Nosferatu Character Realisation

Last week I finished my final term of my second year at London College of Fashion where I had the opportunity to collaborate with other BA Costume students and BA Makeup and Prosthetics students which has been such a privilege. It’s always such a great experience working with other talented designers where we can share ideas and come up with a strong concept.

This unit of my course was based around film where we had to base our research around a chosen director. In a group of six students we had to come up with a concept, overall setting for the 1922 vampire film ‘Nosferatu’ as if it would be remade by Guillermo Del Toro (Pan’s Labyrinth, Pacific Rim, Blade 2 etc.).

Portfolio pages

Our piece was set in a post-apocalyptic world underground where each character is developing their own animalistic qualities – in keeping with Del Toro’s love for creatures.

Jess Goddard and I collaborated with each other to design for the vampire ‘Nosferatu’ taking inspiration from the stereotypical animal that’s associated with vampires: the bat, along with something a little different, the angler fish from the deep sea. Like the 1922 film, we wanted shadow to play a reasonably big part in our design. We experimented with shadow and silhouette to create an abnormal body shape that would hint at his animalistic qualities.

Costume Design: Bryony Hamer
Makeup and Prosthetics Design: Jess Goddard

Knock, Ellen, Count Orlok

'Knock'

Model: Grace Fisher

Costume: Anastaysia Honchar

Make up: Rosie Duffeild

A special thank you for Elizabeth Hedley for assisting us with hair and make up on the day

'Ellen'

Model: Ellis Yates

Costume: Danna Cazmal

Wig, Make up and Prosthetics: Molly Peters

'Count Orlok'

Model: Stefanie Kemp

Costume: Bryony Hamer

Make up and Prosthetics: Jess Goddard

Thanks to Claudiu Berechet for the great photos and a biiiig thank you to our models for being so wonderful and surviving in the heat!

Sewing as a gift

One of the main things I have loved about learning to sew is the ability to make something for someone else. I feel that the baking craze is a similar sort of thing. Well, for me anyway. I mean, yes I love to cook (and eat!) but I do it more for the pleasure of being able to share my passion with others.

Making clothing to fit someone is such a personal gift and I just love it. I made my friend Katie a dress a few months ago (see here) and my other half a waistcoat last month (see here). My Auntie was sweet enough to commission me to make a waistcoat for my Uncle for his Birthday which I was thrilled to do. Doesn't he look fab!

Photograph courtesy of Ann and Graham Brown

If you are a beginner and thinking about sewing someone a gift, try something simple like a waistcoat. This pattern was just three pieces and the only complex thing is the pockets which aren't that hard to learn either!

Fastening at the back so the waistcoat can be adjusted to fit

Fabrics and Haberdashery

Grey Herringbone Tweed: A1 Fabrics, Goldhawk Road, London

Dark Red Polyester Satin: Universal Textiles, Goldhawk Road, London

Leather Shank buttons: John Lewis, Oxford Street, London

Keyhole with Fishtail buttonholes: DM Buttons: D'alby Street, London

National Theatre Open Day

A couple of days ago I was lucky enough to be able to visit the National Theatre workrooms and complete a mini workshop in their womenswear department. In a group of ten we were shown the wonderful workrooms that help create the visuals that are performed on the National Theatre stages as well as being taken on a tour backstage, on stage and in the auditorium of the Olivier Theatre. The costume making workshop is shown below. Sorry for my poor blurry photography!

National Theatre Costume Workroom

We then split into different parts of the costume department (menswear, womenswear and alterations) and had tuitions with members of the costume department. I was doing womenswear and made a simple sleeveless boned bodice. Although this is something I have done before I loved having the luxury of one on one tuition. It made this a really fun and relaxed workshop.

This workshop was a trial run and something they haven't done before. Their idea was to make an open day more one on one so people wouldn't feel as intimidated to ask questions. I personally think it worked really well and hope they will do it again. However, I would recommend this open day to first year students as a few of the other girls on the workshop also noted that the skills we were taught were a little basic for second year costume students.

Take a look at the National Theatre's website to keep updated on upcoming open days and they are apparently soon going to post more work experience opportunities. Exciting!

Tweed Waistcoat

For the past few weeks I have been on a work placement as part of my uni course which has given me the luxury of having most evenings off. So I decided to set myself a little project of making my other half a waistcoat. I drafted the pattern from the book Metric Pattern Cutting for Menswear and altered it to fit. It is far from perfect but not bad for a first attempt :)

Due to him having such expensive taste it meant me spending silly amounts on a bit of wool tweed and 100% silk satin lining (both from A1 Fabrics, Goldhawk Road). I think he was happy with it! For more info about where to buy fabrics in London take a look at my blog post here. 

Buttons are from Macculloch and Wallis and I got the key hole and bar tack button holes done at DM Buttons. The man who owns the business there is really sweet and bashes out the holes within seconds. The shop itself is around Berwick Street area down a little alley way called Wardour Mews and his shop is down some stairs underground so it's a little strange so maybe take someone with you on your first visit! He also covers buttons as well at very reasonable prices (see here).

Oscar Predictions from LCF Costume Experts

My tutors at London College of Fashion were recently interviewed for the Times to get their opinions on the Oscars this year. They outline a really good breakdown of the nominated films for costume design and what makes good costume for film.

'What role do costumes have in blockbuster movies?
Costume Design should be more than just clothes on an actor, and definitely more than just the fashion of a particular time. A costume has to enhance the actor’s performance and helps to move the narrative along. The costume should give the audience clues to the character within the narrative without the costume becoming ‘seen’. For me, a good costume is one that goes unnoticed, one that subtly fits with the character and adds to the story and the performance.'

Read the full article here.

Find out the Oscar award winners tomorrow (02/03/2014) on their website.
See the full Oscar nominations here.

The Grandmaster -
Costume Designer: William Chang Suk Ping

American Hustle
Costume Designer: Michael Wilkinson

The Invisible Woman
Costume Designer: Michael O'Connor

12 Years a Slave
Costume Designer: Patricia Norris

The Great Gatsby
Costumer Designer: Catherine Martin

Drawing is seeing

Today at uni we had a drawing master-class with theatrical costume designer Anne Curry which was really great. She was such a character and really keen to help us improve and develop our drawing skills using a variety of mediums. Have a look at her work here.

Anne Curry - Queen Elizabeth I

Drawing workshop with Anne Curry
Bryony Hamer - Poster paints and oil pastels

This got me thinking back to when I started to learn to draw on my art foundation and how my tutors at the time would really drill into me how important it is to draw. I couldn't agree more. The thing I love most about drawing is that it's one of the rare occasions where there is really no wrong way to do it. I just think it's a beautiful way to express yourself. I mean, yes you can technically be a talented drawer in terms of proportion and accuracy but the beauty of drawing is that you are able to create a piece of art that is seen through your eyes. Drawing has no limitations and it is a way of expressing yourself that all languages can understand and/or can interpret in their own way.

In my opinion, drawing is more about seeing that actually putting pencil to paper. By really looking you are able to understand what you are drawing. It is that level of concentration that will allow you to create an image that is seen and interpreted through your eyes and I just think it is a beautiful form of communication.

I saw the video 'Ruth Drawing Picasso' by Rineke Dijkstra and Fiona Tan at the Accedemia in Florence a few years ago and it has stuck in my mind ever since. It really demonstrates what I mean when I say drawing is seeing.

I think you can see it at the Tate Liverpool but take a look at a short clip of it here.

What to have in a sewing kit

So now is roughly that time of year where people are applying to art college or university. Good luck if you have any interviews or portfolio reviews! I thought it would be a good time to post about what is needed for a basic sewing kit for those of you going to study something fashion or costume related – or if you just fancy starting to learn to sew J

Before I started my first year of university I was sent a list of things that I needed to buy which scared me as I didn’t have a clue what a lot of the stuff was. So I figured it might be helpful for me to outline what you need, what they are, how much you should spend and where to buy them.

What to have in your sewing kit

Sewing bag/purse

Something to put all your kit it. I wouldn’t recommend a box as they’re just too heavy. Just something perhaps the size of a large pencil case will do.

Fiskcars Embroidery Scissors

Fabric Scissors, Pinking Shears, Embroidery Scissors

Fiskars Dressmaking Shears

Fiskars Pinking Shears

Price varies.

Investing in a good pair of fabric scissors is pretty essential. Spending a good amount of money normally means that they will be a good pair but as a student I didn’t want to go too overboard. Fiskars are a good brand costing around £25 a pair and around £10 for embroidery. As you grow more experienced you will probably end up buying a few different pairs for cutting different fabrics (eg. Really sharp for silks etc.).

Look after your scissors – ie. Don’t cut paper with them!

Tape measure

Tape Measure

Approximately £1.

One with inches and cm is handy.

Hand needles

Embroidery needles

Leather needles

Approximately £1.50 per pack.

A range of different sizes, embroidery, leather, machine needles of different sizes etc.

Thimble

Thimble

Approximately £1.50.

Look after your fingers!

Black and White thread

Black and white thread

Approximately £2.50 for 100m of cotton. Around £2 for 1000m of polyester.

If you can fit other colours in there then great! It’s also good to have a cheap thread in there too for tacking.

Pins & Pin cushion

Dressmakers Pins

Around £2.50 for a box of pins. Pin cushions vary depending on design.

I have 2 pin cushions and one straps round my wrist which is really helpful. I try to have two boxes of pins in my kit because when I’m doing a large project I tend to get through them quite quickly.

Safety pins

Hemline 46mm safety pins

I would pay around £2 for 20 ish.

Large sharp ones – around 45mm. It is good investing in good quality safety pins.

Quick unpick/ Seam ripper

Seam Ripper

Around 50p - £1

If you have never used one of these before it will be your new best friend. It’s a really quick way of unpicking unwanted stitches and can rip through a seam in seconds. Be very careful with delicate fabrics though.

Tailor’s Chalk

Tailor's Chalk

Approximately 50p - £1 each

There are many types of tailors chalk nowadays. Chalk pencils, marker pens. I am sure they’re all very good but I still use old fashioned chalk. Make sure you keep it sharp with a chalk sharpener or just some scissors – not your fabric ones! I’ve been told to use yellow – probably because it shows up on most things.

Pattern Master

Pattern Master

About £25 – can be found cheaper on amazon.

I had no idea what this was before I started uni but I really don’t know how I managed without one now. It’s basically a 40cm ruler used for pattern drafting where you can check your lines are straight, perpendicular, draw curves – it’s fab!

Tracing Wheel & Carbon Paper

Hemline dressmakers carbon paper

Tracing Wheel

About £2 for a tracing wheel. Around £8 for 5 large sheets of coloured carbon paper.

A tracing wheel is used to mark on your seam allowance lines using carbon paper. Worth buying!

Loop Turner

Loop Turner

Around £4

So when you make rouloux loops you sew it inside out then turn it through. A loop turner will save you a lot of time and can pull it out the right way really quickly instead of fiddling about with your fingers.

Punch pliers

Punch Pliers

About £15

Maybe not essential for a beginner but you will need one eventually. Essential for corsetry.

Screw driver

For changing needles in machines etc. Very handy and necessary for your sewing kit.

Pencil and rubber

Always handy.

Where to buy supplies

Morplan – great for buying large quantities of items at cheap prices

Amazon – generally things are at a discounted price so a good place to buy your more expensive items like scissors

Your local sewing shop or haberdashery – you are likely to find a lot of the stuff in a standard sewing shop like needles, pins, chalk etc.

Muccoloch and Wallis – pretty much have everything but can be expensive

John Lewis – again, will probably have everything and should be good quality

I haven’t mentioned everything you will need but this is just a basic guideline to start off with. I’m sure as you’re going along sewing you will find new equipment that makes your life easier so please comment below on anything you find useful. Happy sewing!

Royal Opera House Live Screening - Giselle

The Royal Ballet's Giselle

Last night I went with my flatmates to see the Royal Opera House's live screening of the Royal Ballet's Giselle and thought it was just wonderful! I love the live screenings as people from all over the world can watch the same ballet as you. A lot of companies are doing this now. I know English National Opera are showing Peter Grimes tomorrow evening. I think this is changing the face of theatre and making it even more exciting.

I think Giselle was probably one of the most emotionally draining ballets I have ever watched. Giselle was performed brilliantly by the Russian principal dancer Natalia Osipova. She danced with precision, speed and  a way that made classical ballet look so natural and effortless. Of course I couldn't help notice the beautiful costumes. The silk skirts in particular moved so gracefully and really complimented the way she moved. It was really aesthetic to watch.

Natalia Osipova as Giselle

Natalia Osipova as Giselle

One of the things I really love about ballet is it's ability to tell a wordless story through dramatical music and body movements. To be a ballet dancer requires a skill like no other. Not only must the dancer concentrate on the choreography which requires a huge amount of balance and strength but also the ability to really become a character and tell a story solely through the way you move. I find it really fascinating.

Natalia Osipova brought a huge amount of emotion to the role for both the audience and the performers on stage. I was sat in the theatre just completely blown away with how the performance made me feel. Of course I could go on about the other dancers as they were all fantastic but I really felt Natalia was probably one of the best principal ballet dancers I have ever seen!

Giselle is on at the Royal Opera House until 10th February 2014.

Click here to see more of the Royal Opera House's live cinema season. Don Giovanni is screened on 12th February 2014 and looks fantastic!