Lauren Mayers, Emilia! Supervisor Bible – BA (Hons) Costume
Emilia! Lauren Mayers
Costume Supervisor’s Bible
Page 3 - 5... Contact Sheet
Page 6... Cast List and Photos
Page 7 - 14... Tech Schedule
Page 15 - 20... Fitting Schedules
Page 21 - 27... Script Breakdown
Page 28 - 33... Rehearsal Reports
Page 34 - 55... Research
Page 56 - 57... Hire Forms
Page 58 - 73... Estimated Budget
Page 74 - 88... Final Budget
Page 89 - 91... Sustainability Assessment Form
Page 92 - 109... Character
Sheet: Emilia 1
Page 110 - 135... Character
Sheet: Emilia 2
Page 136 - 153... Character
Sheet: Emilia 3
Page 154 - 173... Character
Sheet: Lady Cordelia / Flora
Page 174 - 191... Character
Sheet: Lady Katherine / Lady Desdemona (Othello)
Page 192 - 216... Character
Sheet: Lord Alphonso Lanier / Emilia (Othello)
Page 217 - 235... Character
Sheet: William Shakespeare / Man 2
Page 236... Supplier’ List
Page 237 - 241... List of Figures
Page 242 - 243... Bibliography
Page 244 - 249… Appendix
Contact Sheet
Lauren Mayers
Cast List
Tech Schedule
Lauren
Lauren
Lauren
1st Fitting Schedule
3rd Fitting Schedule
Script Breakdown
Rehearsal Reports
Lauren Mayers
Research
“The
The Phoenix Portrait by Nicholas Hilliard, painted in 1575, is named after the phoenix jewel the Elizabeth I wears on her chest. It represents rebirth, chastity, virginity, and uniqueness.
Styles became more exaggerated and rigid after 1580. The point of the bodice and stomacher extended below the natural waist, “descending into a deep V at hip level” (Elgin, 2009, pg 15).
A boned corset maintained the flattened shape, also known as a “pair of bodies”. It was laced at the front and stiffened with whalebone.
“Through a combination of the queen’s thoughtful manipulation of her image and the availability of new materials through trade, a stylish woman in the 1580s was an expanded, elaborated version of her former self. She wore numerous layers, starting with the smock and stockings, to be then cloaked in a bodice and a kirtle” (Fashion History Timeline, 2020).
Ruffs were typically a medium-sized cartwheel ruff or wired collar. Sleeves were kept closefitting, with padding and slashed areas emphasising the expense fabrics. The Spanish sleeves were more voluminous, which was a popular alternative at the time.
Fig. 2. Queen Elizabeth I by Nicholas Hilliard, 1575.
Phoenix Portrait”.
Fig. 1. Labelled illustration of women’s fashion in 1580.
Elizabethan Women’s Silhouette’s
Elizabethan Men’s Silhouettes
The men’s silhouettes were generally more modest and slimmed down compared to the silhouettes earlier in the century. Wide shoulders and cod pieces had fallen out of fashion and was replaced by “high waists and long legs [that] met neat torsos and fanciful shoulders (FHT, 2019).
Fig. 3. Robert Dudley, 1st Earl of Leicester. National Portrait Gallery, no date.
Despite the slim look, the Dutch ‘peascod belly’ was fashionable in the 1580s. It was a dip that “inflated at the girdle” (FHT, 2019). This shape appeared in doublets and was achieved through a type of padding called ‘bombast’.
Linen shirts would have been worn underneath the doublet. For the wealthy, the doublet was typically made of a velvet, satin, taffeta, or brocade. They were worn buttoned up to the neck. Jerkins were similar in shape but were worn as outer-garments and inspired by militarywear.
Elizabethan Men’s Silhouettes
Trunk hose are a type of breeches that would have been attached to a doublet. The fashionable melon hose were a popular style that “puffed around the thighs” (FHT, 2019). Canions were worn underneath the melon hose and reached the knee, and venetians were a lose fitting style of hose that reached the knee. Below the knee, “men wore stockings, which were often fastened with ribbons or garters” (FHT, 2019).
Many garments were decorated with parts of material being removed and replaced with needlework, known as cut-work. Embroidery was typically done in gold or silver threads, or coloured silks. ‘Slashing’ was also popular; it consisted of symmetrical slashes that reveal contrastingcoloured fabric underneath. Furthermore, ‘pinking’ was a similar decorative technique, except with smaller, shaped cuts that revealed a white lining.
Fig. 4. Sir Philip Sidney, 1576. Unknown artist. From the National Portrait Gallery. An example of slashing in men’s doublets and voluminous trunk hose.
Fig. 5. King Henry VIII, 1542. Unknown artist. Shows pinking in the sleeves.
Decoration
Many layers were worn in men’s clothing. Slashed sleeves in the doublet allowed the white linen shirt to poke through. The doublet would sometimes have a skirt or peplum, and ties (or ‘points’) or hooks that attached to the breeches. A ruff is pinned to a collar band for support. The collar band may be embroidered with ‘black work’, which was introduced by Catherine of Aragon from Spain and very popular against white linen.
Trunk hose and breeches came in many varieties. Round or French hose were “short, full breeches ending anywhere between the upper thigh to just above the knee and excessively padded at the hips to accentuate your buttocks” (Mount, 2023). ‘Canions’ were tight-fitted tubes that attached to a shortened version of the round hose, extending them to the knee.
The term ‘paned’ means to “cut into narrow panels, joined at the waist and hem, with a coloured lining showing between the panes” (Mount, 2023). Because of the amount of padding and ‘paning’, the codpiece was in decline and gave way to a more modest lace or buttoned-up opening as to not affect the symmetry of the panes.
Fig. 6. The Tailor by G.B Moroni, 1570. From Patterns of Fashion 3 by Janet Arnold. The trunk hose are an example of “paning”.
Lauren Mayers
Decoration
An example of pearls and letter
Fig. 7. Detail of front of doublet. From Patterns of Fashion 3 by Janet Arnold.
Fig. 8. Doublet and trunkhose worn by Gustav II Adolf, 1627. Image taken from Janet Arnold’s Patterns of Fashion 4.
Fig. 9. Portrait of Katherine Parr, 1545, from NPG. Example of waist tassel decoration.
Fig. 10. Portrait of Anne Boleyn, 1533-6, from NPG.
jewellery.
V&A Men’s Hose and Doublet
This “man’s doublet and trunk hose of oyster-coloured silk satin and an underlayer of blue silk taffeta, both slashed and pinked to reveal a third layer white silk taffeta. The doublet is interlined with linen and lined with a changeable [shot] blue and yellow silk taffeta. It has a 3-inch (7.8 cm) standing collar, 2⅞-inch (7.3 cm) deep shoulder wings, curving 2-piece sleeves and high waistline pointed at the centre front. A narrow-woven lace of silver and silver-gilt file is applied in 2 parallel rows over the seams, down the front edges, around the collar and laps. The belly pieces are made of baleen stitched into layers of linen and covered with the blue/yellow silk. There are 8 worked buttonholes on each sleeve and 33 along the left front edge, with 3 button loops of the woven lace on the left side of the collar. The buttons have a wooden core covered with silver and silver-gilt file. At the waist seam inside is a lacing band of linen covered with blue/yellow silk with 40 worked eyelets. On each belly piece is a lacing tab of linen covered with blue/yellow silk and 1 worked eyelet. There is a loop of the woven lace at the waist on the outside of each front, to hold a sword belt” (V&A, no date).
“The trunk hose are made of the same layers of silk and decorated in the same pattern of pinking and slashing, interlined with loosely woven wool and lined with fustian. The trunk hose are very full, gathered into the waistband and into 8 ½ inch (21.5 cm) deep canions below the knee. There is a pocket opening on each front; the pocket bags are leather lined with the blue/yellow silk. The trunk hose fasten with 2 worked eyelet holes on each side at centre front, 38 worked eyelet holes around the waistband, a buttonhole stand with 5 worked buttonholes on the left front and 5 buttons on the right (none remain)” (V&A, no date).
Fig. 11. Men’s doublet and trunk hose from the V&A. Front, side, back.
Shoes in the 16th Century
Pointy, medieval-looking shoes go out of fashion with the first Tudor king and rounded toes became the new fashion. Henry VIII created the fashion of squared toes. They were sometimes decorated with “slashes to show off a contrasting inner lining, as with sleeves” (Mount, 2023). Early Tudor styles were flat with thin soles, until the ‘welt’ was invented in the 1500s. A ‘welt’ is a “narrow strip of leather that goes around the shoe, in between the upper and the sole” (Mount, 2023). It made the shoe sturdier and able to withstand advanced decoration and shaping.
Heeled shoes in the Elizabethan period seemingly came from people who wanted to emulate the tall and impressive stature of Henry VIII. The heel was initially a wedge of cork or wood and was fixed between the upper and lower leather sole, but later became part of the sole and a proper heel.
Fig. 12. 16th Century Shoes from the Ashmolean Museum, Oxford
Fig. 13. Portrait closeup of Robert Devereux, 2nd Earl of Essex, by Marcus Gheeraerts the Younger. 1597, from the National Portrait Gallery.
Women’s Shoes in the 16th Century
Fig. 14. Riding boots which have said to be worn by Queen Elizabeth I from the Ashmolean Museum, Oxford
Dainty dress shoes worn by women were called ‘pinsons’. They has a heel and tapered toe, which could have been made of either silk, velvet, or brocade, and sometimes with decorative rosettes. In the mid-1500s, slip-ons were worn but buckles and lacing became increasingly more popular.
Shoes in the Tudor and Elizabethan period were made for the same feet, so the left and right could be swapped to be evenly worn. Either leather riding boots or overshoes would be worn for outdoor wear to protect the indoor footwear. ‘Gamaches’ were thigh-high boots and ‘buskins’ would come to the calf, and they would be either tight or loosefitting.
Buttons in the 16th Century
15. Made from copper alloy and stamped, biconvex. From Jamestown Rediscovery. Estimated 17th Century.
17.
Cast buttons became less popular when the majority of people did not have access to the casting equipment. More people had access to cloth, thread, and wooden beads. Being able to change the button colour by either matching the thread colour to the garment or being able to use a contrasting colour helped woven buttons gain in popularity.
It was common for there to be 20 to 30 buttons on a doublet to secure the front opening. They were typically bulbous and round. Buttons belonging to more elaborate doublets were more decorative and the plain buttons belonged to simpler doublets.
16. Made from copper alloy. Stamped, biconvex with star motif. From Jamestown Rediscovery. Estimated 17th Century.
Fig 16 is stamped with a round face and is decorated with a series of concentric circles and five perforated lines which gives a floral appearance.
The most prominent shape of the button in the late 16th and early 17th century was a round or flattened ball shape with a shank.
Fig.
Fig.
Made from copper alloy. From Jamestown Rediscovery. Estimated 17th Century.
Fig.
Fig. 18. Examples of different woven buttons.
Lauren Mayers
Men’s Ruffs
21.
22.
These ruffs were worn by men and women, which were set in a variety of shapes when returned to a laundress for washing, starching, and resetting.
“Ruffs with more than one layer became popular in the last half of the 16th century and continued to be fashionable in the 17th century, eventually becoming part of fossilised dress for some members of the clergy and the legal profession” (Arnold, 2023, page 46.).
Fig. 19. Ruff close-up of Sir Francis Walsingham. 1589, from the National Portrait Gallery.
Fig. 20. Close up of linen bobbin lace edging on a smock. Image from Janet Arnold’s Patterns of Fashion 4.
Fig.
Portrait of Cornelis Jortsz,, 1589, from the Weiss Gallery. Image taken from Janet Arnold’s Patterns of Fashion 4.
Fig.
Bleached white linen ruff. Image taken from Janet Arnold’s Patterns of Fashion 4.
Fig. 23. Portrait of James VI of Scotland and I of England, 1618-20. Image taken from Janet Arnold’ s Patterns of Fashion 4.
Men’s Ruffs
24. Portrait of Sir John Cutts, 1628-9. Image taken from Janet Arnold’s Patterns of Fashion 4. Example of a flat collar
Fig. 25. 5-layer ruff from Janet Arnold’s Patterns of Fashion 4.
This 5-layer ruffler has the neckband down as it would have been when worn. It is not clear how the ruff was pleated, although “a clue may be given by the presence of a fragment of stiff glued natural canvas behind the CF selvedge end” (Arnold, 2023, page 49).
It is not clear how many layers are on the ruffler as they are difficult to count. “There could be three, four, or even five layers in total, all edged in narrow bobbin lace” (Arnold, 2023, page 46).
Fig.
ruff.
Museum Research
Fig.. 26. A men’s doublet from the Rosenberg Castle, Copenhagen. Photo taken by author.
Fig. 27. Men’s doublet. From Janet Arnold’s Patterns of Fashion 4.
Fig. 28. Portrait of King Edward VI, 1547, from NPG. Photo taken by author.
Fig. 29. Portrait of Lady Jane Grey, 15901600, from NPG. Photo taken by author.
Lauren
History of CrossDressing
Shakespeare presented different heroines in his plays compared to how women were viewed at the time. Women were viewed as modest, silent, and passive, however, Shakespeare’s plays presented women as independent and assertive, and the audience applauded it. Characters in Renaissance plays were not made to show realistic images of society, but more for entertainment. However, it was a time of transformation and contradictory ideas. The attitudes towards women were being challenged in these plays by questioning the idea of a woman living in submission to male authority. The audience, which was primarily men, seemed to accept and applaud these views, but would most likely not have liked these views challenged in his home.
Crossdressing in the Renaissance period from a social aspect was shown as women being considered inferior to men and having fewer rights. This meant that cross-dressing presented an “important change of status” (Johnová, no date, pg 65-66). However, if women were pretending to be men, this meant that they were assuming more rights than they were entitled to, which threatened the societal order.
“In Shakespeare’s comedies, there are several female characters who use crossdressing as a strategy to achieve their goals. Besides safety and greater freedom of movement, the masculine attire also offers greater freedom of expression” (Johnová, no date, pg 66).
Fig. 30. Mark Rylance in Twelfth Night as Olivia. Lauren
“Emilia knows something is seriously wrong, but Desdemona's mind is preoccupied with the problem of her husband's love. She loves him so much that she cannot tell whether his love is lost or is yet recoverable. She has a vague premonition of death. Desdemona has reacted to this crisis with the passivity of despair and grief, as was the tradition for women abandoned. Othello, on the other hand, thinking he has lost Desdemona's love and fidelity, reacts with aggressive passions of accusations and violence. […]
Desdemona sings the "Willow Song," and, in this indirect way, she faces the real possibility that Othello is going mad and will desert her and that she may die of a broken heart. The "Willow Song" is an old one, existing in many versions before Shakespeare incorporated it into his play. […]
Othello Act 4 Scene 3
Fig. 31-32. Lady Desdemona and Emilia in the RSC’s Othello, 2015.
All through this scene, while Emilia tries to comfort and cheer Desdemona, she knows that her husband Iago has the handkerchief, a fact that she could have revealed to Desdemona but does not. Possibly Emilia hopes nothing more will be heard of the matter, or she thinks to protect her husband from accusation if the handkerchief subsequently turns up somewhere. Emilia had stood silently in the background (as a lady's maid should) when Othello demanded to see the handkerchief and Desdemona could not produce it (Act III, Scene 4), so she is aware that the handkerchief itself forms part of Othello's accusation. To speak now would seem too late, but to hide the information is not honest either.”
(CliffsNotes, no date)
Othello Frantic Assembly
During first year we went to see Frantic Assembly’s Othello at the Mayflower theatre in Southampton. It is a modern re-telling of Shakespeare’s original play using contemporary costumes and a bar setting..
The costume designs are seemingly inspired by grunge and streetwear and the setting is an 80’s/90’s style bar.
Whilst it was an interesting take on the classic Othello, I found the modern adaptation slightly jarring and surprising at first as they were still speaking Shakespearean language but in contemporary clothing. I found some of the clothing choices odd as well, as the main antagonist Iago was wearing a “Just Do It” Nike t-shirt, which is both ironic and slightly off-putting.
Overall, I liked the play, and the modern designs used to re-tell the story of Othello.
Fig. 34 - 37. Images from Frantic Assembly’s Othello.
Hampshire Wardrobe
38 - 40. Images from Hampshire Wardrobe taken by author.
Hampshire Wardrobe has many different costumes spanning across multiple periods and genres. This includes Tudor and Elizabethan, Georgian, regency, and WW1 and 2 military, among many others. Whilst we went to look for Tudor and Elizabethan costumes, I enjoyed briefly looking at the many others costume they had there.
Fig.
Lauren Mayers
Emilia! Trailer
This trailer shows the production of Emilia! on the West End after it had moved from the Globe, where it was first written and performed. It depicts more simple designs and fabrics than the AUB production. From what I can see from this trailer, the characters have been interpreted the same way as the AUB actors, with the Emilia’s as the narrators and figureheads, and the men as comedic and pompous characters.
Fig.
43. Emilia! West End trailer, London Theatre Direct, 2019.
Emilia! Reviews
From this interview (fig 44) with Morgan Lloyd Malcom, I learned a lot more about Emilia than I knew before. This includes: Emilia! won an Olivier Award for Best Sound Design.
Malcolm was commissioned by the Globe to write Emilia!. Debuted there in summer 2018, moved to the west end 2019. Because it was commissioned by the Globe, it was a very quick turnaround.
There is a film and book being developed.
Malcolm believes it’s a show that you either understand or you don’t.
It was an early decision to make it and all female cast, and it represents reclaiming Shakespeare’s Globe to be empowering of women.
Told by Emilia 3’s memory as her interpretation of men.
It was a huge moment when Emilia! opened on the West End as it’s not the typical play you would see there.
Fig. 44. Morgan Lloyd Malcolm (left) being interviewed by Emily Clare (right).
Fig. 45. Emilia! review by the YouTube channel The Break A Leggers.
Fig. 46. Fiona Shaw and Sandi Toksvig giving their opinions on the Emilia! opening night at the West End.
Emilia Bassano Lanier
She is now known as the first woman in England to publish a book of original poetry. She was born in 1569 to a family of secret Jews, “known as Marranos or Conversos” (Hudson, 2009, page 65). After her father’s death when she was seven, she was educated by Countess Susan Bertie. Bertie’s mother was a “proto feminist known for advocating that women should read the Bible for themselves” (Hudson, 2009, page 66). In the early 1580s, when Emilia was around 13, she became the mistress of Lord Henry Carey, who was the most important man in theatrical London life.
Fig. 47. An Unknown Woman by Nicholas Hilliard, 1590, V&A. This is a supposed portrait of Emilia Bassano, married to Alphonso Lanier
She became pregnant with Carey’s illegitimate baby, but before she could give birth, he removed her from Court and married her off to her first cousin Alphonso Lanier for the sake of appearances.
By the end of her life, Emilia “became one of the first women in England to own and run a school” (Hudson, 2009, page 68).
Ruff Making Workshop
I completed a ruff making workshop with Marija Radojicic, the chief ruff maker on Mary & George. I participated with the makers to gain a better understanding of what goes into making a ruff, as well as learning the techniques. I enjoyed the experience and learned a useful skill that I wouldn’t have known otherwise. Unfortunately, I wasn’t able to complete my sample, but I managed to sew a quarter piece together before the end of the session. Overall, I’m grateful I was able to experience it despite it being challenging.
Fig. 48 – 51. Ruff making process images.
Lauren Mayers
Burns Test
Hire Forms –Hampshire Wardrobe
Hire Forms from Hampshire Wardrobe
Lauren Mayers
Hire Forms –
Hampshire Wardrobe
Hire Forms from Hampshire Wardrobe
Lauren Mayers
Estimated Budget
Final Budget
Sustainability Assessment Form
Lauren Mayers
Estimated
Character Sheets
Lauren Mayers
Emilia 1
Lauren Mayers
Design
Costume Design by Bethany Lipscombe.
Lauren Mayers
Measurements
Photos of Actor
Front
Photo Credit: Tyler Cappasola
Side
Photo
Credit: Tyler Cappasola
Back
Photo Credit: Tyler Cappasola Lauren
Make Breakdown
Lauren Mayers
1st Fitting Photos - Before
1st Fitting Photos - After
Photo
1st Fitting Notes
2nd Fitting Photos - Before
Lauren Mayers
2nd Fitting Notes
Pre -Assessment
Front
Photo Credit: Fay Wilde
Side
Photo Credit: Fay Wilde
Back
Photo Credit: Fay Wilde
Lauren Mayers
Final
Photo
Photo Credit Scarlett Madison
Lauren Mayers
Emilia 2
Design
Costume
Design by Bethany Lipscombe.
Lauren Mayers
Measurements
Photos of Actor
Front
Photo Credit: Tyler Cappasola
Side
Photo
Credit: Tyler Cappasola
Back
Photo Credit: Tyler Cappasola
Lauren
Make Breakdown
Lauren Mayers
Lauren Mayers
Lauren Mayers
1st Fitting Photos - After
Lauren Mayers
1st Fitting Photos - After
Photo
1st Fitting Notes
1st Fitting Notes
2nd Fitting Photos - Before
Front
Photo Credit: Never O’Brien
Side
Photo
Never O’Brien
Back
Photo Credit: Never O’Brien
Lauren Mayers
2nd Fitting Photos - Before
Photo
2nd Fitting Photos - Before
2nd Fitting Photos - After
Photo
2nd Fitting Notes
2nd Fitting Notes
Pre -Assessment
Front
Photo Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo Credit: Fay Wilde
Lauren Mayers
Final
Photo
Photo Credit Scarlett Madison
Lauren Mayers
Final Photo
Photo Credit: Andy Beeson-Brackstone
Lauren Mayers
Emilia 3
Lauren Mayers
Design
Costume Design by Bethany Lipscombe.
Lauren Mayers
Measurements
Photos of Actor
Front
Photo Credit: Tyler Cappasola
Side
Photo
Credit: Tyler Cappasola
Back
Photo Credit: Tyler Cappasola Lauren
Make Breakdown
1st Fitting Photos - Before
Photo
Photo
1st Fitting Notes
2nd Fitting Photos - Before
Photo
2nd Fitting Notes
Pre -Assessment
Front
Photo Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo
Credit: Fay Wilde
Lauren Mayers
Final
Photo
Photo Credit Scarlett Madison
Lauren Mayers
Lady Cordelia & Flora
Lauren
Design
Costume
Design by Bethany Lipscombe.
Lauren Mayers
Measurements
Photos of Actor
Front
Photo Credit: Tyler Cappasola
Side
Photo
Credit: Tyler Cappasola
Back
Photo Credit: Tyler Cappasola
Make Breakdown
Photo
Lauren Mayers
1st Fitting Notes
2nd Fitting Photos - Before
Photo
2nd Fitting Photos - After
2nd Fitting Notes
Pre -Assessment: Lady Cordelia
Front
Photo
Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo
Credit: Fay Wilde
Lauren Mayers
Pre -Assessment: Flora
Front
Photo Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo
Credit: Fay Wilde
Lauren Mayers
Photo Credit: Andy Beeson-Brackstone
Photo Credit: Andy Beeson-Brackstone
Lauren
Lady Katherine & Lady Desdemona (Othello)
Lauren Mayers
Design
Costume Design by Bethany Lipscombe.
Lauren
Measurements
Photos of Actor
Front
Photo Credit: Tyler Cappasola
Side
Photo
Credit: Tyler Cappasola
Back
Photo Credit: Tyler Cappasola Lauren
Make Breakdown
1st Fitting Photos - Before
Photo
1st Fitting Photos - After
1st Fitting Notes
2nd Fitting Photos - Before
Photos
Photo
Photo
2nd Fitting Notes
Pre -Assessment: Lady Katherine
Front
Photo
Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo
Credit: Fay Wilde
Lauren Mayers
Pre -Assessment: Lady Desdemona (Othello)
Front
Photo
Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo Credit: Fay Wilde
Lauren Mayers
Photo Credit: Andy Beeson-Brackstone
Photo Credit: Andy Beeson-Brackstone
Lord Alphonso Lanier & Emilia (Othello)
Design
Costume Design by Bethany Lipscombe.
Lauren Mayers
Measurements
Photos of Actor
Front
Photo Credit: Tyler Cappasola
Side
Photo
Credit: Tyler Cappasola
Back
Photo
Credit: Tyler Cappasola Lauren
Make Breakdown
Lauren Mayers
1st Fitting Photos - Before
Lauren Mayers
1st Fitting Photos - After
1st Fitting Photos - After
Photo
Photo
Photo
1st Fitting Notes
1st Fitting Notes
2nd Fitting Photos - Before
2nd Fitting Photos - After
2nd Fitting Photos - After
2nd Fitting Notes
2nd Fitting Notes
3rd Fitting Notes
Pre -Assessment: Lord Alphonso Lanier
Front
Photo
Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo
Credit: Fay Wilde
Lauren Mayers
Pre -Assessment: Emilia (Othello)
Front Photo Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo
Credit: Fay Wilde Lauren
Photo Credit: Andy Beeson-Brackstone
Lauren
Final
Photo
Photo Credit: Andy Beeson-Brackstone
William Shakespeare & Man 2
Design
Costume Design by Bethany Lipscombe.
Lauren
Measurements
Photos of Actor
Front
Photo Credit: Tyler Cappasola
Side
Photo
Credit: Tyler Cappasola
Back
Photo Credit: Tyler Cappasola
Make Breakdown
Lauren Mayers
1st Fitting Photos - Before
Side
Photo
Photo Credit: Never O’Brien
Lauren Mayers
1st Fitting Photos - After
Photo
1st Fitting Notes
2nd Fitting Photos - Before
2nd Fitting Photos - After
2nd Fitting Notes
Pre -Assessment: William Shakespeare
Front
Photo
Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo
Credit: Fay Wilde
Lauren Mayers
Pre -Assessment: Man 2
Front
Photo Credit: Fay Wilde
Side
Photo
Credit: Fay Wilde
Back
Photo
Credit: Fay Wilde
Lauren Mayers
Final
Photo
Photo Credit: Andy Beeson-Brackstone
Lauren
Final
Photo
Photo Credit: Andy Beeson-Brackstone
Lauren
Supplier’s List
Lauren Mayers
List of Figures
Fig. 1 Page 35. Labelled illustration of women’s fashion in 1580. Source: Elgin, Kathy. Elizabethan England, Infobase Learning, 2009. ProQuest Ebook Centra Source: https://ebookcentral.proquest.com/lib/aib/detail.action?docID=456974. (Accessed 17/11/2024).
Fig. 2 Page 35. Queen Elizabeth I by Nicholas Hilliard, 1575. “The Phoenix Portrait”. Source: https://www.npg.org.uk/collections/search/portrait/mw02074/QueenElizabeth-I.. (Accessed: 17/11/2024).
Fig. 3 Page 36. Robert Dudley, 1st Earl of Leicester. National Portrait Gallery, no date. Source: https://www.npg.org.uk/assets/files/pdf/collections/pickups/tudor_dress.pdf (Accessed: 17/11/2024).
Fig. 4 Page 37. Sir Philip Sidney, 1576. Unknown artist. From the National Portrait Gallery. An example of slashing in men’s doublets and voluminous trunk hose. Source: https://www.npg.org.uk/collections/explore/by-period/tudor#compare1-62 (Accessed: 17/11/2024).
Fig. 5 Page 37. King Henry VIII, 1542. Unknown artist. Shows pinking in the sleeves. Source: https://www.npg.org.uk/collections/explore/by-period/tudor#compare1-15 (Accessed: 17/11/2024).
Fig, 6 Page 38. The Tailor by G.B Moroni, 1570. From Patterns of Fashion 3 by Janet Arnold. The trunk hose are an example of “paning”.
Fig. 8 Page 39. Doublet and trunkhose worn by Gustav II Adolf, 1627. Image taken from Janet Arnold’s Patterns of Fashion 4. Source: Arnold, 2023, page 39. (Accessed: 17/11/2024).
List of Figures
Fig. 9 Page 39. Portrait of Katherine Parr, 1545, from NPG. Example of waist tassel decoration.
Fig. 16 Page 43. Made from copper alloy. Stamped, biconvex with star motif. From Jamestown Rediscovery. Estimated 17th Century. Source: https://historicjamestowne.org/collections/artifacts/buttons/doubletbuttons/#:~:text=It%20was%20quite%20common%20for,likely%20belonge d%20to%20elaborate%20garments..
(Accessed: 17/11/2024).
Fig. 17 Page 43. Made from copper alloy. From Jamestown Rediscovery. Estimated 17th Century. Source:
Page 45. Portrait of Sir John Cutts, 1628-9. Image taken from Janet Arnold’s Patterns of Fashion 4. Example of a flat collar ruff. Source: Arnold, 2023, page 46. (Accessed: 17/11/2024).
Fig. 25 Page 45. 5-layer ruff from Janet Arnold’s Patterns of Fashion 4. Source: Arnold, 2023, page 48. (Accessed: 17/11/2024)
Fig. 26 Page 46. A men’s doublet from the Rosenberg Castle, Copenhagen. Photo taken by author. (Accessed: 12/06/2024).
Fig. 27 Page 46. Men’s doublet. From Janet Arnold’s Patterns of Fashion 4. Source: Arnold, 2023, page 62. (Accessed: 17/11/2024).
Fig. 28 Page 46. Portrait of King Edward VI, 1547, from NPG. Photo taken by author. (Accessed: 09/11/2024).
Fig. 29 Page 46. Portrait of Lady Jane Grey, 1590-1600, from NPG. Photo taken by author. (Accessed: 09/11/2024).
Fig. 30 Page 47. Mark Rylance in Twelfth Night as Olivia. Source: https://slate.com/human-interest/2014/02/tim-carrolls-richard-iii-andtwelfth-night-can-shakespeare-be-queer.html. (Accessed: 16/11/2024).
Fig. 31 – 33 Page 48. Lady Desdemona and Emilia in the RSC’s Othello, 2015. Source: https://learningonscreen.ac.uk/ondemand/index.php/prog/166B2E6C?bca st=132341554. (Accessed: 24/11/2024).
Fig. 48 – 51. Page 54. Ruff making process images. Photos taken by author. (Accessed: 25/10/2024).
Bibliography
Arnold, J. (1985) Patterns of fashion. London, Hollywood, CA: Macmillan; Quite Specific Media Group. (Accessed: 27/10/2024).
Arnold, J (2023) Patterns of fashion 4: The content, cut, construction, and context of linen shirts, smocks, neckwear, headwear and accessories for men and women c.1540-1660. London: The School of Historical Dress. (Accessed: 17/11/2024).
CliffsNotes (no date) Othello. Available at: https://www.cliffsnotes.com/literature/o/othello/summary-andanalysis/act-iv-scene-3 (Accessed: 09 December 2024).
Dupuis, T.L (no date) Recreating 16th and 17th century clothing: The Renaissance tailor. Available at: https://renaissancetailor.com/demos_buttons.htm. (Accessed: 17/11/2024).
Elgin, K (2009) Elizabethan England, Infobase Learning, New York. Available from: ProQuest Ebook Central. (Accessed: 17/11/2024).
FHT (2019) 1580-1589 Fashion History Timeline. Available at: https://fashionhistory.fitnyc.edu/1580-1589/. (Accessed: 17 November 2024).
FHT (2020) 1660-1669 Fashion History Timeline. Available at: https://fashionhistory.fitnyc.edu/1660-1669/. (Accessed: 17/11/2024).
Historic Jamestown (no date) Historic Jamestowne. Available at: https://historicjamestowne.org/collections/artifacts/buttons/do ubletbuttons/#:~:text=It%20was%20quite%20common%20for,likely %20belonged%20to%20elaborate%20garments. (Accessed: 17/11/2024).
Hmalagisi (2023) Guest post: ‘the DOS and don’ts of Tudor Men’s dress –what to wear in sixteenth-century england’ by Toni Mount, Adventures of a Tudor Nerd. Available at: https://adventuresofatudornerd.com/2023/11/27/guest-postthe-dos-and-donts-of-tudor-mens-dress-what-to-wear-insixteenth-century-england-by-toni-mount/. (Accessed: 17/11/2024).
Bibliography
Hudson, J. (2009) Amelia Bassano Lanier : A New Paradigm by John Hudson. Availableat: chromeextension://efaidnbmnnnibpcajpcglclefindmkaj/https://shakesp eareoxfordfellowship.org/wpcontent/uploads/Oxfordian2009_Hudson_Bassano.pdf (Accessed: 09/12/2024).
Johnová, L (no date) Patterns of Crossdressing in Shakespeare’s Comedies. Available at: https://www.phil.muni.cz/angl/thepes/thepes_02_09.pdf. (Accessed: 17/11/2024).
Lynn, E. (2021) Tudor fashion. New Haven: Yale University Press, in association with Historic Royal Palaces. (Accessed: 27/10/2024)
Mikhaila, N. and MalcolmDavies, J. (2015) The Tudor Tailor: Reconstructing 16th-century dress. Hollywood, Calif: Costume and Fashion Press. (Accessed: 17/11/2024).
NPG (no date) Tudor and Elizabethan portraits - National Portrait Gallery. Available at: https://www.npg.org.uk/collections/explore/by-period/tudor. (Accessed: 17/11/2024).
Reynolds, A. (2013) In fine style: The art of Tudor and Stuart Fashion. London: Royal Collection Trust. (Accessed: 17/11/2024).
The Tudor Tailor (no date) The Tudor Tailor | Reconstructing 16th Century Dress. Available at: https://www.tudortailor.com/. (Accessed: 17/11/2024).
V&A (no date) Doublet and trunk hose: Unknown: V&A explore the collections, Victoria and Albert Museum: Explore the Collections. Available at: https://collections.vam.ac.uk/item/O356786/doublet-and-trunkunknown/. (Accessed: 17/11/2024).
Appendix
Photos from Fittings & Pre -Assessment
Photo Credit: Megan Daniels.
Photo Credit: Megan Daniels.
Photo Credit: Megan Daniels.
Photo Credit: Verity Williams.
Lauren Mayers
Dressing for I, Joan
Lauren
I completed roughly 56 CPD hours working on I, Joan as a dresser. I helped out with the pre-assessment, tech rehearsals, 2 dress rehearsals, and 4 shows.
I completed over 10 quick changes, laundry, and minor alterations. I really enjoyed the experience and getting to know the actors and makeup students, and I felt it was a useful learning experience ahead of the show week for Emilia.
Photo Credit: Daisy Webb
Photo Credit: Daisy Webb
Photo Credit: Hannah Ballard
Lauren Mayers
Photo credits: Scarlett Madison Insta: @theatrelens
