allows the team to efficiently remount productions with a high level of visual consistency. Examples include productions of “Journey’s End” (2017), “The SpongeBob Musical” (2022), “The Sound of Music” (2024), and Boise State’s biannual production of “A Charlie Brown Christmas.”
One of the most exciting aspects of costume stock is its potential for transformation. A garment that appears in one show may be altered, dyed or reimagined to become something entirely new in another production. This practice not only extends the life of each piece but also teaches students valuable skills in adaptation, sustainability and creative problem-solving.
Occasionally, Boise State’s costume workshop also hosts costume sales, opening doors to members of the campus community and the greater Treasure Valley. During these events, selected items are made available for purchase, giving individuals the opportunity to own a unique piece of theatrical history.
These sales help the department manage space within their stock and support equipment maintenance costs, while ensuring that costumes continue to be appreciated and enjoyed. In this way, costumes never truly “retire.” Instead, they continue to evolve by supporting new stories, performers and audiences long after the final curtain call.
Bonus question
What do you think is the oldest costume in Boise State’s collection, and what performance was it made for?
Pufall Purdy says it is difficult to identify a single “oldest” costume or fragment within the collection, particularly because many garments in stock have been reused, altered and recontextualized across multiple productions over several decades. Some pieces likely originate from productions mounted more than 30 years ago.
In addition to production garments, the collection is often gifted donations from community members, many of whom contribute vintage clothing for study purposes.
While these items are often too fragile for stage use, they serve as valuable material culture artifacts, offering students the opportunity to examine historical construction techniques, textiles, and silhouettes firsthand. Recent acquisitions include a beautifully preserved flapper dress from the 1920s, as well as garments dating to the early 1910s.
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