COSTUME

Taking inspiration from the cabaret scene, the costume sees several aspects. The main focus comes from the 1953 film GENTLEMEN PREFER BLONDES, for the "DIAMONDS ARE A GIRL'S BEST FRIEND" dance scene performed by Marilyn Monroe.

The costume is crafted in two shades of pink duchess satin, and is heavily embellished. The embellishment sees a drop crystal and bead encrusted bodice, which flows into a beaded waist line, the details designed to be a clear focal aspect. The back and inner of the skirt is embellished with flat crystals in a clear finish.

The matching gloves are formed in Fuchsia spandex, and see the backs lightly decorated.

Finishing the costume, a total of 6 hats have been designed, each unique, some reminisce on the 1950's, others bring forward the modern age. Each hat is crafted by hand, and sees varying materials, sinamay, buckram, and the same satin as the main dress. Feathers are curled and quilled to be both elegant and stylish, and a layer of tulle netting adorns the brim of one of the hats.

The costume is designed to be elegant from behind, yet shocking from the front.

The age of costume and fashion is now focused on the theory of sustainability. The costume has been created with every aspect being either re-cycled or organic. With inspiration from the 2015 film MAD MAX: FURY ROAD, the costume has been made with a Uni-sex angle.

The costume sees an adaptable coat, the base formed with eyelets and recycled cording. Straps with buckles can either fasten or hang loose at the front. The arms are made from recycled scraps of cotton and sacking, and over 200 ring pulls. Original art work sits on the back, and is designed to represent a modern age tribe.

The material was buried in dirt to create the texture and colour, and different methods of ageing and distressing was used, parts were slashed and damaged to create the effect of wear and tear.

The costume was finished with a gas-mask, which was hand painted with an industrial theme.

Corsetry and Chemises sees a long standing aspect of antique clothing, helping in the formation of many iconic silhouettes. The corset and chemise produced was designed with inspiration from the 1939 Film GONE WITH THE WIND, for the character of Scarlett O'Hara.

Created in an oriental style black satin, (the print a reminder of the Chinese Merchants that began to trade in America in the 1850's), the corset contains a front opening metal busk, and a fully laced back with metal silver eyelets. The binding is of the same material, and is finished with a black satin ribbon tie. The chemise is made from organic cotton, and is finished with a cotton lace, embedded with a pale cream ribbon.

The focus of this piece is embellishment, using silk work and dye techniques, the base shape a kimono. The Kimono is a long standing aspect of traditional Japanese dress, with a wide and rich history of coming of age. The kimono created focused on the styles of the FURISODE KIMONO.

The Koi, a symbol of good fortune, but also of strength, and perseverance.

The Lotus is said to be a symbol of enlightenment.

Kanako dying has been finished across the piece, using a shocking pink to contrast the white of the silk.

Focusing on ageing and distressing, the costume creates a modernisation of Victorian dress. The inspiration comes from the 1971 film CLOCKWORK ORANGE, for the character of Alex The Large. However, I chose to switch the gender, focusing on the female silhouette.

The bodice takes shape from the 1890's, with wide full sleeves, and a highly fitted waist and forearm. The internal structure sees hand formed boning channels, each basted to hand turned seams. The distressing focuses on the finer details, reflecting on the characters erratic yet highly strict nature, with effects reflecting on blood, dirt, and grass stains. The hand print on the skirt is embroidered, as if it were a gang symbol.

The main bodice for the CLOCKWORK ORANGE costume was completed without any of the ageing and distressing, as such, the bodice saw a clean and more standard Victorian shape and form, as such, this stage was documented, and really shows the exquisite textures and clean lines such garments held.

The structure and shapes of the sleeves form soft yet wide pleats, and the lace compliments the embroidered lace which was hand applied.

The 1920's is a decade and point in history most associated with lavish parties, and the rise of the wild youth. The costume focuses on this aspect, with the overall theme of an upper class gentlemen, yet also with inspiration coming from The Bright Young Things.

Formed in a tri-tone checked wool, the partial suit created takes shape off of the varying aspects of clothing worn by upper class gentlemen. The knickerbockers form to the knee with a single button strap, and the waistcoat is finished with a rich purple satin in a paisley print. Hand sewn buttons close both aspects, the buttons made from natural wood.

The loose fitting shirt is designed to billow and engulf the waistcoat, reflecting on the members of The Bright Young Things. The contrast of black brings the colour of the suit forward, and the walking cane reflects on traditional aspects of clothing which many Men prior used before the rise of youth culture in the 1920's.

Tailoring has a rich history, spanning as far back as possible, the variation of tailored garments can be seen across different countries and eras. The piece created focused on the UK during World War II. The jacket takes inspiration from a 1947 fashion plate, focusing on a V angled closure. The inspiration also takes place with the notion that the jacket was made at home from scrap material, which many women had to do with war rations in place.

Made from a dark tan wool, flecked with tones of orange and brown, different lights pull such shades forward. The lining is a light tan in colour, keeping with the neutral colours seen in this era. A vent sits at the centre back, with double welt and a jet pocket on the front, with a fully faced lining.