New Beginnings

Now the Commedia project is over and done I'm moving onto new and exciting things. For my next university project I shall be working with leather and lots of natural materials, making costumes for a new and original feature film based on the work of Tolkien called Men of the North.

It's a really new and exciting project to be working on. The story has good, evil, battles, orcs, rangers, hobbits and all the rest!

This project is only 6 weeks long, but we are looking to make at least two costumes each, as well as doing a lot of adaptations to sourced items and a lot of breaking down - these costumes have got to be authentic! It's being filmed throughout June and is looking to be released in September / October time.

As part of this project we're required to document our progress and process on a Tumblr blog - so if you would like to keep more regularly updated on this wonderful new work then follow me on Tumblr: 

http://marniefitzpatrick.tumblr.com/

Most of my work and updates will be moving over there, but I'll still be updating here on extra-curricular things and hopefully some summaries of my work on Men of the North!

Les Miserables Costume Exhibition

What better to do on a miserable, grey, rainy Saturday than to go see the costumes from the epic on-screen musical extravaganza that is Les Miserables. A museum at the Portsmouth Historic Dockyards had a small selection of the original costumes from the film and some wonderful insights into the designers vision for the piece. As the location for the opening scenes of the film, the Dockyards were the perfect location to bring these costumes back to.

As a costume student who's just worked on a piece that is supposed to look authentic and 'lived in' it was amazing to see these broken down, worn into pieces. As a costumier, there is nothing worse than going at a costume you've just finished with a cheese-grater and some sandpaper, but that is the nature of the profession and often you have to breakdown your pieces so they reflect the character and their lifestyle. This exhibit gave me a fresh look into breaking down and really made me learn what it means to make a costume look authentic. It was a really wonderful little exhibition with a handful of costumes and took me right back into the thrill of the film and just made me want to watch it again!

Standing inches away from the costumes, and being able to look so closely at the construction process and fabrics used was fantastic. Especially as you could see that some of the costumes were completely hand-sewn and hand-finished. Clearly a lot of effort, work and thought went into these costumes and it showed in every inch of them.

Here are a couple of my favourite costumes from the exhibition.

Beautiful breaking down of a very fine, gauzy fabric.

The majority of this costume was entirely hand-stitched. Stunning.

Commedia dell'Arte: The Finished Costume

So my hand-in is on Monday and the time has finally come to get this costume off my hands and stop fretting over it!

I have thoroughly enjoyed the entire process of making this costume and the project has been engaging and interesting. I have learnt valuable new construction techniques and I think that my finishing skills and level of construction has improved massively, just as it does with every new project I undertake.

I'm a little sad that I haven't managed to get the costume back on my actor since the final fitting, so I haven't seen the complete look on him, but I know it's going to look great. And as my first attempt at male clothing I am really very proud of myself. We should be having professional photoshoots later in April with the actors so we can get some great shots of our costume at its best, but for now, here's a few that I took of it on the stand.

Everything you see is 100% hand-made by me.

Hand-sewn double layer ruff. Made from cotton organdie that has been tea-stained to give it the broken down look.

Ruffs are a nightmare, I don't know why anyone invented them!

Detail of the purposefully ordered and made buttons & cape cord (which I bought without taking a fabric swatch with me so I'm so glad it matches!)

This has been a massive learning curve of a project, and has taken up a good few months of my life. So I'm ready to get rid of it and move onto the joys of Independent Project now.

Catch Up

So once again I've failed slightly on my attempt to blog more regularly, but between supervising and designing a graduate film, creating my concepts costume, making Priest vestements and attempting to actually have a life, sleep has somewhat taken precedence and the last thing I want to do when I get into bed is go back on my laptop and blog..

However here's a few photos of how my costume is coming together.

We had our final fittings a couple of weeks ago and I'm happy to say that my costume fitted really well and looked brilliant on my new actor. It's been a long and arduous process to create the decoration on the costume, but the time for finishing touches has come and this is often where I let myself down. Sometimes I get slap-dash and haphazard in the way I put things together when it gets to the end of a garment and I have really tried to address this in this project and ensure that the garment will remain a high standard right to the bitter end. I hate that my hand-sewing skills can sometimes let down what would be a beautifully sewn garment, especially as I know I'm more than capable of finishing it well, I just sometimes don't bother. The fact that I actually unpicked the hook and bar fastening on my breeches twice before I was satisfied with how it looked. I never would have done that previously, so I guess I'm growing!

Anywho, this project is coming to a close, so I will hopefully get some great shots of the costume soon. But in the mean time, here's a couple of how the costume has developed over the past month.

Before the fittings a finishings have been applied. Just all sewn back together.

Basics of the doublet back together. No trims or finishes.

And a couple of pictures from the final fittings.

Again before any trims or finishings.

Everything 100% made by yours truly.

And yes, that includes the hand-painted and dyed socks..

Couple of different costumes within my play 'The Haunting of Pantaloon'

Applique

As bought up in the last post I have an incredible amount of applique, reverse applique and opposite gathered inserts to complete on this costume and it was sure to be the most time-consuming, mind-numbing and tricky part of the decoration and overall construction.

I'm not quite sure how, but the applique has been completed! I am so excited and chuffed with how it looks. The fabric was dyed by myself, every single star moon and triangle was cut out by my own fair hand and each one painstakingly placed and stitched on by me. The entire pattern and colour was created by me. This thought is so exciting to me. Being unsure on my ability to create costumes with technical textile techniques this project made me really nervous. However after seeing the hours and hours and hours of work pay off, and see your garment starting to take shape and come together, it's just the best feeling. I'm unbelievably proud of what I've achieved, even if I do say so myself!

All the pieces that make up my doublet and breeches.

Slightly over-decorated doublet front and sleeves!

Breeches back.

It has taken quite a massive amount of hours to complete all this decorative work. Especially as some of the stars and moons are only a matter of centimetres big.

Unfortunately, I was not warned about 'shrinkage' prior to cutting out on my top fabric, or beginning my applique, so there has been some distorting in the shape of the pattern from the original shape. Some of the seams and edges have either shrunk or been stretched out - making the overall shape slightly different to the original pattern. However it is not too drastic and I still have more than enough in the seam allowance to play around with and make up for any shrinkage. Although in future I may cut my top fabric the recommended 5cm bigger all the way around the pattern, so ensure this shrinkage and warping will not happen again and effect my pattern.

Project So Far

Last week we had our first stage fittings, a scary moment! Especially because the actor I had drafted and made my toile for dropped out of uni the day before my fitting, giving me practically zero time to make any adjustments to my costume in time to fit my new actor. This was a really stressful thing to happen, particularly when you've carefully drafted a pattern to fit a certain actor, I was really keen to see how it would sit on him. C'est la vie. In industry and in the real world, this sort of last minute actor change is something that is bound to happen regularly, so it is really good to learn to roll with the punches and being able to adapt quickly to stressful changing situations. I think I dealt with this pretty well all in all, as I went into the fitting with a clear head, prepared to tackle all the necessary changes.

Luckily, the actual fitting went surprisingly well, and my compliant actor accepted that the costume had not originally been made for him, and was great throughout the entire alteration process. There were quite a few minor alterations to make, to hemlines, cufflines and necklines, but nothing too drastic. On the whole, the costume was just slightly too large for my new actor, which meant I just had some small bits of taking in to do. I was incredibly happy with how the costume looked and the fact that it fit quite well. I felt like I had done a really good job, and it just made me more excited to get on and cut out in the top fabric, so I could see what it would really look like.

Here's a few snapshots of the decorative work I have been creating so far:

Over 200 moons and stars, from large to small, backed onto bondaweb, ready to be appliqued onto the costume.

Triangles appliqued on around the edges of the breeches. These will go around the edged of the entire costume.

Moons and stars bondawebbed in place. Ready to all be stitched around to create detail. This is just the back of the breeches...

Metamorphosis

On Tuesday 22nd January at 7.30pm, I witnessed one of the most bizarre, depressing, challenging yet captivating performances of my life. 

The Metamorphosis by Franz Kafka was adapted and directed by David Farr and Gísli ÖrnGarðarsson, was performed at the Lyric Theatre in Hammersmith. 

Kafka's original novella tells of a Travelling Salesman - Gregor Samsor, whom mystically transforms into a mutated monstrous bug overnight. The lives of his ordinary and mundane family are turned upside down, as in the absence of Gregor's income, they find it hard to support themselves. The do not know how to deal with his condition, and by the end of the play, they decide that he must be exterminated.

I cannot say exactly what I was expecting when I sat down to view this piece, but what developed before me was certainly not it. Firstly the set and staging by Börkur Jónsson  was absolutely stunning, incredible, like nothing I have ever seen before. It was a gravity defying piece of staging, which the transformed Gregor could use to his advantage. Hanging off walls and ceilings, metres and metres above the stage floor, swinging down the staircase, and at one point, breaking through the ceiling of the upstairs, into the living room. It was a triumph in staging that made the piece so captivating, you were unable to tear your eyes away.

However, in the midst of this daring aerial physicality, there was the storyline, the brutal, heartbreaking storyline. There is much to be said and discussed about Kafka's work, and what exactly provoked him to write such a piece, but the Nazi, totalitarian overtones were unmistakeable. Yet, some dark comedy was worked into the script and the acting, which helped slightly in lifting the piece from being so unrelentingly tragic. The characters were harsh and ruthless, nothing redeemed a single one of them, which is really quite rare for a performance in this day and age. Generally there is something lighthearted, some happy ending, but with Metamorphosis you could never see the light at the end of the tunnel. Even in the beautiful moment when Gregor hangs himself in his room and then majestically and acrobatically scales down the set on the silk ribbons, you cannot feel happiness or relief, more a sense of emptiness and regret. Then the family move on, they go to the park and enjoy the spring flowers, and although this scene was beautiful and could be seen as inspiring, and turning over a new leaf, the body of Gregor remains centre stage, not letting you forget the people his family became. The ruthless, uncaring, shells of humanity they became. You do not feel that his life has got better through the death, you feel he was bullied into it, but a family that ignored him, near starved him, and refused to attempt to communicate with him.

The score that went along with the action, was another utter triumph; moving, haunting and perfectly timed with the action.  Nick Manning truly made this performance, with his choice of soundtrack.

Though quite truthfully and painfully depressing, Metamorphosis sparked debate and conversation in me like no other piece has in a long time. And although the subjects and subtle undertones that can seen throughout are shocking and depressing, it also sparks an academic approach. So although I may not choose to see such a heavy-hearted piece every day of the week, it is certainly enlightened to see such a well put on performance, that drags me away from the prettiness of musicals and the happy endings that most modern theatre seems to culminate in.

Metamorphosis. I'd recommend it. A true triumph (yes, I will use that word just once more).

Full Speed Ahead

 A new year, means a new term, means a new project with new challenges, new techniques and new (and higher) expectations to meet. Well, that is most definitely the way it goes with this term. Not even been back in Bournemouth a week and I've already hit the ground running, but it's okay because I love the direction and theme of this next project:

Commedia dell'Arte.

All pictures sourced from 'Maschere Italiane nella Commedia Dell'arte' by A. Grignola

In short Commedia dell'Arte is a form of street performance, closely related to pantomime that originated in Italy in the early 16th Century. It has continued and thrived as a form of performance through the ages and is constantly revamped by different actors and cultures. It is a slapstick comedic performance, with the air of Punch and Judy.

We've been asked to create a costume off a given design. The costumes of Commedia are something else. Think harlequin patterns, bold shapes and bright colours, the Pierrot Clowns, the dastardly villains in sweeping capes. There is a lot of fun to be had.

With this project, we have been asked to be creative in our interpretation of the given design and create pattern and texture with a variety of textile techniques. We are also required to use at least some recycled or reused fabrics and materials. As we're working in groups, creating an ensemble of players for a Commedia play, we have to co-ordinate with each other to ensure all the players have a cohesive look and work well together. This means working closely with fabric selection, fabric dying and the overall colour palette. In other words, there's a lot to take on board!

I'm absolutely fascinated by this project, as it is unlike anything that I have previously undertaken and takes me completely out of my comfort zone. 

Watch this space, there's more to come.

A new year is the time for resolutions.

I have been beyond terrible in keeping up with this blog, and I know you've heard it before (as I'm pretty sure my past 3 or 4 posts have contained the same sentiment), but this time it's actually going to stick and I'm going to keep you up-to-date! Even if it's actually more for my own benefit, I really need to start correlating my thoughts and showing my passion for the subject I study and the career path I want to take.

I only have one resolution this year, and that is this blog. I love what I do, and I hope that comes through, and I hope even more that something I write and share resonates with someone who reads it. Whether it inspires them, teaches them, or enthuses them, I want my work to make someone feel something; even if it's only bad things!

And now onto something more related. I'm aware I promised updates on the Vampire music video that I produced a costume for last year, and I realise now, that I never really rounded all that off.

So, I finally got my hands on some of the professional photographs that were taken of my costume on my model Imogen and here they are.

It's unfortunate the puffy overskirt seems to have got a bit crushed, and all the painstaking beadwork has got tucked up and under the corset, which is ashame. However the corset fits beautifully and really compliments Imogen's figure. I'm definitely using these in my portfolio!

There are really interesting shapes and textures created from the back of the costume, which I think work really well. Especially the texture of the ruffles at the bottom of the chemise.

I was really proud with how this project went and now its in the past I can look on it with fond memories.

We also got given a copy of the music video that was created, but unfortunately we haven't yet got the rights to publish it online, but hopefully soon I'll be able to upload it on here!

On to a new year with new opportunities and new people. I've got all my fingers crossed for a good one.

Draping sleeves.. Who knew!

As a second part to my earlier post about draping on the stand as the new way of drafting I have created this post to talk about the infamous sleeve.

As anyone who is a seasoned costumier / pattern cutter / likes to make clothes knows, sleeves are the devil. Hence why the majority of outfits I make for myself are sleeveless. Drafting and sewing in a perfect looking and fitting sleeve can be a nightmare. Particularly when the sleeve is meant to be fitted, and has none of the fullness of gathering or ruching to make up for a lack of accuracy.

Working in the theatre over summer I got known as 'the girl who likes sleeves' or 'the sleeve Queen'. The majority of costumes that required a sleeve were passed onto me after the bodice was constructed so I could work my magic with a sleeve. I'm not entirely sure how I got this title, I think perhaps just because I was willing to take on the challenge (and admittedly one day I did say I actually like sewing sleeves. Mistake? Nah.) So I set upon my task of dutifully sewing in the sleeves. On my last full day of sewing I was hurled a partially sewn dress for Mrs Potts from Beauty and the Beast and told to finish it asap. It was the dress rehearsal directly before the first performance and Mrs Potts still didn't have a 'human' dress to change into at the end. I had a few hours to do it. The overall sewing of the dress went well, and then it hit me, I had to do a sleeve. Solo. This time I had noones help or guidance, I had to draft and sew in a sleeve to a bodice I didn't draft myself - talk about tricky.

But I did it.

I have never felt such a sense of achievement than when I gathered that sleeve into place, put it on the actress and it looked good. I added a few pleats across the fullness of the cap to give it some decoration and shape, and it was done.

I've stared the sleeve in the eye, and I won.

Yet, I slightly moved off topic there. I really wanted to show my draping sample. We were working on 19th Century styles, so had the lovely leg of mutton sleeve to create.

Back

Front

Side

Pleating down the inside seam

A little bit of measuring and a lot of counting squares from an original pattern, a few lines drawn on some calico, a line of machine stitching and a line of gathering and you're sorted. No fiddly numbers and instructions, no absolute accuracy. Just playing around with a shape. And what a shape it created.

Draping on the stand really has shown me a new way to create your flat patterns. Not only a new way, but a fun and effective way. 

Keep your eyes peeled, my clothes might start resembling some 19th Century chic!

Draping. The new way of drafting.

As part of this term at Uni, we've been allowed to pick certain workshops that we thought might be useful to ourselves and our studies as either designers or makers. As a maker I chose the Draping on the Stand elective. I wasn't quite sure what to expect when I signed up to it, but my word is it different to anything I imagined.

If someone said the word draping to me, I would automatically assume flowing dresses, lots of fabric and smooth lines. What we've been doing over the past three weeks couldn't be further from the truth.

So far we've been creating various historical garments (mostly bodices) that are exactly what you'd need to create a pattern. In other words, draping on the stand is the alternative to paper pattern drafting. Although incredibly technical and hard in its own right, draping on the stand is, to me, far more beneficial, interesting and involves a lot less maths!

Here's a quick look at some of the garments we've done do far.

A modern, basic darted female bodice. Front and back.

18th Century Polonaise Front and Back

Sack Back Dress Lining and Full Dress

Learning how to cut on the stand has increased my confidence and knowledge of how to create garments. Who knew that just by cutting and pinning squares of calico onto a stand you could successfully create any style and form of garment that you want.

I feel that this is one of the most useful things I've learnt so far in my studies, and might just be my new prefered way of creating a pattern.

Uni: Round 2

I'm so appalled in myself for letting my enthusiasm and commitment in this blog fail, especially as I had such a costume action packed summer and had so much to share! Much of this I hope to some up in some later posts.

Alas, I must put this to one side and concentrate on the new and exciting opportunities ahead now that I'm back in Bournemouth, and 2 weeks into my second year of costume study.

Having ummed and ahhed greatly last year over whether to become a maker or designer I finally came out as a maker. At the end of the day there was no real choice, I just love making! 

I made my first item of clothing at 11, with a scrap of horrible synthetic black crepe style fabric and some seriously questionable hand-stitching. It was a top. Or it was supposed to be a top. Despite the true horror of this garment, my 11 year old self was so proud of it, that I marched downstairs to show my mum what I'd made. Nearly a decade on (turning 21 next week! Eek!) and I can certainly say my sewing skills have improved, and my passion and love for what I do has increased tenfold.

Not only do I enjoy the making of costumes, but just the act of making itself, and regularly make my own clothes. Over summer I added quite a number to my collection, the most recent being this 60's style dress. Which I am so proud of, it's one of the most complex things I've attempted on my own, with a collar, zip and darted bodice. I feel beautiful in it and just generally adore it. I always know I'm going to get exactly what I want, when I create my own pieces.

In fact, I've had such amazing responses to some of my homemade clothes that I've been considering setting up a small side business selling custom pieces. Not quite sure how to do that yet though. Not sure I have the time or the energy! But keep your eyes pealed, cos it might happen!

Back to uni life.. it's second year, it's harder, it actually counts for my final grade, it's important. Need I go on? Learning so much already, but I'll leave that for a later date.