9:15am 9:30am –10:15am Vahid . Jacket . Shirt . Trousers
Libby Cavey KL
2nd Fitting – Diva Dance Show
Costume Designer: Megan Shrives
Costume Supervisor: Verity Williams
Assistant Costume Supervisor / Head of Running Wardrobe: Lucy Llewellyn
Time
9:00
Beth – Katie Underhay Katie Douglas
9:00 Kitty – Olivia Wood Georgia Lucas
9:45 Ayesha – Emily Fisher Eve Irwing
9:45 Amy – Sophie Wood Georgia Lucas
10:30
10:30
11:15
11:15
Jodie – Katie Underhay Katy Welsh
Jemma – Olivia Wood Megan Daniels
Ella – Libby Cavey Katy Welsh
Bryony – Emily Fisher Eve Irwing
12:00
12:00
2:45
2:45
Vahid – Libby Cavey Sophie Meechan
Tisha – Sophie Wood Megan Daniels
Lunch Break
Lana – Isabel Saunders Sophie Meechan
Lauren – Isabel Saunders Emily Fisher
DIVA DANCE SHOW PHOTOSHOOT:
Costume Designers Lizzie Hodge and Jessye O’Regan
Costume Supervisors Verity Williams and Lucy Llewellyn
SHOW: TUESDAY 5TH OF NOVEMBER
Costume Designers Lizzie Hodge and Jessye O’Regan
Costume Supervisors Verity Williams and Lucy Llewellyn
Dancer Make up Time Getting into Costume Time Photoshoot Time Getting out of costume
Jodie 8:45am to 9:45am 9:45am to 10:00am 10:00am to 10:15am 10:15am to 10:30am 10 minutes
Ayesha 9:10am to 10:10am 10:10am to 10:25am 10:25am to 10:40am 10:40am to 10:55am 10 minutes
Amy 9:35am to 10:35am 10:35am to 10:50am 10:50am to 11:05am 11:05am to 11:20am 10 minutes
Ella 10:00am to 11:00am 11:00am to 11:15am 11:15am to 11:30am 11:30am to 11:45am 10 minutes
Lana 10:25am to 11:25am 11:25am to 11:40am 11:40am to 11:55am 11:55am to 12:10pm 10 minutes
Vahid 10:50am to 11:50am 11:50am to 12:05pm 12:05pm to 12:20pm 12:20pm to 12:35pm Lunch: 45 mins
PREASSESSMENT SCHEDULE
Costume Designer: Megan Shrives
Costume Supervisor: Verity Williams
Assistant Costume Supervisor / Head of Running Wardrobe: Lucy Llewellyn
Hair and make up Dancer
12:00 to 1:00 Lana
12:00 to 1:00 Ayesha
Getting
Dressed time PreAssessment Time Run-through of dance Getting undressed
1:00 to 1:30 1:30 to 4:00 3:30 to 4:45 4:45 to 5:00
Dancer Maker Location
All Dancers All makers Dance Studio
SUSTAINABILITY FOR M
SUSTAINABILITY ASSESSMENT FORM
The fabrics from this project weren’t that sustainable. We wanted to find quite sparkly and shiny fabrics for the show which would look good under lights and really standout. Even though most of the fabric might not be that sustainable, the costumes can be used again and will go into the costume store. I thought by researching about different fabrics, what fabrics are and aren’t sustainable, would mean I’d have good knowledge for the future. I do know that fabric can’t be 100% sustainable.
SUSTAINABILITY RESEARCH
SUSTAINABLE FABRICS
Polyester is normally used to make clothes but ‘it can take up to 200 years to break down if it ends up in landfill’. By the fabric being non -biodegradable means that the more polyester we used the more waste if produced. Lots of water is needed to make polyester and if places with little water are producing polyester this can be quite dangerous (ecolove.shop, 2022).
Fabrics that are good alternatives for polyester are:
- Organic or recycled cotton, normal cotton isn’t necessarily sustainable just because it’s a natural fibre. Lots of water is needed to harvest cotton from plants. The toxic chemicals in cotton is not in organic cotton which is more ethical (Lefty Production Co., 2023).
- Natural hemp since the plant hemp needs only a little amount of water to be harvested and there’s no toxic chemicals used within production. This plant has been grown for thousands for years and clothes manufacturers used this fabric since its one of the most sustainable (Lefty Production Co., 2023).
- Organic linen and conventional linen since little water is used when the fabric is being produced. It’s made from a plant, and the material is often worn is summertime since it’s quite a light fabric. Organic linen is even more sustainable (ecolove.shop, 2022).
Nylon is a fabric like polyester which is also unsustainable because it comes from crude oil and when washed microfibers are released increasing the microfiber pollution. Nylon is used in tights and active -wear (This Green Lifestyle, 2023).
Fig 2: Organic White Cotton
Fig 4: Organic Linen in the
Fig 1: 100% Polyester Fabric Blue.
Fig 3: Brown Natural Hemp Fabric.
Fig 5: 100% Nylon Fabric
Rayon ‘is a manufactured regenerated cellulosic fiber derived from wood pulp.’ Different types of rayon include viscose, modal, and lyocell, which all have unique properties and used different processes and chemicals when being produced. Viscose and Model are more unsustainable than Lyocell (Fountain, 2023). Viscose is made from wood pulp but is not grown sustainably leading to damage in the environment. Modal is made from beech tree pulp, and some brands get the beech tree wood from sustainable forests. However, most of this fabric is not manufactured that way and is unsustainable. Lyocell is made with beech trees which is more likely to be sourced sustainably. (Ethical Bedding, n/d) In the late 19th century, rayon was the first fiber manufactured. Rayon can sometime be labelled as viscose if it’s been imported (CFDA, n/d).
Lyocell (also known as Tencel) is a good alternative fabric to used because of how similar it is to rayon. The reason lyocell is better is because when being produced there are no big ‘chemical changes to the chemical structure of cellulose .’ (sewport, 2024)
Acrylic fabric is unsustainable because harmful toxic chemicals are used when it’s being produced. This chemical can be dangerous to workers health in the factory and acrylonitrile which is in this chemical shouldn’t be inhaled or have contact with individual's skin. Acrylic is popular because it a good fabric for gloves, hats, and sweaters (ecolove.shop, 2022).
Wool is better than acrylic because it’s natural and biodegradable, compared to acrylic fabric which is man-made. The main reason both fabrics are so similar is because acrylic was produced to be like wool. Wool is also more durable and will last longer over the years. (tbco, 2023)
Spandex (elastane) is mainly used for swimsuits and athletic wear. It uses a lot of energy during the production process and creates pollution since there are many toxic chemicals used (This Green Lifestyle, 2023).
Fig 8:: Green Acrylic fabric
Fig 7: Plain Green 100% Boiled Wool Fabric
Fig 6: 100% Lyocell white fabric
DEAD STOCK FABRICS
A way to be more sustainable when buying fabric is buying dead stock fabric. These types of fabrics are discarded or unused by the fashion/entertainment industry. The discarded fabric might not have been used for the intended garment, or there’s too much fabric was bought, ending up with leftovers. Also, the fabric might have not ended up going to the buyer. These things result in dead stock, throwing away perfectly good fabric. Most of this type of fabric ends up in landfill, even though a lot of the fabric is good quality and perfectly useable. There’s are websites and places that sell dead stock fabric, so the fabric doesn’t go to waste (fabricsight, 2022).
The fashion industry has a big problem with mass production clothes and most of these clothes just end up in landfills. But brands are now becoming more aware and are buying dead stock fabric. There are a few website which sell it. (Wolfe, 2022)
The materialist sells a wide range of dead stock fabric, it’s easily accessible online. From the main page it’s clear they promote to fashion houses, designers and high-end supplier’s to either buy the fabric or sell any fabric they have left over (the materialist, n/d). Also, there’s a website called EVA which sells high-end quality Italian deadstock fabrics. One the website it says you can get free samples when is good for when working on a show. (EVA, n/d)
By using dead stock fabrics, it will save lots of water since when new fabrics are being made water consumption increases and so does the carbon footprint. If dead stock fabric gets used clothes would be more unique and there would be more of a story behind the clothing about wear the material might have come from (Whering, n/d)
Fig 9: Dead stock fabric and it’s perfectly useable
Fig 10: Landfill waste, piles of discarded clothes.
DIVA RESEARCH
WHAT IS DIVA?
The word Diva was an Italian word used in the 14th century to describe goddesses. Societies wouldn’t let women on stage, but when female performers started appearing in the 16th century, so did the phrase diva. Diva was used to describe a female performer whose talent made them seem superior and ethereal (V&A, 2023). The Diva Exhibition at the V&A Musuem states that “The Diva becomes divine, she becomes the idol of the stage, the queen of the city, she is a siren, an enchantress, a charmer, someone who magnetizes her audience… countless admirers, wildly applauded and acclaimed…who is ultimately the object of a blind, passionate and unrivalled cult.” (V&A, 2023)
One of the first female performers was Isabella Andreini (1562 to 1604), who was a playwright, musician, poet, and actress. She would tour Italy and France with ‘the Compagnia dei Gelosi (Company of Jealous Once)’ staring as the female lead (Brooklyn Museum, n/d). She was able to draw the viewers in with her authentic performance, one that not only created a captivating atmosphere but built an intimate relationship with the audience (V&A, 2023).
In the 18th century both Diva or Prima Donna had often been used to describe the leading females in the Opera industry since opera had grown in popularity. This was because of the singer's strong stage presence and carrying vocal talent, often referred to as goddesses. Although taking on more negative connotation over time, the root of their terminology is in the undeniable performative dexterity (Stageagent, 2020). In Milan (1831), Norma, Bellini’s opera was performance, solidifying the word diva being used for female opera singers. Within this opera there was a narrative written around the voice of the diva (V&A, 2023). The story centers around the priestess Norma’s forbidden love with the enemy. (eno.org, n/d)
Fig 12: Sophie d’Arnoult singing Thisbe in the Opera.
Fig 11: Isabella Andreini portrait by Paolo Veronese.
DIVAS OF THE 20 TH CENTURY
Josephine Baker was a diva and would fight for racial equality using fame to let her voice be heard. Baker would fight against oppression and fight for equal rights would help future generations speak out to protest for change. 33pg When film industry was created, many divas like Baker, from the stage, opera, and dance became the leading actresses in silent films. By having these famous women in films, meant more success for the film itself and the performer. (V&A, 2023, p. 33)
posing.
Baker was the first coloured women to star in a motion picture. The film was La Sirene des tropiques which was released in 1927. (V&A,2023,p.35). Men in the audience when she was performing ‘were driven wild with lust’ and the when in Paris ‘bought pomade to slick down their hair, and walnut oil to darken their skin’ to look like her (Silent London, 2021).
Baker grew up with little money, she ran away from home since she was poorly treated and worked at age 13 in a club as a waitress. She started dancing using her street performance and club skills, and went onto have success on Broadway. After moving to France in the 1920’s she became very popular and one of the highest paid performers in Europe. One of the big turning points in her career was when she performed in Paris with a skirt that was made from only 16 bananas. Even though she was very successful and popular, when returning to America she was faced with racism on stage. During the 1950s and 60s she helped fight against racism and segregation in North America (Biography, 2024).
She was part of a march for freedom and jobs in 1963, which took place in Washington. Baker was allowed to give a speech, being one of only a few women to speak. In the speech she said: You know, friends, that I do not lie to you when I tell you I have walked into the palaces of kings and queens and into the houses of presidents. And much more. But I could not walk into a hotel in America and get a cup of coffee, and that made me mad” (National Women’s History Museum, 2017). Baker’s Military uniform made her well known for wanting change.
Fig 13: Josephine Baker
Fig 14: The iconic 16 bananas skirt.
Fig 15: Baker in her military uniform.
Her style off stage was also memorable since she loved menswear, wearing tailored suits and top hats. Baker would challenge of gender stereotypes using her fame to show people that, you should be able to express yourself how you please (Franceschini, 2023). Megan our designer also uses the gender fluid ideas within her costumes, since her jackets and waistcoats are design to fit women. The cross-dressing style Baker wore made young women admired her, she loved to play over sexualized characters on stage while also mixing masculine and female dress. This can be similar to how Madonna performs on stage. (The Lily Elsie, n/d)
In the 20th century, Maria Callas was a very popular opera singer, who was also known as Maria Anne Sophie Cecilia Kalogeropoulos (1923 to 1977). In 1949, Callas performed in Venice as Elvira in the opera I Puritani which is where her fame started. Her first performance was in 1941 in Greece, and at the started of her career Callas was seen as overweight. By 1954 the opera star had lost a lot of weight making her even more well known and see as even more glamorous by her fans. Tosca was performed in the Royal Opera House with her as the main lead in 1964. This was seen as experience in opera as she displayed so much emotion within her voice, captivating the audience. (V&A, 2023)
Grace Jones was a popular singer in the 1980s know for her unique sense of style, playing around with her sense of fashion which might have been deemed unacceptable by society. She started off as a model in New York City and released her first album in 1977. 154pg (I want to break free: liberating the diva)
Fig 17: Maria Callas at the Royal Opera House 1958.
Fig 16: Baker in a top hat, suit and tie.
Fig 18: Grace Jones at the Drury Lane Theatre, London in 1981.
Marlene Dietrich was a popular film star in the 1930s to 40s. She first made a name for herself in the1920s, when Dietrich was casted in ‘Der Blaue Engel’ or in English ’The Blue Angel. This film was the first German talking picture. After this film she was able to move to Hollywood and pursue her acting career. Because of her ‘good looks and sophisticated manner’ was she cast in lots of film roles (Biography, 2022)
Dietrich would would not only wearing clothes deemed acceptable for women but would often wearing tailored suits. In one of her films ‘Morocco’, she’s seen wearing a men’s tuxedo in a nightclub, wear she shares a kisses with a women. During this time audiences would’ve seen is as scandalous. Dietrich used her fashion to show women they could have freedom and independent with clothes. After ’Morocco’ it became clear to her fans that she’d often wear trousers. Other stars like Katharine Hepburn, would follow in her footsteps to show women that they should be allowed to wear this item of clothing. Dietrich made to clear to her supporters that she wasn’t the first woman to wear trousers (Smithsonian, n/d). I understand why Megan (our designer) looked at Marlene Dietrich. This actress was very much comfortable wearing tailored masculine clothing and more female dresses. Megan’s bringing clothes which is classed as feminine and masculine together.
Fig 19: Marlene Dietrich wearing sparkly dress.
Fig 20: Dietrich playing Amy Jolly in Morocco, 1930.
MADONNA’S TOUR OUTFITS
Madonna’s Blonde Ambition Tour (1990) can be considered as one of the most iconic and influential music tours of all time. With her great stage presents, outfits, and music, solidifying her as diva (Lindores, 2023). Megan (our designer) look at this tour when designing her designs. This is noticeable when seeing the suit Madonna wears within the tour. The suit is similar to the jackets Megan designed. The costumes in the tour were designed by Jean Paul Gaultier, who is a French designer. He drew around fifteen hundred designs initially to help Madonna figure out what she wanted, but she knew straight away. In a New York Time interview Gaultier said “She knew what she wanted: a pinstripe suit, the feminine corsetry. Madonna like my clothes because they combine the masculine and the feminine .” (MadonnaTribe , n/d)
This is exactly what Megan wanted to convey with the jackets, waistcoats, and corsets she designed. These items separately can be seen as masculine or feminine but when combined are seen as gender fluid which is what how ‘diva’ is seen as today. During the show Madonna takes off her jacket revealing the iconic nude/pink cone bra. This bra was a ‘freeing, playful take on the corset’ instead of the bra softly curving it was spikey showing her dominance, showing the female body in a different light (Hess, 2020).
Fig 22: The iconic cone bra.
Madonna brought back the cone bra at the MDNA Tour (2012), Gaultier said “We played with the ideas of a suit and a corset. But the corset is now like a cage…” (Cowles, 2012). Megan’s designs also play around with the idea of having a shirt under a corset. The shirt in the picture is a blouse in her designs, some with or without a tie.
Fig 23: Corset over blouse, designed by Jean Paul Gaultier.
Fig 21: Madonna in a tailored suit on stage.
”For a women, the tuxedo is an indispensable garment in which she will always feel in style, for it is a stylish garment and a not a fashionable garment. Fashions fade, style is eternal.” Yves Saint Laurent. The first tuxedo for women was shown in the Yves Saint Laurent Autumn-Winter collection in 1966. Before it was only made for men, but the suit had been adapted to fit the female body. Originally this suit was worn to protect clothing for the smell of cigars when men would gather to smoke in smoking rooms. (Musee Yves Saint Laurent Paris, n/d)
This designer was the first to give his female customers a different fashion option compared to just the normal party dress. Yves Saint Laurent believed that women should feel empowered by the clothes they wear and should have more freedom to explore different styles. In 1966, women were seen as not allowed to wear trouser out in public. But despite the French prejudice and barriers women were facing, the black smoking suit was launched by Yves. The black fabric used was silk satin for the jacket and trousers, worn with a white shirt. This suit was not popular with societies who were used to the traditional lifestyles. Women would even get turned away from expensive restaurants as they weren’t seen as appropriately dressed. (Nhat, 2021)
YSL SMOKING SUITS
When the suit was first in his collection the reaction from the public and fashion critics weren’t that positive. However, over time and it being brought into other collection it quickly became very popular (UHNW magazine, 2024). There is a vision of the YSL smoking suit from the 1967 collection which has a silk satin collar and strips going down the leg, and the fabric was black fine wool making the tuxedo comfortable. There are also pleat at the waistline to give shape to the hips. There’s also only one button at the front sitting low. (Shrimpton Couture, n/d) From his first smoking suit in his 1966 collection, he would go on to feature different versions of these suits in his collections until 2002 (Turner, 2023). Megan our designer did research on YSL smoking suits when designing for this show. By looking at these tuxedo’s she was able to understand how it might be different to tailor a suit to a women instead of a man. She can see what’s the best way to shape the jacket to a female figure.
Fig 25: Initial Drawing of the suit.
Fig 26: Wearing this YSL suit in 1967.
Fig 24: The Smoking Tuxedo by Yves Saint Laurent
ARCHIVE
GARMENTS FOR THE ARCHIVE
Fig 27-28: Front and close up of the knickers.
Show girl’s knickers worn in the 1920s. Silver metallic lame fabric is used for the underwear with hook and bar fastenings. Silk chiffon and white organdie frills are sewn onto the bottom edge of the knickers. The colour of the frills look like it’s gotten darker over time . There is elastic around the leg hole of the knickers for security and making for the underwear fitted, allowing the dancers to move freely with risk of flashing. For the dance show makers will also so elastic around the leg hole .
A sleeveless blouse from 1912 with a round embroidered collar. Pearl buttons for fastening at the back with an elasticated waist. The white embroidered flowers give the blouse an elegant look. The blouse is made from white muslin which is a lightweight fabric . The fabric has darkened over time . The collar splits open at the back so the fastening can be done up and undone . This is the same with the blouses in the show I’m working on, as a zip will be needed at the back so the collar will be in two halves.
Fig 29-30: Front and back with of the blouse.
Fig 31: A tailored Jacket and skirt.
This black ballet bodice is from the Royal Opera House. The male lead in the ballet Gisalle , Count Albecht wears this costume. The fabric is black cotton velvet, lined with polyester and the fastenings are hook and bar/poppers.
The bodice is in good condition and when looking at the armhole extra fabric has been added by the armpit. This might have been added so the dancer could move their arms around more freely and none of their movements would be restricted. This is something that I need to take into consideration when look for fabric, so the jackets won’t be restrictive. When looking at this bodice the ballet says what show the costume was from and the name of the dancer who wore it, which was Ashmole. I decided to research ballet dancers with the name Ashmole and found David Ashmole. He had performed in lots of dance shows and found that he did play Count Albecht in Gisalle
I couldn’t find any photos of him in the show so decided to email the Royal Opera House. Jane Harrison responded to me, an Archivist at the dance company, and sent me these photos of him wearing the bodice. She told me that Ashmole had performed as Albrecht 24 times in 1977 and 1978.
Fig 32-33: A black bodice from the Royal Opera House.
Fig 34-35: Close up pictures of the bodice.
Fig 36-38: Picture of Ashmole dancing as Count Albecht.
THE FABRICS AND MOVEMENT RESEARCH
The Burn Test
The blue brocade has natural fibres. Procion or nylon dyes could be used to to be surer if there’s natural fibres.
Pink blouse a crepe fabric has synthetic fibres
Red brocade is synthetic and melts.
Blue blouse has a crepe feel but could also be viscose. It melted and became stringy.
Pink brocade is synthetic, there’s probably plastic is the fabric.
The nude Lycra is also synthetic and burns quickly.
The pink trousers melt and catch alight quickly, definitely synthetic .
The teal trousers burn quite slowly and frays a lot. Might be a mix of synthetic and natural. Has a satin weave.
The red trousers burn slowly and fray easily. Probably synthetic.
Ribbed Fabric
Knitted blend
Synthetic/Natural
TYPES OF FABRICS BEST FOR DANCE
CLOTHES
Some good fabrics to use for dancers clothing is cotton, polyester, Lycra, velvet, and chiffon. This is important when choosing appropriate fabric for dance costumes since the fabric can’t restrict the dancer's movements. Fabric needs to be comfortable, flexible, and durable especially when the choreography is intense (White Lodge Fabric, 2024)
I decided to look back at my old ballet leotard, to see what fabrics it’s made from and the construction of the garment. When looking at the label it said that 45% was made from polyester, 45% cotton and 10% Lycra. These fabric are very popular for dance because it’s comfortable and doesn’t restrict the dancer. Lycra was bought for the underwear of the body suit the dancers will wear in the show.
This leotard also has support for the chested which means that a bra doesn’t necessarily have to be worn. When looking at the pant line, it’s sewn a similar way to how they makers with sew their bodysuits. By having that stretch and high curve shape it means nothing will feel uncomfortable or move out of place.
Fig 39-43: Picture of my old Leotard.
STRICTLY COME DANCING
Watching Strictly Come Dancing is always a good way of seeing how fabric moves since there’s always a variety of costumes and dance numbers. I look at Bill and Oti’s couple choice to Rapper’s Delight in week 4 2020. I choice this dance this both partners wear tailored suits. When watching I can see that they have a lot of different moves within the dance and these suit would’ve been specially made tailored to fit a dancer.
I also went into on look at Helen Skelton and Gorka Marquez couple choice in 2022, to Mein Herr from Cabaret. I decided to look at this dance because the men are in corsets. I believe this style is similar to what Megan the designer was influence by when it comes to gender fluidity. I interesting to see the dancer dance in a corset because usually it can be quite restrictive. But these corset don’t hinder to dancer and is hopeful how the corset on the Diva show will turn out.
Fig 44-46: Bill and Oti Couple’s Choice
Fig 47-48: Helen Skelton and Gorka Marquez dance Couples Choice.
REHEARSALS
Going to the dance rehearsals was useful so we could see the dancer's movements. This helps us to understand that the costumes can’t be restrictive as the dancer’s are constantly moving. Most of the fabric will need to have a stretch. It will be interesting to learn how different it is to make for dance compared to a production. Dancers (especially in the 2nd fitting) should try a few movements, so if parts of the costumes do feel restrictive it can be changed.
23/10/24
13/11/24
When we went to another rehearsal to see more of the dancer’s movement. Bryony does a lot of different moves within her solo and we thought it might be best to consider that the dancers with waistcoats should wear leotard underneath, their stomach would then not show if the waistcoat rises.
BUDGET SHEETS
ESTIMATED BUDGET
FINAL BUDGET
DIVA DANCERS
COSTUME DESIGN 1 MAKER: OLIVIA
WOOD
DANCER: JEMMA
MEASUREMENT SHEET
MAKE BREAKDOWN: DANCER 1
Show Diva Designer Megan Maker Olivia Dancer
For around hem.
Front of Jacket Buttons Fabric land 6 buttons
For Jacket Black thread Haberdashery 1 thread For decoration Gold thread Amazon 1 thread For head of sleeves Shoulder Pads
For lapel and waistband of trousers Black Stayflex
1 ST FITTINGS
After Fitting
1 ST FITTING NOTES
Jacket:
· CF and double breast were pinned along the design line and sat nicely,
· Quite tight at CB,
· Take in (make smaller) at top of CB and let out (make bigger) at bottom of CB up to the waist, as pinned,
· Princess line as pinned from waist to shoulder on both sides,
· Collar pinned, some areas will be eased,
· Lapel folded back by designer, as pinned,
· Smaller lapel on both sides as pinned by designer,
· Length of the jacket will be looked at later by designer,
· Hem shortened so its flat at the CF and flat where the double breast sits (symmetrical on either side of the CF,
· Hem slopes down to curve, as pinned,
· Sleeve head pinned,
· In future 2.5cm s/a on sleeve head,
· Closer (smaller) armhole marked with pen,
· Let out 1” at sleeve seam underneath armhole as armhole is marked higher, Kat will help you with the sleeve,
· Make head of undersleeve longer (3cm) to compensate for smaller armhole,
· Make sleeve in calico for next fitting, and tacked into armhole,
· May need to make a three-piece sleeve,
· Sleeve taken in from armhole as pinned, start from nothing at the armhole,
· Pocket flap added in calico, angle follows line of hem,
· For next fitting cut out pocket flap in top fabric but don’t attach,
Trousers:
· Take in at waist as pinned on each dart (0.5cm on each dart),
· Darts fit nicely at the bottom of the dart so gradient to take in the top of the dart as pinned,
· Let out (make bigger) as side seams to create A-Line silhouette, let it out straight from the hip (marked with pencil on L leg) to create a flare,
· Hem pinned,
· Kat said the trousers fit well :)
2 ND FITTINGS
After Fittings
2 ND FITTING NOTES
Notes:
- Make cuff out of pink floral fabric
- No buttons on cuff
- Press and stretch hem of trouser
FINAL
COSTUME ON SHOW DAY
Front of Jemma’s costume
Side of Jemma’s costume
Back of Jemma’s costume
COSTUME DESIGN 2 MAKER: ISABEL SAUNDERS
MEASUREMENT SHEET
MAKE BREAKDOWN: DANCER 2
Show Diva Designer Megan Maker Isabel Dancer Lana
Strips down the side of each leg.
for 6 costumes)
Front of waistcoat Buttons Fabric land
Sewing fabric pieces together Red thread Buddly Crafts
For decoration Gold thread Amazon
For lining Brown Silesia Haberdashery For lapel and waistband of trousers Black Stayflex Haberdashery 1m £4.45 For Lapel and cuffs Thin
Fastenings at the back of the trousers Hook and eyes From studio 7 One hook and eye Total Costume Cost £82.93
1 ST FITTINGS
Before Fitting
After Fitting
Fitting Notes
Waistcoat:
+8.5cm at waistline
Follow as pinned
Follow arm holes as marked/ snipped
Trousers:
Let out by 2cm on each side at hip line
+5cm at waistline
Take up hem as pinned
Take out the whole side seam as pinned
Taper top of waist in by 1cm
Collar:
2 ND FITTINGS
Before Fitting
After fitting
2 ND FITTING NOTES
Waistcoat
• Backed in Silesia, unpick, tack Silesia and top fabric then re sew
• Dart created on front panel- mark darts, add Silesia, then machine darts in
• Take in where pinned (back, front, darts)
• New CF line created + 1.5 cm front edge + SA
• Armhole made bigger, Marked with pins
Collar
• Collar needs to be on bias
• Stayflex added
• New collar created
• Trousers
• Take in trousers where pinned on waist
• New line on CB marked with chalk
• Take in a CF as pinned
• Facing inside of waistband
• Trousers taken up 15cm from ground, where pinned on outside leg
Supervisor
Black strappy leotard underneath of waistcoat
Note:
- No collar
- Gold trim around the neckline
- Change armhole size
- Take off buttons
FINAL COSTUME ON SHOW DAY
Front of Lana’s Costume
Back of Lana’s Costume
Side of Lana’s Costume
COSTUME DESIGN 3
MAKER: ISABEL SAUNDERS
DANCER: LAUREN
MEASUREMENT SHEET
MAKE BREAKDOWN: DANCER 3
Show Diva
Designer Megan Maker Isabel Dancer Lauren
around hem.
For back of trouser.
For back of bodysuit Zip Ray stitch 1 zip –56cm length
£4.75
Main corset fabric Black Patterned Fabric Fancy Fabrics 1.5m £10pm
Total: £15
Back of corset Eyelets Haberdashery 1 pack £4.75
Sewing fabric pieces together Black thread Haberdashery 1 thread
Inside Corset Rigiline
Haberdashery 2m
For collar White lightweight stayflex Haberdashery 1m for all costumes £4.70pm
Total for one costume: £0.78
For underwear Black elastic Haberdashery 2m £0.12pm
Total: £0.24
For finishing edges Bias Binding Haberdashery 2.5m £0.48
Before Fitting
1 ST FITTINGS
After Fitting
After Fitting
FITTING NOTES
Hip Measurement: 115cm
Bust Measurement: 103cm
Waist Measurement: 89cm
Nape to Waist Measurement: 42cm
Second fitting in calico is needed
Trousers:
• 30cm at the waist back and front
• Trousers need to be higher, another inch higher
Blouse:
• Blouse is too tight, add about 15cm each side and then gathered
• Fabric too tight
• Blouse needs to be longer, should be between waist and hip – halfway
• Shape is fine
• Sleeve is too narrow, needs to be more gathered
• Sleeve head needs to be bigger and redrafted
Corset:
• Back needs to be higher
• Wrong fabric used, Remake in calico
Pants:
• Pants are fine
2 ND FITTING
Before Pictures
After Fittings
2 ND FITTING NOTES
Notes:
- Straps are being taken off
- Add lace to the top of the corset
- Longer at the front, follow as pinned
- Take a bit in at the sides
- Take up trousers
FINAL COSTUME ON SHOW DAY
Front of Lauren’s costume
Side of Lauren’s costume
Back of Lauren’s costume
COSTUME DESIGN 4
MAKER: LIBBY CAVEY
DANCER: ELLA
MEASUREMENT SHEET
MAKE BREAKDOWN: DANCER 4
Show Diva Designer Megan Maker Libby Dancer Ella
Use Fabric/Item Supplier Quantity Price
Main trouser fabric. Black Fabric Wool and elastic blend From Uni 2m £5pm Total: £10
Strips down the side of each leg. Gold/Black two-way sequin fabric Lush Fabric’s 1.5m(used for 6 costumes) All costumes price: £27.75 One costume: £4.63 For back of trouser.
Sewing fabric pieces together Black thread Haberdashery For blouse Pink light weight Fabric
For bottom half of bodysuit Nude Fabric Fabric House
Lining for corset Cotton drill Haberdashery 1.16m £5.60 pm
For lacing up corset Corset Lace
Fastenings at the back of the collar and trousers Hook and eyes
1 ST FITTINGS
Before Fitting
After Fitting
1 ST FITTING NOTES
Blouse:
• Draw the back in to fit to the knickers so there is a small ruffle meeting the top of the knickers.
• Move the rouching more towards the middle at the front.
• Pin the collar as pinned and tie at the front into a bow.
• Will be tucked into and attached to knickers.
• Top of sleeve will be chosen from lots of different experiment samples.
Knickers:
• Make shorter on the leg at the front but at the back just under the cheek. Think about how the edge will be finished so there is not too much bulk and as little VPL as possible. Will need to test it out to make the bulk as minimal as possible. May or may not need to use elastic and overlock it on, depends on bulkiness. Test using samples of the trouser fabric over the top to check visibility. Use perhaps clear silicone elastic rather than normal elastic. (Clear lightweight stretchy).
• Cut seam at the back and overlock. Need to add a zip. -
• Take sides in to where now pinned.
Corset:
• Bring sides in by 1cm each side as pinned.
• Take in darts by 0.5cm at front and back as pinned.
• Let it out sightly at the back at the bottom of corset according to where now cut for a more feminine look.
• Ridgeline will machine between cotton drill and top fabric.
• Fold top and bottom of corset to were pinned but leave a little longer at the back.
• Lace with round elastic so it’s flexible as easier for the dancers when rolling on their back.
• Have a look for gold elastic in the box in supervisors’ office – use gold eyelets.
• No more than 1.5cm width of open back when laced.
• Placket behind eyelets to hide seams of blouse.
Trousers:
• Adjust around waist as pinned. Waistband at front needs to be high for finished length.
• Sides of legs as pinned.
• Length of legs as pinned let out to a very subtle gradient outwards towards the bottom on inside and outside of legs.
• Adjust waist darts taking in 0.5cm each to where now pinned.
2 ND FITTING
Before Fitting
After fitting
2 ND FITTING NOTES
Bodysuit
• Use hook and eyes on collar above zip
• Milena will show you how to do the tie and collar in the afternoon
• Make the collar smaller (half size? 1”)
• Copy Olivia’s sleeve shape
Corset
• Take in as pinned on CB +1cm more
• Take in 1cm on each side going to nothing
Trousers
• Lower waistline as pinned
• Take in waist at sides as pinned (about 1” on each side, gradually going to nothing)
• Take in waist 1cm at CB
• Take up hem as pinned
PRE - ASSESSMENT
Notes:
- Top stitch on each side of the sea for the corset
FINAL COSTUME ON SHOW DAY
Front of Ella’s Costume
Side of Ella’s Costume
Back of Ella’s Costume
COSTUME DESIGN 5
MAKER: EMILY FISHER
MEASUREMENT SHEET
MAKE BREAKDOWN: DANCER 5
Show Diva Designer Megan Maker Dancer
Main trouser fabric.
Strips down the side of each leg.
Main corset fabric Turquoise Pattern fabric From Uni 1.5m
Before Fitting
1 ST FITTINGS
After Fitting
After fittings
1 ST FITTING NOTES
Bodice
• Centre front on the fold
• Blouse will be zig zagged into trousers
Shorts
• Take in Seam at the back as pinned
• Take in at centre front as pinned
• Take in at sides as pinned
• Follow hem line as pinned
Trousers
• Extend top of trousers by 2.5-3cm
• Take in as pinned at waistline (darts)
• Turn up hem as pinned
• Take out at side seam as marked and go straight down (meeting with kat)
• Let out at hip line by 1.5 cm at markings on hip
Collar
• To big change as pinned at back
• Next fitting bring collar but don’t finish it
• Don’t do the overlap make it all in one at the CF
Tie
• No longer than under bust
• Attach to blouse ???
Corset
• Take in at the CB as pinned
• Let it out at the back as snipped and pinned
• Take in at the centre front as pinned
• Make the hem longer as seam allowance at the CF
• At the CB slightly longer by 2.5cm from the seam allowance and gradually bring it up at the front (follow pinned calico)
Sleeve
• Gather sleeve (tack sleeve in for next fitting)
• Follow pinned line on hem
• Finnish sleeve into the bias binding (pinned)
Pocket
• Longer pocket and angled
2 ND FITTINGS
After Fitting
2 ND FITTING NOTES
Bodysuit
• Hook and bar at centre back
• Cut on tack line 2.5cm on blouse and leotard
• Sleeve made slightly wider
• Overlock 1.5cm seam allowance on blouse
• Bias binding on armhole
• Tie around neckline needs to be same width as the inside collar neckline
• Top stitch all way around collar edge
• Tie sewed on under corset and on each side at back of collar through all layers so doesn’t flap
• Tiny poppers on centre back of collar
• Sleeve needs to be baby overlocked on cuff
Corset
• Take away 1.5cm on each side from centre back
• Take in side seams 2.5cm to the waistline
• Seam allowance trimmed, rolled and top stitched on sweetheart neckline
• Top stitch side and bottom of pocket
• Sew bone on bust / princess seam
• Top stitch frill on as last thing
• Bottom can be folded inside and slip stitched or bias binding and top stitched
Trousers
• Double row stitches around crotch front and back
• Take in at back just on the waistline 2.5cm in on each side and then goes to nothing
• 15cm from the floor outside leg, hemmed, mark 2.5cm seam allowance, overlock and top stitched
• Crotch level needs to be higher – waist taken up 2.5cm
PRE - ASSESSMENT
Notes:
- Make front of corset shorter
- Swing catch collar down to tie
FINAL COSTUME ON SHOW DAY
Front of Ayesha’s Costume
Side of Ayesha’s Costume
Back of Ayesha’s Costume
MEASUREMENT SHEET
MAKE BREAKDOWN: DANCER 6
Show Diva
Designer Megan Maker Katie Dancer Jodie
Use Fabric/Item
trouser fabric.
Strips down the side of each leg.
For back of trouser.
costumes
for 6 costumes)
1 ST FITTINGS
Before Fitting
After Fitting
1 ST FITTING NOTES
Trousers
• Take in around waist, as pinned (front, back and sides)
• Let out trouser width to create more straight leg/A line shape
Jacket
• Take in shoulder seams, as pinned
• Take inside seams, as pinned
• Take in waist at centre back, as pinned
• Take in sleeve, as pinned
• Adjust hemline, as pinned (higher at front, gradually lower to back)
• Fake pockets where pinned, following line of the hem
• Next fitting- sleeve in calico (potentially 3-piece sleeve)
2 ND FITTINGS
Before Fitting
After fitting
2 ND FITTING NOTES
Jacket
• Needs to be backed – use Silesia
• Collar must be stayflexed – be careful not to stretch it, it fits very well
• Sample buttonholes on Monday
• Hem as pinned
• Pockets as pinned (higher and smaller)
• Let out sleeve on side as pinned
• Shorten sleeve as pinned
• Overlock armhole
• Cover shoulder pads in top fabric or Silesia
Trousers
• Take in at waist as pinned
• Take in CF and sides as pinned
• Take up trousers as pinned
PRE - ASSESSMENT
Notes:
- Trim around the cuff instead of buttons
- She has her own leotard to wear for the show
- Top stitch zips
- Let out the back for more moveability
FINAL
COSTUME ON SHOW DAY
Front of Jodie’s costume
Side of Jodie’s costume
Back of Jodie’s costume
The pre-assessment went well, and the makers didn’t have too many notes afterwards. We set up dressing pods since all the dancers the getting changed at the same time. When it started the dancers stood in a line so that Jane (the dancer lecturer) could see the costumes together. We then went down in a while checking each on the costumes. The makers sat in the corner of the room can came up when their costume was being check. This was to make sure there wasn’t a crowd around the dancers. When we went down the line, I took the notes while Megan (the designer) spoke to the lecturers.
SUPPLIER INFORMATION
Name of Supplier
Fabric Land - Bournemouth
Lush Fabrics - Online
Address/Contact
Details Notes
3 Dominion Rd, West Howe Industrial Estate, Bournemouth BH11 8LH
https://lushfabric.com
AUB Haberdashery - Online
https://fabriclove.co.uk/
Goldbrick Fabrics - London
20 Goldhawk Rd, London W12 8DH
. Good range of Fabrics
. Reasonably priced
. Easy to travel to
. A variety of fabrics sold
. Quick delivery
. Quick delivery
. Only good for specific purchases
. Good service
. Good prices
. Staff very lovely
. Lots of fabric choice
Universal Textile - London
Unique Fabrics: House of SilkLondon
Bonnies - Bournemouth
35-37 Goldhawk Rd, London W12 8QQ
. Great selection of fabrics
. Not the cheapest place in the area
. Staff are kind and helpful
28 Goldhawk Rd, London W12 8DH Good service
. Variety of fabrics
. Helpful
899 Wimborne Rd, Moordown, Bournemouth BH9 2BJ
. Knowledgeable staff
. Vintage fabrics available
. Closer than other shops
White Lodge Fabric
Unit 26, Brookside Business Park, Cold Meece, Nr, Eccleshall ST15 0RZ
. Fabric in good condition . Great selection
. Good service and advice
Fancy Fabrics - London
41 Goldhawk Road, London W12 8QQ
. Great choice of fabrics
. Friendly staff
A-Z Fabric - London
53A Goldhawk Road, London W12 8QP
. Staff are experienced and knowledgeable
. Great prices
A- One Fabric - London
50-52 Goldhawk Road, London W12 8DH
. Lots of fabric choice
. Good prices
. Patient staff
Barnett Lawson Trimmings
8, The Workshops, Greenfield Rd, Pulloxhill, Bedford MK45 5BF
. Can get a bundle of different samples
. Quick delivery
Makers Who Share Fabric
Makers Fabric Dancer
Libby Cavey
Black trouser Fabric Vahid
Libby Cavey Black trouser Fabric Ella
Katie Underhay Black trouser Fabric Jodie
Emily Fisher Black trouser Fabric Bryony
Emily Fisher Black trouser Fabric Ayesha
Isabel Saunders Black trouser Fabric Lana
Makers Fabric Dancer
Olivia Wood Pink Trousers Jemma
Sophie Wood Pink Trousers Amy
Makers Fabric Dancer
Isabel Saunders Teal Trousers Lauren
Katie Underhay Teal Trouser Beth
Makers Fabric Dancer
Sophie Wood Red Trousers Tisha
Olivia Wood Red Trouser Kitty
Makers Fabric Dancer
Olivia Wood Black Jacket Fabric Jemma
Sophie Wood Black Waistcoat Fabric Kitty
Isabel Saunders Black Lapel Fabric Lana
Katie Underhay Black Lapel Fabric Jodie
Makers Fabric Dancer
Olivia Wood Black Blouse Fabric Tisha
Makers Fabric Dancer
Isabel Saunders Red Brocade Waistcoat Lana
Katie Underhay Red Brocade Jacket Jodie
Olivia Wood Red Brocade corset Kitty
Sophie Wood Red Brocade Lapel Tisha
Makers Fabric Dancer
Emily Fisher Teal Brocade Waistcoat Bryony
Emily Fisher Teal Brocade Corset Ayesha
Libby Cavey Teal Brocade Jacket Vahid
Makers Fabric Dancer
Libby Cavey Pink Brocade Corset Ella
Olivia Wood Pink Brocade Lapel Jemma
Makers Fabric Dancer
Isabel Saunders Black Brocade Corset Lauren
Sophie Wood Black Brocade Corset Amy
Katie Underhay Black Brocade Corset Beth
Makers Fabric Dancer
Isabel Saunders Teal Blouse Fabric Lauren
Emily Fisher Teal Blouse Fabric Ayesha
Katie Underhay Teal Blouse Fabric Bryony
Makers Fabric Dancer
Libby Cavey Pink Blouse Fabric Ella
Sophie Wood Pink Blouse Fabric Amy
PRODUCTION MEETING NOTES
17/10/2024
. Photoshoot week 5
. The photoshoot is to dress them in clothes they wouldn’t wear when dancing
. Make up can be bold for photoshoot but should be more subtle for the show
. Play around with different colours, props, and hair for the photos
. Possibly two dancers will be wearing gold masks
. Poppers or Velcro for hem of trousers to reveal the gold trim
. Maybe gold fishnet gloves
. Budget review next meeting
. The photos will be display on the back wall for the dance show
. Might have to order extra items for the photo shoot.
24/10/2024
. Store things in green room and take things back to university after the show on Monday the 19th
. The bodysuit will need washing
. Talk to the dancers about appropriate underwear, should be worn to the fitting
. Tie can be fake
. Photoshoot dates are the 5th and 6th
. The photoshoot is in the photography studio
. Fitting schedule done for the 8th
31/10/2024
. £55.51 for make up
. Need a photoshoot schedule done for today
. 1 hour for make up and hair
. Dance studio 3 is the main room for the photoshoot
. Wear all black for the photoshoot
. Vahid is not here on Friday for fittings so will have to get him a fitting on either Tuesday or Wednesday instead
. Week 6 is the next production meeting
. Could find some gloves which can be used in rehearsal for dancers
14/11/24
. Not sure when the photos from photoshoot will be shown during performance
. Don’t post photos from photoshoot till after the show
. Vahid is changing out of jacket into coat during the show
. Makers can watch dress run
. Two masks for Lauren and Ella, find masks with elastic
. The make up should have one aspect which runs through each make up design for dancers
. On the 28th bring some costumes down to dance studio
. Decisions is no feathers
21/11/24
. Bodysuits should be fitting first, preferably before 2pm
. Masked were ordered by Jane
. Dancers were more comfortable when getting ready and were as comfortable in the photoshoot
. Need some costume in the dance studio Thursday on mannequins
. Go to Elliot Road, look for a treasure box and chair which will be used in the dance show
. Load van with costumes on the Monday of tech week
. Bring costumes down for 9am, including irons, irons boards etc
. Find one extra person to be back staged
. Give samples of fabrics to hair and make up
. Preassessment is the 5th of December
. Dancers get into costume at the same time for preassessment, starts at 1pm and ends at 5pm
PHOTOSHOOT
DIVA PHOTOSHOOT TRY ON SESSION
This try on session was so that the dancers could understand what clothes, shoes, accessories they really like. By having this session, it was useful for the designers Lizzie and Jessye, to see what the dancers enjoyed to wear and what sort of characters they wanted to portray in the photoshoot. These clothes were laid on the floor and music was put on to create a relaxed environment. The designers made mind maps so that the dancers could write down their ideas.
PHOTOSHOOT FITTING NOTES
Amy:
• Hair up
• Sliver shoes
• Fan
• Pink belt
• Bangles
• White and pink feather bowers
• Pink top
• Pink skirt
• Pearl necklace
Lauren:
• Red jumpsuit
• White corset
• Red shoes
• Maybe choker necklace or red scarf
• Red gloves
• Red ribbon tied around straps
• Red tie and white collar
• Gold bangles
Ayesha :
• Red waistcoat
• Red leotard
• Pirate hat
• Red tights
• Pirate boots (black with heels)
• Bring the waistcoat in at the waist with a clip
• Two black belts
• Big hooped earrings
• Braid with red bow and feathers
Bryony
• Cream Dress with brown cape
• Sliver crown
• Purple bower
• Inspired by Greek Goddesses
• Wavy hair with gold flakes
• Purple gloves
• Purple ribbon
• Purple band under bust
Jemma:
• Dress with checkered bodice and cream skirt
• Top Hat with red bow facing forward
• Checkered belt
• Black belt with sliver studs
• Red gloves
• Black fishnet tights
• Red bracelet
• High heels
Tisha:
• Fur coat
• Baggy jeans
• White top
• Coat could go over shoulders
• Red beaded necklace
• Another fitting wearing the clothes which will be worn under the coat
This fitting was fun to help on. Lucy (the Assistant Supervisor) and I took notes of what each of the dancers were going to wear. The two designers Lizzie and Jessye, had different clothes for the dancers to try on and they were able to get a feel of what outfits they loved the most. The designers used the mind maps the dancers had made in the try on session and found garments which fit the dancer's ideas.
DIVA PHOTOSHOOT
The photoshoot was so that the dancers could express a different persona and push them out of their comfort zones, this can be through outfits, make up and hair.
On the day of the photoshoot there were pictures of the dancers getting dressed and having their hair and make up done . The studio dancers were getting ready in was set up to look like a dress up room.
We put extra costumes in the back of the studio and had the dancers costume next to where they were getting changed. Costume were laid out over the dress space to create the look of clothes being changed and
I really enjoyed working on this photoshoot. Costumes can work differently for a photoshoot compared to a production. For example, if a costume doesn’t fit properly, clips can be used at the back and they wouldn’t be seen, unless a back picture was going to be taken. Pictures can be taken from different angles but on stage every angle can be seen.
I loved helping the dancers get into their costumes, making sure that the right costume was given to the right dancer. We had to also ensure that dancers had the right shoes and accessories. Overall, it was a fun experience be able to collaborate and work efficiently in a team.
SHOW WEE K
TECH WEEK NOTES: SHOW RUN IN COSTUME
• Taken Lauren’s corset in, keeps falling while dancing
• Add gold buttons and lace to Lauren’s corset
• Tacking Amy and Ayesha’s ties down to stop them from rising out of the corset
• Add poppers to the bottom of Jemma’s jacket
• Make sure Vahid’s dress shields can’t be seen
• Have the corset lace bow at the top of the corset not the bottom, can then be tucked in an won’t fall out
• Make sure the check that all hook and bars are done up on trousers and collars before going out onto stage
• Make sure sequins on trousers have the gold side facing upwards not the black side
Fig 14: Pg 21 – The Iconic 16 Bananas skirt. Available at: https://www.vam.ac.uk/articles/redefining-the-diva Accessed: 10/11/24
Fig 15: Pg 21 – Baker in her military uniform. Available at: https://lilyelsie.home.blog/josephine-baker/ Accessed: 10/11/24
Fig 16: Pg 22 – Baker in a top hat, suit, and tie. Available at: https://id.pinterest.com/pin/491596115594363496/ Accessed: 10/11/24
Fig 17: Pg 23 - Maria Callas at the Royal Opera House 1958. Available at: https://www.vam.ac.uk/articles/opera-divas Accessed: 14/11/24
Fig 18: Pg 23 - Grace Jones at the Drury Lane Theatre, London in 1981. Available at: https://www.vam.ac.uk/exhibitions/diva?srsltid= Accessed:03/12/24
Fig 19: Pg 23 - Marlene Dietrich wearing sparkly dress. Available at: https://www.maxfactor.com/en-gb/our-brand/iconic-looks/marlenedietrich Accessed: 14/11/24
Fig 20: Pg 23 - Dietrich playing Amy Jolly in Morocco, 1930. Available at: https://bamfstyle.com/2021/12/27/morocco-marlene-dietrich/ Accessed: 14/11/24
Fig 21: Pg 24 - Madonna in a tailored suit on stage. Available at: https://uk.pinterest.com/pin/375346950163903398/ Accessed: 24/11/24
Fig 22: Pg 24 - The iconic cone bra. Available at: https://todayinmadonnahistory.com/tag/blond-ambition-world-tour/ Accessed: 24/11/24
Fig 23: Pg 24 - Corset over blouse, designed by Jean Paul Gaultier. Available at: https://in.pinterest.com/pin/696861742362921637/ Accessed:
Fig 24: Pg 25 - The Smoking Tuxedo by Yves Saint Laurent. Available at: https://timelessvixen.com/products/1968-yves-saint-laurent-le-smokingtuxedo-black-gabardine-pant-suit Accessed: 01/12/24
Fig 25: Pg 25 - Initial Drawing of the suit. Available at: https://www.yorokobu.es/esmoquin-mujer-yves-saint-laurent/ Accessed: 01/12/24
Fig 26: Pg 25 - Wearing this YSL suit in 1967. Available at: https://www.harpersbazaar.com/uk/fashion/a43338553/ysl-smokingjacket/ Accessed: 01/12/24
Fig 27-28: Pg 27 - Front and close up of the knickers. Taken by author
Fig 29-30: Pg 27 - Front and back with of the blouse. Taken by author
Fig 31: Pg 27 - A tailored Jacket and skirt. Taken by author
Fig 32-33: Pg 28 - A black bodice from the Royal Opera House. Taken by author
Fig 34-35: Pg 28 - Close up pictures of the bodice. Taken by author
Fig 36-38: Pg 28 - Picture of Ashmole dancing as Count Albecht. Given to buy: Jane.Harrison@roh.org.uk
Fig 39-43: Pg 32 - Picture of my old Leotard. Taken by author
Fig 44-46: Pg 34 - Bill and Oti Couple’s Choice. Available at: https://www.youtube.com/watch?v=NtAJtaC76H0 Accessed: 07/12/24
Fig 47-48: Pg 34 - Helen Skelton and Gorka Marquez dance Couples Choice. Available at: https://www.youtube.com/watch?v=kOypN-k8tC8 Accessed: 07/12/24
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Cowles, C. (2012) Madonna to Reprise Gaultier Cone Bras in Her MDNA Tour. Available at: https://www.thecut.com/2012/05/madonna-cone-bras-mdna-tourconcert-outfits.html Accessed: 24/11/24
ecolove.shop (2022) A Guide to the Most and Least Sustainable Fabrics. Available at: https://www.ecolove.shop/blogs/news/a-guide-to-the-most-and-least-sustainablefabrics Accessed: 16/11/24
National Women’s History Museum (2017) Josephine Baker (1906-1975). Available at: https://www.womenshistory.org/educationresources/biographies/josephine-baker Accessed: 10/11/24
Musee Yves Saint Laurent Paris (n/d) First Tuxedo. Available at: https://museeyslparis.com/en/biography/premier-smoking Accessed: 01/12/24
sewport (2024) What is Lyocell Fabric: Properties, How it’s made and Where. Available at: https://sewport.com/fabrics-directory/lyocell-fabric#:~:text=Tencel Accessed: 17/11/24
V&A (2023) Redefining the diva. Available at: https://www.vam.ac.uk/articles/redefining-the-diva Accessed: 26/10/25
Biography (2024) Josephine Baker. Available at: https://www.biography.com/artists/josephine-baker Accessed: 10/11/24
Biography (2022) Marlene Dietrich. Available at: https://www.biography.com/actors/marlene-dietrich# Accessed: 14/11/24
Brooklyn Museum (n/d) Isabella Andreini. Available at: https://www.brooklynmuseum.org/eascfa/dinner_party/heritage_floor/isabella_a ndreini Accessed: 26/10/25
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Cowles, C. (2012) Madonna to Reprise Gaultier Cone Bras in Her MDNA Tour. Available at: https://www.thecut.com/2012/05/madonna-cone-bras-mdna-tourconcert-outfits.html Accessed: 24/11/24
ecolove.shop (2022) A Guide to the Most and Least Sustainable Fabrics. Available at: https://www.ecolove.shop/blogs/news/a-guide-to-the-most-and-least-sustainablefabrics Accessed: 16/11/24
eno.org (n/d) Discover Norma. Available at: https://www.eno.org/operas/norma/#:~:text= Accessed: 02/11/24
Ethical Bedding (n/d) Rayon Fabric Explained – Is It Sustainable? Available at: https://ethicalbedding.com/blogs/news/rayon-fabric-explained Accessed: 17/11/24
EVA (n/d) Where your creativity comes to life. Available at: https://evaresource.com/?utm_source=google&utm_medium=cpc&utm_campaign= 21777594433&adgroup=169057362635&utm_content=&utm_term=fabric% Accessed:
fabricsight (2022) One-of-a-kind Sustainability: What Are Deadstock Fabrics? Available at: https://www.fabricsight.com/en-gb/blogs/posts/one-of-a-kindsustainability-what-are-deadstock-fabrics#:~:text=Deadstock% Accessed: 18/11/24
Fountain, L. (2023) Viscose vs. Rayon. Available at: https://www.sleepfoundation.org/best-bedding/viscose-vs-rayon Accessed: 17/11/24
Franceschini, M. (2023) Josephine Baker: Fashion Icon. Available at: https://www.europeana.eu/en/stories/josephine-baker-fashion-icon Accessed: 10/11/24
Hess, L. (2020) The Story Behind Madonna’s Iconic Jean Paul Gaultier Cone Bra. Available at: https://www.vogue.com/article/madonna-blonde-ambition-jeanpaul-gaultier-cone-bra Accessed: 24/11/24
Lefty Production Co. (2023) The Ethical Alternatives to Polyester Fast Fashion. Available at: https://www.leftyproductionco.com/post/the-ethical-alternatives-topolyester-fast-fashion Accessed: 16/11/24
Lindores, M. (2023) Madonna: The Blond Ambition Tour – the greatest show on Earth. Available at: https://www.classicpopmag.com/2023/10/madonna-blondambition-tour/ Accessed: 24/11/24
MadonnaTribe (n/d) Blond Ambition World Tour 90. Available at: https://www.madonnatribe.com/madonnatribe/blond-ambition/ Accessed: 24/11/24
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APPENDIX
BACK STAGE PHOTOGRAPHS
List of items to bring
- 2x Ironing board two
- 2x Iron two
- 2x Sewing Machines
- Railing
- Sewing kit
- Washing box
- Extra popper
- Spare needles
- Steamer
- 2x sewing machines
- Hair dryer
- 2x Air dryer
- Spinner / Bucket
- Hand washing bucket
- Washing liquid
- Fresher
- 2x Zipper foot
- Screwdriver
- Thread one of each colour
- Towels
- Dressing gowns
- Slippers
- Dressing pods
- Plasters
- Head torch
5TH OF NOVEMBER
Costume Designers Lizzie Hodge and Jessye O’Regan
Costume Supervisors Verity Williams and Lucy Llewellyn
Dancer Make up Time Getting into Costume Time Photoshoot Time Getting out of costume
Lana 11:30am to 12:30pm 12:30pm to 12:45pm 12:45pm to 1:00pm 1:00pm to 1:15pm 10 minutes
Lauren 11:55am to 12:55pm 12:55pm to 1:10pm 1:10pm to 1:25pm 1:25pm to 1:40pm 10 minutes
Ella 12:20pm to 1:20pm 1:20pm to 1:35pm 1:35pm to 1:50pm 1:50pm to 2:05pm 10 minutes
Kitty 12:45pm to 1:45pm 1:45pm to 2:00pm 2:00pm to 2:15pm 2:15pm to 2:30pm Break: 1 hour
Bryony 2:00pm to 3:00pm 3:00pm to 3:15pm 3:15pm to 3:30pm 3:30pm to 3:45pm 10 minutes
Ayesha 2:25pm to 3:25pm 3:25pm to 3:40pm 3:40pm to 3:55pm 3:55pm to 4:10pm 10 minutes
Beth 2:55pm to 3:55pm 3:55pm to 4:10pm 4:10pm to 4:25pm 4:25pm to 4:40pm
CPD HOURS
Note Taker for Emilia 1st Fittings
Stitching trim back onto cloak for IJoan
CPD – Taking picture of costumes of a mannequin.
Stitching trim back onto cloak for Joan: Photos
I slip stitched some old trim back onto a cloak since it was removed for the production IJoan.
Archive CPD – Taking picture of costumes of a mannequin: Photos
Help with ruff for Emilia: Photo
I helped one of the Emilia makers with her ruff. Sewing the ends of the ruff together.
I took picture of different clothing items from the archive. This was interesting since I was working up closely with lots of different dresses, taking them on and off the mannequin.
Making two under shirts for Emilia: Photos
I enjoyed making this ruff for Emilia. It was nice to do a bit more sewing since in my project I haven’t done much. It was fun being able to make something for a show and see it on stage.
