About Me

Hello! My name is Amelia and welcome to my blog, I hope it can offer you some enjoyment but if not at least there's pictures! I'm student currently studying costume design with performance at the Arts University College of Bournemouth. I'm a maker and here's what I'm currently working on......

Monday, 26 March 2012

My finished Tudor Pie-Crust shirt

Here is my finished Tudor Pie-Crust shirt!











This is the first garment I've made for the costume store and a good one to get me started. I don't feel fazed now about making a shirt in the future as It's fairly straight forward and self explanatory once you get into the swing of it.
There were areas that I struggled with more so than others but overall I'm very pleased with the results and feel happy and proud to show off my achievements.
The stages of making for this shirt were very satisfying and enjoyable to do as I would concentrate on a certain area like the cuff on the sleeve and then work on something else so that when it all came together it was a great pleasure and looked really smart as a whole.
I struggled the most with the collar which did distress me as firstly it was too large, then it was too small which meant I had to lower the neck line on the shirt so wasn't as smooth as i would have liked. Nevertheless, I got it finished in time and am ready to start the breeches.   

Friday, 23 March 2012

'Get to the part where i lose my temper!'

Today was our last day working on the shirt for the costume store. Tempers were running high and there was a lot pressure to complete before the end of term. Having felt fairly relaxed over the last 2 weeks i knew what i had to do so felt confident that i could finish before the day was through, however when i came to attaching my collar i came across a problem and all work seized!

A problem i failed to see at the the start back when i was cutting my fabric was that the collar piece did not match up to the size of the neck on the shirt. Like when given any pattern to work from we're taught to always first go over and double check to make sure all the pattern pieces line up and coincide with each other, however this part of the shirt was overlooked.

Because this has been such a nuiscance and has set me back in terms of time, it's been a strong learning curve for me as i can now appreciate and put in to practise everytime i start a new costume how important it is to check over pattern pieces. This is something i'm going to do religiously at the very beginning of a project in order to save time and trouble.

Having painstakingly made my pleats for the pie crust collar all to the exact same size, it was a huge frustration when i came to put the collar on and found that the shirt neck was much larger then the collar piece. An issue that shouldn't be too hard to resolve, alas i was annoyed that i wasn't able to have my shirt completed and ticked off so that i was ready to put all my focus on the next garment for the costume store when back after Easter.


Each box pleat had to measure exactly 2.5cm wide all the way along  in order to ensure a consistent pie crust collar.


All that i have left to do on my shirt now is correct the collar problem and make button holes down the front plackett and on the cuffs, a task that will hopefully get done in one late night study session after the Easter break.



Thursday, 22 March 2012

Breathe

Today i got a better understanding of what the Breathe project is about which is a separate project that coincides with the costume store as part of SDP. Since having a tutorial i'm feeling much more positive and driven about the project and what we'll have achieved at the end, as i personally will be focusing on fabric manipulation and looking at techniques which will best replicate the textures and colours of the designs we have been given. 
I'm looking forward to this as i haven't done much work with fabric manipulation so will be eager to learn new techniques which i will apply to future costume projects.  

Monday, 19 March 2012

Breathe Ensemble


Breathe Ensemble in Detail

This document has been adapted for the makers who will be making the costumes previously designed by the desining pathway in the previous project....

You are required to follow a series of ensemble designs in order to re-create a collection of 6 Breathe characters from Battle for the Winds performance. This document gives you further detail about these characters. This has been developed in conjunction with the director and incorporates his vision for the characters.  Though each design will demonstrate individual ideas remember to consider these as an ensemble. You will have a number or workshops to support the development of these designs including working with the Director and Design Managers on conceptual and practical ideas.
Habitat: The Breathers natural habitat is the beach, the beach is part of them, and they are part of the beach.  They exist on, and survive by the elements of the beach. They are timeless, and the invasion of Weymouth, the Olympics and Doldrum’s presence, is to be their first interruption for centuries.
Period: The characters are timelessness and made from washed-up debris suggesting that costumes and design could incorporated a range of styles, the director likes the ideas of scavenging clothing through the periods, (The other BFTW costumes are based in the 19th Century so it might be a good place to start) and adapting/customizing with other artifact found on the beach or washed up by the sea. Junk and alternative materials should be considered as part of the vision.
Colour and Pattern: The Design Manager working closely with the director will present suggested colour pallet to you in January. Remember to consider the texture of the costumes and also that the costumes will be seen from a distance by a large audience who will be quite a distance from the performer.  Consider your ensemble as collective spectacular and maybe a collective colourscapes.  Remember that the ‘Breathers’ need each other to survive, and function as a chorus. 
Base Costume: The design team will be developing a base costume design with some 2nd year volunteers. You should used this to base your design on. The reason for developing a base costume is that this will be supplied by the individual performer and adapted/dyed painted by the design team. You have £50 budget per costume (which does not include the base costume).
Performers: Though you will not be designing for specific performers but you will need to consider different body shapes while you are designing your costumes and you will be given a portfolio of performers from the company to consider when designing. It is the responsibility of the Design Manager (working with the director) to assign costumes to performers once the collection has been selected and adapt / tweak the designs to fit the performers needs. 

Who are the Breathers?
  •      A tribe,collective   group whom only function when they are together.    
  • ·        Borrowers/beach combers/debris collector. 
  • ·        They are and ensemble
  • ·        At one with their natural environment.
  • ·        Timelessness (mix of past fashions/objects)
  • ·        Eroded/worn down/broken down
  • ·        They are the secret custodians to the Southwest Wind

·   The Breathers are an organic collective who are pure and innocent and wish no harm on anyone
·   No one really takes notice of them (They are part of the natural environment)
·   The Breathers live the winds, as a collective they are the winds whereas the regional wind gatherers collect the winds. (Organic vs. Artificial)

Other things to consider:

  • Consider building the costumes to make visual impact – this performance will be seen by  10,000, & to prevent them from restricting performer’s movements (e.g. getting caught in wheelchairs)
  • Must work both individually and collectively
  • Texture is really key
  • Exaggerated shapes to help them stand out/visual spectacle


Story Background


Story Background (possibly on-line, on flyers, on screen)

During the summer of 2011, the people of Weymouth noticed something unusual taking place along their sea front. Day by day, an unidentifiable set of unique looking creatures washed up onto the beach – often in groups of three and five, and seven: odd.

They washed up from all over the world.

Initially, their arrival struck horror and fear through the local community – “they look like sea–litter!” some cried, “Quazimodo!” others shouted, “are they human?” some asked.
In a short time, the local people realized that the new inhabitants were harmless, powerless, in fact, to be pitied, so they permitted them to remain, as long as they kept out of the way during popular beach time and, of course, during festivals or popular events. 

But, these creatures had come for a reason. And, on the eve of the sailing events for the London 2012 Olympics, when they suddenly appeared in full open view, there was outrage at their audacity.

The Play:

(Thursday)

The 'breathers' gather to celebrate the nautical adventure they are about to set in motion. As they have done for centuries, they begin to enact a ritual which honours the power of adventurous spirit, and the breath of the sound west winds. They have, within them, when they perform this collective ritual, the power to fill the skies with the great wind.

At another point on the beach, a contest is taking place, with a dark stony-faced and stony-souled villain, named Doldrum. The contest is an attempt to destroy the notion of peaceful competition, and give him a chance to steal the greatest force in the regions, thus giving him the might to stop the Olympics from happening.

As he examines the machines which have gathered the winds from across the regions, he hears the beach creatures, and, Seeing them, he asks  who they are.

“Who dares to disturb me?”

“A load of nothing” , he is told.

 He is told to pay them no attention, because, although they are strikingly odd and distasteful, they have no power other than to offend.

 “Nothing more than Sea – litter.  Not even worth the effort to pick them up and toss them away”

But Doldrum sees something else.  He sees in them, a force unlike any of the machine forces he has seen thus far. He sees in them the greatest threat to his mission; to stop all human celebration, to destroy hope.

As the beach people continue to enact their ritual, Doldrum takes flight, and  rushes at them. He intends to capture them, study them, steal their power, and destroy  them (or make them his servants).

His first attempt manages only to steal one –  and turn another to stone.


(Saturday)

A day passes and by Saturday he has now trapped more into see-through bubbles.

Witnessing their reluctance to be afraid, or run away, he becomes angry.

“You see what I will do to you and yet you dare to continue!”

Outraged by their audacity to express joyfulness, he  turns more to stone and finds other ways to  entrap them.  But to his frustration, the more he physically traps, the more powerful they seem to become – as if their power was coming from somewhere other than physical liberty, strength or might.

Now, enraged that a sense of celebration seems nearly invincible,  he concludes  they must be connected to some manufactured power source, some electrical surge.

“I will pull you from the wall – unplug you!”

Doldrum attacks everything – everything that emits light, sound,electricity. . And for a moment, it seems he may have succeeded, as the world plunges into darkness and silence.

And then, in the quiet of the darkness, a sound waves forward. It is the sound of a single breath, in and out. Then another and another. Soon the sound of breathing fills the air like a planet filling it’s lungs with life.  And then the beat of a heart, which grows and greows. It beats from  all sides of the sea front, drumming passion through the sand.

Duldrum is struck silent and motionless. He listens and watches with astonishment. And then he realizes the force he has so misunderstood. It is not the power of the machines gathered from the regions, or the physical strength, or might, or perfect form that  he could steal and thus stop the Olympics from happening, no, it is the spirit, the breath and the passion held inside. When he realizes this, his once stony heart and soul begins  to crack, and dissolve.

For the first time in his life he smiles, then laughs and dances! He dances to the rhythms made by the crowd. He starts to sing the songs he’d heard coming from them only days before. He joins in the celebration and gives  rise to the South-West winds which now rise as flames  across the sand and out into the water.

“Breathers!” he shouts, “the power is inside!!”

And as he watches the first breather he had stolen fly out and over the crowd, he breaks  into a million tiny pieces of sand. There is at that moment, a sudden gust of wind, which blows  him up and out to sea, and, as he flies, the skies fill with the sound of his voice, laughing with the breath of freedom.

The breathers hold  sand high in the air, sing, and let it fly with the wind.

'If i listened earlier i wouldn't be here'

Today i struggled with putting the sleeves in and making them fit.
I made my first mistake by over-locking the seams of my sleeve before i was done making it up which was a mistake for several reasons. Most importantly it means there's less seam allowance to work with so its more difficult to match design lines and get everything to the same length and the right size. Secondly, by over-locking before you press the seams open you bruise the fabric and press the over-locking into the fabric so that it shows through on the right side of the fabric.


Initially i thought that this would save me time but really i was only making more work for myself as i had to unpick part of the over-locking in order to get the gathered part of the sleeve to fit the armhole. So lesson learnt this week - DO NOT overlock seams until the very end!


I also found myself still making silly mistakes purely because i was rushing and not concentrating properly - when it came to putting one of the sleeves in i pinned the whole armhole into position only to realise afterwards once i'd already machined it that i'd sewn it on inside out! Mistakes like theses, which i'm aware of making before i make them are still a problem which i'm hoping to eliminate altogether by the end of SDP.

As a result, today i appreciated how patience is a virtue and how its better in the long run and overall to take your time the first time, instead of cutting corners and making more work for myself.


Fitting the sleeve gusset and machining the made up sleeve to the shirt front and back did require a certain skill and technique which i managed to achieve the second time round. Because of how the gusset piece is fitted it was very difficult to machine and avoid puckering the corners at the same time. 


Thursday, 15 March 2012

Battle for the Winds

This week saw the end of the Battle for the Winds Concepts in Context unit, which is a huge theatrical event to mark the opening celebrations of the London 2012 Olympic and Paralympic Sailing events in July. For the last 8 weeks i have supervised a group of 5 makers who have each made a costume for the county Devon which is one of 7 counties involved in this huge summer spectacle.

I have been working along side designer Sarah Dicks in order to help achieve her aspirations and bring her designs to life. My job has involved sourcing, fabric buying and managing a running budget as well as overseeing a group of maker in order to make sure they have everything they need to make their costumes.

Once Upon a Tease



As an extra project outside of our uni work timetable several of us from Level 5 took up the opportunity to gain some extra corset making work experience for a burlesque club called 'Once Upon a Tease'. In the first meeting we had with Samantha, the manager of the club, the basic brief and specifications were laid out for us; as a group of 8 we are to produce 7 corsets in total made up of 2 sets.
The first set is to be candy inspired consisting of 5 corsets - x2 all in one corsets, x1 corset and x1 underbust corset. The corsets in this group are to be the same theme/colour and link together through use of surface 
decoration, colour and fabric however not be the same. 


We were given this  image of Dita Von  Teese as an
idea of what Samantha had in mind for the underbust corset
as she specified that she wanted the suspenders built in
to the corset.

For the second set of corsets, sticking to the candy theme, Samantha wanted 2 corsets of a 'Toxic Sour' theme using emerald greens and Liquorice coloured fabrics. With both groups we're given a lot of freedom to put our stamp on it and come up with a lot of ideas ourselves as to the final design. We are to decide amongst us what style of corsets are to be made for the Toxic sour set with the only specification being that they have long bustles.


Time Plan

Over the course of the SDP unit i will also be managing a  number of projects both inside and outside the university. In order to manage my time time i've produced a time plan so that i can keep on track of my work throughout the duration of the unit.

12.03.12
Briefing
Costume store demo - Re-focus on project.
12.03.12
Costume Store
Begin cutting 19th century shirt.
13.03.12
Perceptions of Performance Briefing
Briefed on POP essay.
14.03.12
Once Upon a Tease
Take measurements, discuss designs/ideas.
15.03.12
Breathe
Intro and demo sessions
20.03.12
Late night study for BFTW


POP: Matt Fletcher Lecture
Help finish off costumes for battle for the winds.

Contemporary Performance: the context
22.03.12
Hand in learning agreement.

Breathe


Making for BFTW
23.03.12
Break for Easter
19th Century Shirt must be completed.
10.04.12
POP: Guest Speakers

POP: Tutorials


13:30-16:30
11.04.12
Refocus meeting


Breathe club

Once Upon a Tease
Introduction into next garment – breeches/waistcoat & blouse.

Evening session 17:00-20:00

Begin drafting corset patterns. Have an idea of fabrics to be used – show Sam.
12.04.12
Breathe
Making for BFTW
17.04.12
POP: Guest Speakers
Alan Rogers – 10:15am
Michael Walling – 11:30am
18.04.12
Breathe Club

Once Upon a Tease
Evening session 17:00-20:00

Start cutting fabric
19.04.12
Breathe
Making for BFTW
20.04.12
Costume Store
Breeches/waistcoat finishing
23.04.12
Once Upon a Tease
Fitting and finishing.
15.05.12
Hand in
POP
18.05.12
Costume Store

Once Upon a Tease
Blouse finishing

Deadline for Corsets
21.05.12
Hand In
Self Directed project

Bibliography

To be updated throughout:.......

Artaud, A (1996) The Theatre and Its Double. Paris. John Calder Pub Ltd

Chenoune, F (1993). A History of Men’s Fashion. France. Flammarion

Brothers, B (1988) Bloomingdale’s illustrated 1886 catalog: Fashions, Dry Goods and housewares. New York. Dover Publications.

Johnston, L (2005). Nineteenth – Century Fashion in Detail. London. V&A.

Mitchell CO, JNO.J (1990) Men’s Fashion Illustrations  from the turn of the Century. New York. Dover Publications.

Shep, R.L and Cariou, G (1999) Shirts and Men’s Haberdashery: 1840’s to 1920’s. A Tribute to Betty Williams. California. R.L Shep.

Wolff, C (1996). The Art of Fabric Manipulation. Krause Publications.

Pearson, M (2010). Site-Specific Performance. Palgrave Macmillan


Johnstone, K (1981). Impro: Improvisation and the Theatre. Eyre Methuen Ltd







 

Wednesday, 14 March 2012

'Pie-Crust' Shirt

In order to gain a better understanding of what it is that i'll be making for costume store, i carried out a bit of research into men's 18th century shirts and came across a really useful book by R.L.Shep called 'Shirts and Men's Haberdashery 1840 to 1920' (see bibliography)which gave me an idea into shape and cut of men's shirts in this period. 
I scanned in a few pages which i found particularly interesting and useful to me, and the 'pie-crust' shirt that i'm making.




This isn't a very good picture but the shape and size of the sleeve and the stub collar are both like that of the shirt that i am making.

'Curiouser and curiouser....'

In the last couple of days i feel like i've made good progress with my  shirt. Each individual stage of making, once outlined is a simple process to carry out, so much so that i'm enjoying the making up of the shirt a lot. It's interesting looking at the sample shirt that we're given to analyse and break down for each individual stage and then deciding how to copy it and repeat on my shirt.


The plackett so far has been the trickiest part of making simply down to the fact that if you don't get it completely right the first time you run the risk off over working the fabric so much so that it wears thin very quickly and gets grubby. I had to unpick my plackett once because of a silly mistake i made because i didn't take my time and look at my work before going to the next stage. For example when i cut my plackett pieces and attached them to my shirt front i thought i'd made them too wide so took them off again ready to trim them down only to find out later that i had to simply make a small pleat at the bottom of the plackett on the shirt front  in order to make it the same width as the plackett pieces. 


second attempt at putting the plakett on correctly in order to get everything to line up properly.

Fortunately i didn't damage my fabric badly, only one tiny blemish which is enough to bother me but only because i've been working so closely with the fabric and am picking up on every tiny detail and wonky stitch i make, but overall i'm very happy so far with the standard of work that i've produced.

Because this is my first attempt at making a shirt i'm so far very pleased with the work i've produced. However I know for next time that i'm going to be able to avoid the niggly parts that have bothered me so far on this shirt becuase i will have the knowledge that i've gained on this unit to know how to avoid them.

Considerations

Today we met up with Samantha and took all the burlesque dancers measurements for the corsets that we are to make. We were able to confirm with Samantha her wishes and what key design features were essential in order for the dancers to perform effectively and with ease.


Considerations like quick and easy fastenings are something that we are going to have to consider and adapt into the design so that the girls can subtly unfasten their corsets as part of their routine without it looking being distracting and awkward.


Our deadline is the 25th May which we all feel confidant we can meet however the pressure is one to manage all of our other ongoing uni work which is due in the same week so its going to be essential that we manage our time efficiently and effectively so that we can produce work of a high standard and not let our uni work suffer.

Monday, 12 March 2012

Self Directed Project

Costume Store:


Having finished supervising the concepts in context unit, I’m looking forward to having a more hands on approach in the Self directed project where I can begin further developing my skills as a maker.


After our briefing for our new unit, we were told what standard of work was required of us and what was to be expected in the unit. I think this is going to be an interesting project making for the costume store, as we will be simulating a real work room and creating an environment similar to that in the industry.


This is the 'pie crust' shirt i will be making and using to help see the processes that i need to go through in order to achieve the same result.

Close up of pie crust collar and front plakett.



There will be no cutting corners when making for this unit, anything that is not good enough to be seen on stage will have to be unpicked and re-done. As frustrating as this will be, I know that it’s going to be a good habit to get into in order to make sure that the work I produce is a good enough standard the first time round so that I never have to re- do it and waste valuable time. It will also be a good habit in that i will be able to realise for myself whether or not the needle work is good enough instead of going to check with Dexter all the time to see if i need to re-do it, i should know what standard is acceptable and see to it that its met.

'Start at the beginning.'


Today was our fist day making and we started the unit off with a male 19th century shirt. I’m making a pie crust shirt which has a buttoned plakett, large gusseted sleeves and a standing collar that has ruffled, ‘pie crust’ detailing. Because of the white cotton that we’re working with its vital that we handle the fabric as little as possible and keep it neatly stored in one place so that we don’t wear the fabric and make it dirty before its even finished. Its already been made apparent how important precision is, and due to the nature of the shirt and how it’s to be made up you always need to be thinking two steps ahead so that the next step you take doesn’t obstruct the next stage of making. I’ve realised that this way of thinking is very important with this nature of work, as time is money and the longer you take having to unpick something because you’ve sewn it wrong the more its going to cost and the more pressure you’ll have trying to complete the work in time.


To replicate this working environment we have till the end of term which is 2 weeks away to complete this shirt. This  creates a specific time schedule and deadline that  we have to have it completed by so it'll be interesting to see how i cope and with the work load and how i manage making out first garment for the costume store.  

We’re given quite a free reign on this project, we have the support there for us when we need it but otherwise we’re to get on with the work in our own time in the studio which is an aspect I’m looking forward to as I’d like to see how much I can achieve and figure out for myself before getting my tutors approval.  

Thursday, 8 March 2012

First meeting

As a group of makers working together on this project outside of uni for the Burlesque club 'Once  Upon a Tease' I'm already really enjoying the professional side of the experience as its a taster of what's to come and what's to be expected of a freelance maker once they start working professionally for paying clients. 

We had out first meeting back in February were we met with our client Samantha and discussed what her requirements were and how she wants the designs to look. We then went away and sat down as a group and went over out meeting and discussed some possibilities and made the collective decision to get a costume designer involved!!!

Level 5 costume designer Yolanda Collins then came up with some fantastic designs for both groups of corsets which we were then able to take back to Samantha and discuss further.