Don John Costume PHOTOSHOOT 2

Don John Costume PHOTOSHOOT

These are the pictures taken from the photo-shoot of my Don John Costume (from the Much Ado About Nothing brief).
I really wanted to capture Don John's characterisation in the model's face, thus creating a strong sense of character in the photo, as apposed to just a model wearing an outfit. (Don John is the villain of the play, who is calculating, sly and cold. I think this is really evident in these photos, owing to the make-up, setting and stance of the model all contributing to the sinister feel to the photographs.)
For the shoot I created a wire mask, using the same geometric pattern seen throughout my design work and costume for Don John. I felt that by subtly putting this pattern on his face it creates a more sinister, twisted-looking character. This is further enhanced by my eerie makeup, created using a base of white face paint, and several shades of black and grey eyeshadow to darken his eyes. I think overall the effect of the costume along with the make-up, mask and setting of the shoot lead to some brilliant photos. I am particularly pleased with how well Don John's character has been captured in the photos.

Architecture Brief (Sample Work)

These pieces were created for my 'Architecture' brief. I experimented on the stand, using the paper loops seen in my design work (see previous post) to create a structured, architectural neck piece. I experimented with the scale and detailing on the loop forms. My final piece for this brief was a 10foot instillation garment that hung from the ceiling, that incorporated a vast amount of looped forms of different scales.

Architecture Brief (Design Work)

These designs were created for a brief entitled "Architecture". I had to research into buildings, landscapes and sculptures that used architectural forms to create interesting silhouettes and dynamic shapes. I looked into fashion designers such as Hussein Chalayan who use sculpture and architecture within their work. I found a really interesting, contemporary building in Japan that had giant loops, each with different engravings and detailing. This inspired me with my design work. I created the loop shapes using different weights of paper; some of which I used cut work (inspired by another piece of architectural sculpture) and lines of machine stitch to add detail. I have also used the same cut work to illustrate the figure. I think this gives a really interesting overall look to the design. The end result of these designs was a 10foot paper instillation garment, that hung from the ceiling and draped along the floor. (as it was too big for a stand!) I started this process by experimenting with my paper 'loop' shapes on a stand.

'The Picture of Dorian Gray' Designs (Personal Interpretation-Dream World)

These designs are from my collection for my personal interpretation of The Picture of Dorian Gray. These costumes are for the scenes in the production that are seen through the eyes of Dorian's imagination.

'The Picture of Dorian Gray' Designs (Personal Interpretation-Dream World)

These designs are for my interpretation of The Picture of Dorian Gray. I created a split between reality and Dorian's imaginary dreamworld. These designs are for Dorian's subconscious view on the world. Due to a sinful lifestyle and opium abuse, he sees the world, including the people through his imagination. I decided that for each character in the imaginary world I would really emphasise their key characteristic. These designs are for the character Lord Henry Wotton. He is the reason for Dorian's downfall, as he influenced and manipulated Dorian, because of this I decided to portray Lord Henry as a sinister puppet master, with Dorian as a puppet on a string.

'The Picture of Dorian Gray' Designs (Personal Interpretation-Reality)

These are more designs for my personal interpretation of The Picture of Dorian Gray. These designs are for Reality (1950s London).

'The Picture of Dorian Gray' Designs (Personal Interpretation-Reality)

These designs are for my personal interpretation of The Picture of Dorian Gray. I wanted to create a completely new twist on the portrayal of the story of Dorian Gray. My idea for the production was to create contrasting, conflicting worlds. There is reality (set in 1950s London) and Dorian's subconscious dream world. Due to Dorian's sinful lifestyle, including selling his soul for immortality and the murder of Basil Hallward, combined with his addiction to opium, Dorian creates an alternative world, in which he sees everything completely differently.
These designs are for Reality, which is 1950s London. I wanted to use classic 50s fashion for the costume, and use fabrics and prints that show the class and social difference between characters. Each character has a characterisation for both reality and for the imaginary world created by Dorian's subconscious. (For example: In reality Sibyl Vane is a waitress/barmaid, acting in the evening at her local run-down theater. In the Dream Wold Sibyl is a porcelain wind up doll, due to her beautiful, manipulated, vulnerable characteristics.)

'The Picture of Dorian Gray' Designs (1830s) Part 2

These are the designs I created for my film production of The Picture of Dorian Gray, set in 1830 for the character of the Portrait. I decided to use the painting, which ages instead of Dorian as an actual acted character. These designs show the deterioration of the portrait as it ages, due to Dorian's sinful lifestyle. There would be three sets of costume for this character, and it would be broken down at different stages, to show the breakdown of Dorian's soul (the painting) and the continuation of the plot. The costume is traditional to higher class 1830 gentlemen attire.

'The Picture of Dorian Gray' Designs (1830s) Part 1

These designs are from my film adaption of Oscar Wilde's The Picture of Dorian Gray. I set the film in 1830, which is why the fashions and stances of the illustrations are reminiscent of that time period. These designs are for Sibyl Vane, Mrs Vane and Basil Hallward.

Don John (Much Ado About Nothing) Final Costume

This is my made-to-measure costume for my interpretation of Shakespeare's Much Ado About Nothing, for the character Don John. I really wanted the costume to have large, sinister silhouette, seen my design (see Developed Don John Designs post) due to Don John's evil, calculating character. The for the jacket base I decided to look into 'breast-plate' designs, as I didn't want to interrupt the front of the garment. (The jacket fastens at the back with hooks and bars. The central spike is sewn to one side of the jacket and is attached using press stud on the other side, covering part of the fastening line.)
I wanted to use leather as it fits really well into my characterisation of Don John, as leather gives a feel of rebellion and anti-establishment to the costume. I engraved my leather with the geometric pattern seen throughout my design work for Don John, using a laser cutter set to 'engrave'. The engraved geometric lines give a really interesting sculptural effect, particularly on the sleeves, as the leather creases down the lines of the engraved pattern.
The spikes were constructed using a frame work of ridgeoline and wire encased between layers of embroidery. After a lot of experimentation, these spikes were attached in pocket like pieces created in the jacket, hidden underneath the leather.
I used a combination of embroidery techniques, a different one for each spike. The embroidery includes square smocking, couching-both hand and machine, zip-foot-pleating, hand stitch embellishment, quilting, beading and reverse applique. In many of the spikes I incorporated the geometric pattern seen on the leather.

Embroidery (Much ado About Nothing) Part 2

These sketchbook pages show the connection I made between illustration and embroidery. I took an area of the illustration and enlarged it, I then found an appropriate embroidery technique to mirror the qualities in the illustration. These pages are for the Much Ado About Nothing characters Hero, Beatrice and Don John.