Ischgl - Relax. If you can. by isabellasamuelsson

ISCHGL -RELAX. IF YOU CAN.

ORIGINAL SCREENPLAY BY ISABELLA SAMUELSSON

ISCHGL -RELAX. IF YOU CAN.

CONTENTS:

CONCEPT STATEMENT

PLOT SYNOPSIS

RESEARCH

STORY BOARD

DEVELOPMENT

FINAL DESIGNS LINE UP

FINAL COSTUME

CONCEPT 6

-RELAX. IF YOU CAN. This project is inspired by one of the first major outbreak of Covid-19 in Europe, starting in the ski resort Ischgl in Austria in the end of February 2020. The corona virus was first discovered in China in late December 2019 and after finding positive cases in more and more countries around the world, the WHO declared it a Public Health Emergency of International Concern in January 2020 and a pandemic in March. By the time the virus was discovered in Ischgl, Austria there had only been a few cases in the rest of Europe with most of them associated to traveling from places where the virus was more prevalent. The authorities have been widely criticised for not acting earlier to prevent the spread of the virus in the ski resorts, causing around 2000 cases in 45 different countries that can be linked to the resort. For my project that is set in the same ski resort, Ischgl, I wanted to do a dark catastrophic, thriller movie that explores how the humankind reacts in a crisis. It is set a few years into the future, around 5-8, in a high class ski resort where the rich goes to ski and party. It has a lot of other entertainment and activities for the ones who do not ski, such as spas, high end fashion stores and concerts. On the other side of the mountain, in a bunker, there is a medical science experiment

going on, controlled by a private pharmacy company with a powerful business man leading the experiment. Because of a security breach, some of the dangerous components they are working on is released and causes a big outbreak of a mysterious disease on the other side of the mountain, in the ski resort. The main theme of the movie will explore how different characters deals with the situation and also highlight the differences between the classes and the power balance between the well-off ski resort visitors and the slightly less well-off workers. The authorities struggle to decide what to value the most, whether it is to avoid further spread, keeping the economy going or to keep the rich and powerful well and happy. I want the costumes for this project to reflect that it is in the future and it is a sci-fi movie but I also want the clothes to feel relevant to an audience today. I want the contrast between the resort and the bunker to be clear by using very bright and colourful textiles for the characters in the resort and very dull and toned down colour palette for the workers in the bunker. For my textiles I want it to include a lot of knitting, and using different techniques to get the characteristics across. The shapes of the ski outfits are inspired by ski fashion throughout history, with some details preserved to illustrate how fashion is cyclical and that it is only supposed to be slightly in the future. The cuts of the outfits should be recognisable but feel new, fresh and exciting. I want most of my characters to have one dominant colour to make them recognisable in a big crowd of extras for a movie set.

SYNOPSIS In the mountains of the Austrian state of Tyrol, a town called Ischgl is pinched in a valley. It is known for their impressive skiing facilities but perhaps even more known for its lively après-ski parties. Some people have even called it the ‘Ibiza on ice’. The après-ski bars are a bit like discos for teenagers but instead, it is full of rich men in their 50s. It is a party destination for people with money. There are designer boutiques and five star hotels, restaurants are selling wagyu beef burgers and bottles of champagne.

The two main characters Julia and Gustav works at a bar in the ski resort and they are not there to fit in with the fancy guests but they are there to earn money and ski a lot. It is a big contrast to some of the rich fancy characters such as Tatiana and Anastasia who comes from money. In the beginning of the movie the relationships between the characters are established, we see more and more guests arriving at the resort in different ways. Vendela and Fredrik from Sweden arrives by bus because they have prioritised to live in a better location and do not have money to spend on both transport and accommodation. Tatiana and Anastasia arrives in a car with a hired driver. Julia and Gustav has inside jokes about the stupid rich people, there is some flirting in their conversation especially from Gustav’s part. On the other side of the mountain

there is a science facility in a bunker style location with a lot of concrete walls and corridors. It is surrounded with discrete electric fences and the entrance is a camouflaged doorway in the stone. We see the inside built up as a science lab with people inside rooms with glass walls, dressed in protective suits working in a laboratory, with pipettes measuring things on scales. A lot of warning signs are put up around the room. This is a medical experiment orchestrated by a private owned pharmacy company lead by the charismatic owner Mr Enzinger. Due to a human error, with a distracted scientist, Lukas, forgetting to dispose of hazardous protective equipment properly. One inner plastic glove ends up sticking to the scientists outer wear. While Lukas and Nadine are on their way out from the facility they go on a slightly detour to watch the sunset over the mountain. The plastic glove is falling off, is caught by the wind without them noticing. On a day off from work, Julia and Gustav is hiking up the mountain in sun rise to catch the perfect snow conditions and ski down. At the top of the mountain they take a break and have some morning coffee and breakfast. Julia picks up the garbage when she sees a plastic glove in the snow, she picks it up, looks at it confusedly. She puts it with the rest of the garbage. The next day, Lukas and Nadine start to get sick, coughing blood and have a high temperature, the symptoms they are expecting from their medical

weapon experiment. They know they have antidote at the bunker and it is now a race against time to get it in time. Mr Enzinger is briefed and trying to keep it all a secret. Julia joins Gustav and is going out to party in the evening, unknowingly spreading the disease she is infected with further. At the bar shots are shared, whistles are shared and the disease is spreading freely. Julia gets sick the next day, but life in the resort goes on as normally. People are out and skiing, drinking and interacting as normally. More and more people are getting sick and the authorities are contacted. At first they do not do anything but rather just trying to keep the situation quiet. After a few more days they are eventually deciding to close the village off but to not let the people there know. Rumours are spread fast in the village causing panic, and some people decide to try to flee over the mountain while others try to bribe their way out. Medics are sent into the village in hazmat suits and military is deployed around the mountain to try to stop people from escaping the quarantine.

STORY BOARD The film takes please in and around the mountains in a high class, expensive ski resort called Ischgl. The movie start with environmental shots to set the tone and atmosphere.

Tourist comes by plane from all over Europe and parts from all over the world. This shows how globalisation might cause problems later on in the story

Julia and Gustav is working in the bar and prepares for another party evening later. They discus the new week coming up, it is a tourist changeover and there is a concert coming up later this week.

Tatiana is relaxing in the spa, ignoring the whole skiing as a whole and is only there to relax and spend money.

On the other side of the mountain we can see an armed security guarding a bunker complex. It is well hidden in the mountain and the resort does not know of it.

Inside the bunker there is a science facility, but it is hidden in an old war bunker. The bunker is owned by a private company, we can see people in hazmat suits carrying out laboratory work.

After a long day’s work, the two scientists Lukas and Nadine leaves the bunker. They walk up the mountain to watch the sunset. Because Lukas was distracted and did not follow their safety protocol, he accidently bring a contaminated glove up the mountain. They don’t notice that the gloves is left behind when they leave.

The glove is caught by the wind and travels down the other side of the mountain. The next morning, Julia and Gustav goes on a hike up the mountain to then ski down off-piste. Julia sees the glove and picks it up to throw it in the trash when they get back to the village.

Back on the other side of the mountain, Lukas and Nadine is starting to feel sick and they are showing symptoms of being infected by the disease that they are constructing and experimenting on in their lab. They call their boss and is told to quarantine in their homes until they get medical help that they have in emergencies in the bunker.

In the resort, Julia is preparing for a big night out. She talks to her family that wants her to come home cause they have heard rumours that something is going on in the mountains. Julia just say that they are crazy and that she will come home when the season is over.

Julia, Gustav and the other characters are all I the same night club, drinking and dancing and sweating in the crowded bar. Shots are brought in on trays by waiters who blow whistles. These whistles is going from person to person, everyone wants to make noice.

Mr Enzinger, the successful businessman and owner of the bunker is concerned about the two infected scientists. But he decides to keep it quiet for now and not alert the authorities that doesn’t know about his medical experiments yet.

After the big party night, Julia is feeling horrible. She wakes up in what she thinks is a bad hangover, but her condition gets worse during the day and medical assistants is called. Gustav is helping her with everything.

In the meantime the life in the resort is going on as usual. People are skiing, standing in queues for the lifts, sharing crowded gondolas and eating in busy restaurants.

More people that have been in contact with Julia on the night out is getting sick. Some of the symptoms includes a high fever, coughing blood and a nosebleed. Noone can seem to identify the disease.

The authorities are contacted and the chancellor of Austria is warned about the situation. She does not want to act at all at first, she thinks it is best to keep it quiet to not cause any panic. She sends some polices and military to try to calm the situation down.

Police are setting up roadblocks and are ordered to put the resort in quarantine, no one gets in or out. At this point there are hundreds of infected people in the resort.

Medical workers are sent to the resort and arrive in full on hazmat suits. Noone knows how the disease is spreading yet. The sight of these “space-people” cause more panic and fear amongst the tourists.

The tourists who are not yet infected are trying to get out of the resort by their own cars. The roadblocks are causing traffic chaos and it is unclear if they are allowed to leave or not.

To avoid the quarantine, some of the tourists try to flee over the mountain. Others are trying to bribe their way out

The military are hunting these fleeing skiers over the mountain with helicopters.

Camouflaged military troops are deployed around the mountain to stop everyone from leaving. They are given full liberties to take any measures to stop the spread.

RESEARCH

ISCHGL Ischgl is a village in the Paznaun valley in the south west of Austria, in the state of Tyrol. It is a part of one of the world’s largest ski areas. They have 238 km of groomed pistes, 45 mechanical lifts, cable cars, gondolas, detachable chair lifts and some T-bars. There is also many restaurants and bars around the village, but also in the ski system itself, one of the most popular restaurants is called Idalp.

Even though the skiing facilities are great, they are mostly famous for the whole culture and establishments that surround the skiing. They hosts pop concerts celebrating the end of the annual ski season called Top of the Mountain Concert, at the Idalp restaurant, 2300m above sea level. Some of the artists that have performed here are; Bob Dylan, Tina Turner, Elton John, Mariah Carey, Beyoncé and Rihanna. In April 2002 Bill Clinton gave a speech at Ischgl. Ischgl is a modern Alpine town with a year-round population of roughly 1600. It is highly urbanized and touristic, with more hotel rooms than residents. The town has become

popular for its nightlife. Ischgl’s skyline is dominated by newly built hotels, giving it a less authentic feel than most other villages and towns in Tyrol. Ischgl was founded in the 10th century as a farming village. For centuries there was no connection between the upper Inn Valley (Oberinntal) and the Paznaun Valley, and Ischgl’s only connection to civilization was through Vorarlberg, its most important trade partner. It was effectively an isolated outpost of Vorarlberg in Tyrol, and the name Ischgl literally means island in the local dialect, reflecting its isolation. Archduke Siegmund understood the difficulties faced by the young Alpine village, and allowed Ischgl to export cattle and import wheat duty free, which boosted its economy from the 1460s. From 1505, Ischgl was allowed to collect toll but in return was required to keep the trade route over the Jamtalferner glacier open. This proved to be difficult because of increased rock avalanches and the glacier breaking apart, and by the 18th century the glacier could no longer be traversed by horse, bringing trade almost to a standstill. Only by the end

of the 19th century, when tourism generated a new source of income, Ischgl started to enjoy economic improvements. Between 1882 and 1889, several Austrian and German mountaineering clubs installed shelters and promoted tourism. Since the 1964, when the first Silvretta cable car opened to the public, Ischgl has transformed completely from a millennium of agriculture into a ski resort. With over 10,000 guest beds it is now one of the largest ski resorts in the Alps. Many people come to Ischgl just to party and enjoy the life on the side of skiing. According to the head of Ischgl Tourist Association, Alexander von der Thannen there is “too many tourists who head straight for the bars, without ever making it to the slopes.

ALPINE SKIING

Skiing has an ancient history. The birth of modern downhill skiing is often dated to the 1850s, when Norwegian legend Sondre Norheim popularised skis with curved sides, bindings with stiff heel bands made of willow, as well as the Telemark and Christiania (slalom) turns. Skiing can be traced to prehistoric times by the discovery of varying sizes and shapes of wooden planks preserved in peat bogs in Russia, Finland, Sweden and Norway. Ski fragments discovered in Russia have been carbon-dated back to circa 8000-7000 BC. It is virtually certain that a form of skiing has been an

integral part of life in colder countries for thousands of years. Skiing changed from a method of transportation into a sporting activity during the late 19th century. The first non-military skiing competitions are reported to have been held in the 1840s in northern and central Norway. The first national skiing competition in Norway, held in the capital Christiania (now Oslo) and won by Sondre Norheim, in 1868, is regarded as the beginning of a new era of skiing enthusiasm. A few decades later, the sport spread to the remainder of Europe and to the U.S., where miners held skiing competitions to entertain themselves during the winter. The first slalom

competition was organised by Sir Arnold Lunn in 1922 in Mürren, Switzerland. In alpine skiing, for every 1000 people skiing in a day, on average between two and four will require medical attention. Most accidents are the result of user error leading to an isolated fall.

Ischgl was one of the first major hotspots of the covid-19 pandemic in Europe. Around 2000 cases, mostly in Germany and the Nordic countries were traced back to the ski resort, starting in Iceland on 1 March 2020. Ischgl was linked to cases in 45 countries. The first case was reported on 7 March, but Austria’s public health agency has since said it believed there were cases as early as 5 February. It is believed that patient zero was an Austrian waitress who started showing symptoms on 8 February. But authorities in the Tyrol region dispute this, saying that the first case appeared on the 7th of March. They claim they took radical action in a timely manner. On the 7th March a waiter at an après-ski bar called Kitzloch tested positive for Covid-19. Kitzloch was ordered to close two days later. It was not until 13th of March that the Paznaun Valley, including Ischgl, and the resort of St Anton am Arlberg were quarantined. Foreign tourists were still allowed to leave. The authorities have been widely criticized for not acting earlier, they were too slow to close the resorts. They knew by the 5 March that an outbreak was likely. “From 8 March, a correct assessment should have led to the closing of bars, the stopping of ski lifts and orderly management of departures of tourists” according to an official investigation. But instead, tourists were not informed and the resort remained open for several days. When the full lockdown was announced on 13 March, thousands of tourists

were forced to evacuate within hours. This created a panicked reaction from guests and workers. At least 32 tourists had died after visiting the Austrian ski resorts. A group of tourists from Iceland had tested positive after a visit to Ischgl but it was unclear where they had actually contracted the virus. When the 36 year old waiter on Kitzloch tested positive in the town itself, the inside of the bar was immediately disinfected.

22 of the barman’s close contacts were told to self-isolate. The local health authorities still insisted it was “unlikely, from a medical perspective” that the virus could have been transferred from staff to tourists. The day after, 15 people who had been in contact with the barman had also tested positive. 40% of the citizens in Ischgl had developed covid-19 antibodies but only 15% had had any symptoms.

CORONA 20

OUTBREAK 21

MOVIE INSPIRATION

The inspiration for my feature film manuscript and style of the movie is inspired by a few different movies. The ski resort element is well portrayed in two Swedish movies that are both set in the alps, Force Majeure (2014, original title; Turist) and Snowroller (Sällskapsresan 2, 1985). Snowroller is a comedy following the awkward Stig Helmer who does not know how to ski. I took inspiration from Snowroller and the way they portray the characters in the movie. They have very stereotypical types of people and skiers, for example the goofy skier, the cool fast gang of skiers, the family skier etc. Force Majeure (2014) is a dark comedy drama, with the main storyline surrounding the fact that a father runs away from his family when an avalanche hits the restaurant where they are. The movie is an uncomfortable digestion of a relationship and how to handle a crisis.

I have also taken some inspiration from two movies that portrays a pandemic or virus outbreak. Outbreak (1995) and Contagion (2011) are two different disaster movies where an unknown virus is spreading. In Outbreak there is a fictional ebolavirus and the movie speculates how far military and civilian agencies might go to contain the spread of a deadly, contagious disease. Contagion depicts the rapid spread of a virus, inspired by epidemics such as the 2002–2004 SARS outbreak and the 2009 flu pandemic. Both of the movies deal with people’s panic when a virus spreads and how the authorities handle the disaster.

Images on left page, from the top; still from Force Majeure (2014), Bottom; Swedish poster for Force Majeure (2014), Images on right page from the top left; still from Outbreak (1995), poster for Contagion (2011), poster for Snowroller (1985)

SETDESIGN

BUNKER

The movie is mostly set in two different settings with big contrast between them even though they are seated around the same mountain. The bunker is an old military facility set in the opposite side of the mountain. It is kept under high security with armed guards surveying it 24/7. Its existence is not known to the tourists in the ski resort, neither to the all-year round villagers. Inside the bunker there is a hypermodern science lab with all the necessary facilities. I wanted

Images on left page, from top left: corridor in bunker, pissoar in bunker, Cheyenne Mountain Complex. video game concept design, bunker in Switzerland Image on right page; Still of Mount Weather from the TV show 100s

the vibe to feel very surrealist and science fictional. The bunker setting is mostly inspired by Mount Weather in the TV-show ‘The 100s’. In the 100s, some teenagers are sent back to earth after they have been living in a spacecraft for decades after the earth was destroyed in a nuclear war. When they come back they realise that there are people left on earth with some of them taken shelter in a massive bunker complex called Mount Weather. In the bunker they also execute science experiments to figure out how they could survive

outside the bunker after living in it for so long. Other inspiration was taken from old bunkers in the alps left there since World War II, especially built in Switzerland. Also from the Cheyenne Mountain Complex located in Colorado, US. It was a military base of operations in the 1950’s during the cold war. It was at this time where the threat of soviet bombings were high, so proper action needed to be taken in order so that everything was safe, which is why it was built inside of an entire mountain.

SETDESIGN SKIRESORT

The ski resort setting is going to be a mix and match of all the extreme stereotypes of alp ski resorts. However it is supposed to be super fancy and luxurious for the rich to come and ski and party in. One of the main settings would be Hotel Madlein in Ischgl (top of right page). The hotel is a luxurious four star hotel with its own spa and high class restaurant. I thought the look of this hotel is perfect because it gives me a retro-futuristic vibe with its 80s style signs and glass front. Other elements of the ski resort setting is the après ski bars and festival area. This gives the ultimate crowded atmospheres where a disease can spread unknowingly. The concert scene is set mid-way up the mountain that would give a view over

both the peaks and the valley. The gondolas and ski lift cabins are also a perfect setting to film the close contact people have with complete strangers in a ski resort. These rides take up to 15 minutes and some gondolas carries up to 30 people in the same cart. This also give an opportunity for a disease to travel quickly between strangers. I want it to be a clear difference between where the richest tourists live and

where the workers in the resort live. I want the contrasts to be highlighted with the fancy luxury hotel with lots of space compared to the workers flat that is messy and where they live 6 people in bunk beds to save some money. I also want it to be a bright and colourful setting in comparison to the bunker on the opposite side of the mountain.

SKI FASHION

Firat Meric for ELLE Turkey January 2019 with Eva Klimkova, Photographer: Firat Meric. Stylist: Asli Asil. Hair Stylist: Yildirim Bozuyuk. Makeup: Omer Faruk Dinc. Model: Eva Klimkova at Elite Milano. Inspiration for my ski outfits, I liked how they captured the outfit in different angles and especially their choice of setting for this photo shoot. The ski lift gives a real sense of the atmosphere and temperature of the shoot.

Images on left page, from top; Vogue Japan, Mark Piliai and Eva Geralidine Fontanelli, Image on right page; Ienki Ienki, Goldbergh Ski Wear, Nadia Lee Cohen,

For the ski costumes I have looked into expensive high fashion brands and their winter collections. Since fashion is changing very fast but also cyclical at the same time it is hard to say where the lines go between “in fashion” and “out of fashion”. What was modern and most trendy this year might be out next season. So I looked at very contemporary fashion edit shoots. I liked the bright colours of these outfits and the combination of different materials, with some shiny and some matte.

VINTAGE SKI FASHION

To have sense of what the ski fashion is going to like in the near future I looked at what it has been looking like for the last few decades. I wanted to bring shapes and silhouettes inspired by vintage ski wear. These images shows both what the ski wear looked like in fashion magazines and what royals and celebrities were wearing in the slopes.

Image on left page; L’Officiel magazine 1978 Image on right page; Princess Diana, Ivana Trump by Russell Turiak.

I mostly looked at what ski fashion looked like in the 1970s and the 1980s. The textiles and styles have gone from slimmer jumpsuits in softshell in the 70s to more exaggerated puffer jackets in the 80s. The difference between the image above to the right and the image to the bottom left is apparent, with a clear different in size and shape. The pink quilted jacket above is from 1975 and has some wadding in it, but compared to the silhouette of the jackets to the left, from 1985, they have way more wadding.

In the images on the right-hand page there are examples of different use of materials, with both matte and shiny finish to them. The King and Queen of Sweden are wearing thin ski suits with little to no wadding in a matte stretchy material. They are also not wearing any helmets even though they are alpine skiing. The use of helmets have become increasingly popular and there is unusual to see people ski without it nowadays.

Images on left page, from top left; Skifans, Vogue Paris 1975, Vogue, Image on right page; King and Queen of Sweden, Roland Bianchini, Audrey Hepburn in Austria

GUSTAV KLIMT

Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter. I wanted to use some of his artworks as inspiration for my textiles. I was mainly inspired by his painting Medicine (image above to the left, with a colorized enlargement on the left page) as the meaning behind the painting fit really well with my project. The goddess Hygieia (goddess of health, cleanliness) is standing in the foreground of the painting and has turned her back to the mankind.

DEVELOPMENT

SHAPE OF THE

FUTURE To find the right silhouettes and shapes of a futuristic world I looked at how other creatures have been predicting future fashion. I looked at how for example Blade Runner combined historic influences from the 1940s with 1980s to shape the future. I did multiple sketches to try to combine detailed shapes from different decades to create a new look.

Images on right page, from top left; Simon Armstrong A/W 2015, Blade Runner, Bottom from left: AMBUSH A/W 2019, Simon Armstrong A/W 2015

SHAPE OF THE

FUTURE The shapes I liked the most was the ones with a high collar, a big hood and a silhouette with a jacket ending around the waist and high waisted ski pants. I also enjoyed the asymmetric collars and closings of jackets.

The shapes for the female costumes were just a mirror of the same styles as for the male characters. I enjoyed sketching big silhouettes as well but I decided to go for a more slim outline inspired by the 1970s.

TEXTILES KNITTING

For this project I wanted to focus on knitting and incorporate it in all the designs for the characters. I wanted to use different knitting techniques and explore the effects of different weights and types of yarn. Knitted jumpers seamed like a perfect use of this considering the need for layering clothes whilst skiing. I also wanted to bring in the knitting to the characters in the bunker and offices, to connect them all with this element, although used in various ways. I took inspiration

Image to the left: knitting sample in 100% acrylic , image below; knitting sample in blend yarn, Image to the right; look from Ulla Johnson Pre-Fall 2020 collection

Text in bold describe samples made by me

from both fashion designers knitting and artists who mend ruined knitting together again. I was mostly inspired by jumpers that had a hand-knitted look rather than machine knit. My own exploration of knitting brought a wider understanding for how it is possible to both build up texture and structure in the knit, but also how to knit contrasting colours together to create new patterns. Some of the yarns created a faux fur look, the fur hid the pattern created by the knitting stitches however.

Image to the top-left: mended sweater by Celia Pym , image to the top-right: MOROSHKA by VINGIL

Image to the above to the left: wool sample , image in the middle: Caroline Kaufman 2014, image above to the right: knited cable sample. Image below: 100% acrylic sample, bottom right: knitted faux-fur sample, 100% polyester

CHARACTER DEVELOPMENT

JULIA

Images from top left; knitted vest with berry pattern, samples for the ski outfit, Shape inspiration for the ski outfit, and bottom right samples for the knitted jumper.

“It’s my fault. It’s all my fault. They are all sick because of me. I’m the one to blame for all of this.” Julia, 24 from Austria. Working as a waitress at the bar Kuhstall. She has been working the winter season there for 2 years now. She is only in the ski resort as an escape from her parents, to get some good money and to be close to the skiing. She is the one bringing down the disease from the top of the mountain and is the first one who is infected in the resort, she unknowingly becomes a super spreader. She gets severely ill but eventually survives and have to handle the media focus and rage from the people in the resort. She is into vintage clothing and does not aim to fit in at all, making her the odd one who is easy to blame. It is because of her goodness and will to keep earth clean that is causing the outbreak. I wanted her outfit to close her off slightly and give her a bit of mystery. Her costume is a mix of a futuristic and vintage style with colours inspired by the 1970s. Her knitting incorporates the snake from Klimt’s ‘Medicine’.

CHARACTER DEVELOPMENT

GUSTAV

Images from top left; example of a Lusekofta, Moncler 3 Grenoble, Bottom from left; Shape inspiration for the ski outfit, sample development for the ski suit.

“Let’s just get out of here. Just you and me Julia. Let’s leave, never look back and forget about all of this.” Gustav, 27 from Norway. Working as a waiter at the bar Kuhstall. He is the colleague of Julia and they are also very good friends that spend most of their free time together as well. He has a crush on Julia and they flirt quite a lot. He is also in the resort because he finds it an easy way to earn money and be close to his biggest love in life – skiing in the alps. He does not get sick from the disease and therefore takes care of Julia when she is sick. He is not that into fashion but rather wants the clothes to be functional and warm and he often uses second hand clothing or things that has been given to him. However, he is very sporty and interested in functional clothing. I wanted to give him a modern variant of the traditional knitted jumper from Norway – ‘Lusekofta’. The original version of the jumper is black and white or grey and has an embroidered ribbon in the front and around the neck.

CHARACTER DEVELOPMENT

ANASTASIA

Images from top left; fur samples for the seams, samples for the knitting. Bottom left: Salt Magazine - Nadya Kurgan - Andreas Ortner, and bottom right; textile inspiration for the ski outfit.

“What is all the fuss about? Let’s just have more drinks, I’m sure it is just a weird prank. Who cares about stupid rumours anyways?” Anastasia is in her early 20s with origins from Russia but now lives in the UK. She is in the ski resort with her mother and her friends. She comes from money and wants to show off in the slopes, not necessarily with her skiing but with her looks. She is also in the resort to buy expensive jewellery, drink and eat well and party at the after ski with her best friend. When the outbreak happens she is a bit oblivious and just want to keep on with her holiday as normal. She and her mother eventually is trying to flee by buying their way out from the cut off village. They bribe a police officer at a roadblock and get a ride with him away from the situation. Her clothing is very bright and modern, with some shine so that every one can see her.

CHARACTER DEVELOPMENT

TATIANA

Images from left; inspiration for the fur coat. . fur samples, Bottom right; crocheted flower samples for the jumper

“I don’t want to stay in this disgusting place one more minute. We need to get out and I will do anything and pay anyone to flee this disaster. I don’t understand why they haven’t sent in my plane yet” Tatiana is the mother of Anastasia, in her 50s from Russia. She loooves fur and dresses from top to toe in it. She is quite traditionally in her values and comes from a lot of money and she wants that to show. She is not in the ski resort to ski at all, she thinks skiing is below her. She is there to spend her time at the spa, buy expensive things and eat at the fancy restaurants. When the outbreak hits her only thoughts is to get out of the village with all their expensive luggage, so they can not flee but they bribe themselves out. Tatiana thinks that the ones who get sick are disgusting and that she is immune because she is so rich. When they are on their way from the village in the car with the bribed police officer, she starts to chough… Her outfit is all made out of a patchwork out of different furs, to show that she could have any animal killed. She has lots of expensive jewllery such as diamond rings, gold necklaces etc.

CHARACTER DEVELOPMENT

VENDELA “But what is wrong with trying to fit in? There is nothing wrong with aiming for the top and to try to get there by cutting some corners. I prioritise the image before the content any day” Vendela is a 38 year old divorced woman from Sweden that is in the resort on holiday with her new younger boyfriend. She is desperate to fit into the fancy world but she does not really have the money for it. She has spent too much on the tickets and even more on the ski outfit because she wants to get connections with the rich and powerful and she wants to look like she belongs there. Her outfit is slightly outdated though and just looks a little bit off. She is also very embarrassed by the way her new boyfriend dress since he is so stereotypical Swedish and she would rather be from somewhere cooler or more exotic. She gets sick in the beginning of the outbreak and her boyfriend abandons her directly only to come crawling back when he is also sick.

Images from top left; overall inspiration for the shape, Sample development, Bottom left: Metallic Puffer from Boohoo, Birgitte Bardot

CHARACTER DEVELOPMENT

FREDRIK “No of course I would never leave my family behind! I might save myself first to then come back and save my family. If that means I would leave them for a while to come back? Yeah then I would leave them” Fredrik is the younger boyfriend of Vendela, he is 30 and also from Sweden. He is a former alpine ski racer that was never really successful but very promising in his youth, but due to a knee injury he had to quit a few years earlier. He is still stuck in that mindset though and he wants to compete all the time. He is also very proud the represent Sweden and wants that to show in his clothing too, so they are clearly bright blue and yellow. He always put himself first and when the crisis hits his first instinct is to flee and he does not car much for Vendela in the situation. It is not until he gets sick himself that he comes back to the already sick Vendela and wants her to help him out.

Images on right page, from top left; Swedish skier Ingemar Stenmark, Samples for the outer wear. Bottom from left: Samples of the fringes, Swedish biathlon skiers

CHARACTER DEVELOPMENT

LUKAS

Images from left; Hyke Spring 2018, Nehara Pre-Fall 2017, Leandro Cano, F/W 2018

Lukas is a 35 year old scientist working in the bunker. He has been studying most of his life and was recruited to this experiment straight from his university studies. He is a hard working but sometimes a bit accidently careless person. He has been working in the bunker for a few years and only gets a few weeks of in a year when it is possible for him to travel away from the mountain. Because everything he works with is classified he has a hard time making connections with people outside of work and therefore he become very close to his coworker Nadine. He is the one who releases the disease accidently, and he is also the first one to get sick, but because he knows what he is dealing with they have an emergency antidote that saves him from getting too bad. I wanted his costume to be strict and tailored but with a sense of sloppiness in his knitting. The pattern on his trousers connects to the company’s logo.

CHARACTER DEVELOPMENT

NADINE

Images from left; Student work from Palimoda, Fendi spring 2018, hairstyle by Casey Powell

Nadine is a 38 year old scientist working in the bunker. She has been working there for slightly longer compared to Lukas and she is also higher in rank. She is very strict and has attention for details, she does not let anything get past her. Her friendship with Lukas is making her relax a bit more because of his more laid back attitude. She is the second person to get sick due to her being close to Lukas, but they get through it together, supporting each other and their friendship grows stronger. She is always the responsible and professional one when Lukas can be a bit more careless. I wanted her costume to have the same style as Lukas’s but with a different range of textiles. Her knitting is more structured but in the same colour scheme as the rest of the bunker people

CHARACTER DEVELOPMENT

MR ENZINGER

Images from top left; Louis Vuitton Fall 2020, Proenza Schouler Fall 2016, Cotton Ribbon Jacket - Beklina

Mr Enzinger is the business owner and CEO of the pharmacy company that is executing the medical experiments in the bunker. He is in his mid-40s and has all his focus on work. He also wants to have a great reputation as a successful and innovative business man. Some might consider him evil but he sees himself as an opportunist and someone who might balance on the line of what is legal and not but always tries to stay on the right side of the law or at least never get caught when his on the wrong side. When the outbreak is happening he is trying to keep it quiet and not take any responsibility for the crisis because that would bring harm to experiment and his company’s future. He wants to look powerful and very modern and fashion correct. His costume is made in the some colours as the bunker scientists but with some more clean lines.

CHARACTER DEVELOPMENT

REITBAUER “We have acted with the information known to us. We have taken the right decisions at the right time. The situation in the resort is under control, we have deployed the military and quarantined the place. No one is getting in or out.” Chancellor Reitbauer is the head of government of the Republic of Austria. She is a firm and strict leader that has had to fought her way up the power ladder and she wants to prove herself to the people that she is the best leader of Austria. She is very professional and want to look like she belongs in power. She is very stressed out by the situation in the resort, especially when she finds out that there has been a secret medical experiment happening by a private company. She can sometimes come across as very cold and therefore she has been advised to dress a bit softer to not scare away her opponents or voters.

Images on left page, from top left; First Lady Dr Jill Biden, Former Chancellor of Austria Brigitte Bierlein, Bottom left; Knitting samples, Louis Vuitton Fall 2018

FINAL DESIGNS

JULIA

Julia, bartender in Ischgl, first one to get infected and brigns the disease to the resort.

Faux Fur, 100 % Polyester

Foiled Black Mesh on Crushed Velvet

Organza on Quilted Foil Fabric, 100% nylon

Waterproof fabric, 100% Polyester

Polyester knit,

Wool knit

Knit, 100 % Acryl

GUSTAV

Gustav, originally from Norway. Works and flirts with Julia. Loves skiing more than parties.

Bleached Velvet, 100% cotton

Faux Fur, 100% polyester

Quilted ripstop, 100% nylon

Cotton velvet on nylon ripstop,

Knit, alpaca wool and acrylic

Knitted faux fur yarn, 100% polyester

ANASTASIA Anastasia, from the UK. Comes from money and wants to show it.

Faux Fur, 100% Polyester

Foil on waterproof polyamid

Foil Fabric, 100% Polyester

Foil on waterproof polyester

100% wool knit

Knitted faux fur yarn, 100% polyester

TATIANA

Tatiana is Anastasia’s mother. She is originally from Russia and loves money and fur.

Faux Fur, 100% Polyester

100% Acrylic crocheted flowers

VENDELA

Vendela, from Sweden, wants to be something she is not. Wants to be and look rich.

Faux Fur, 100% Polyester

Quilted Foil Fabric, 100% nylon

Quilted waterproof Fabric, 100% Polyester

See-through 100% Polyurethane

Faux Fur, 100% Polyester

100% Acrylic knit

FREDRIK

Fredrik, from Sweden, wants to show that he is from Sweden. Loves skiing and the Swedish flag.

Polyester Ribbon

Blue Nylon Ripstop, 100% nylon

Quilted Foil Fabric, 100% nylon

Yellow Frays, 100% nylon

Angora Wool Faux Fur

Wool knit

LUKAS

Lukas, scientist working in the bunker. He is at fault for the original source to the disease.

Acrylic and cotton knit

Polyester/viscose

Polyester on chiffon

Machine stitched cotton drill

Faux leather on faux fur

Metallic Foil Satin, 100% Polyester

NADINE

Nadine is working as a scientist in the bunker. She is the second person to be infected.

Metallic Foil Satin, 100% Polyester

Parallelogram knit, 100% polyester

Polyester/viscose

Bleached cotton drill

Quilted Faux Leather

Wool weave mix, wool/polyester

MR ENZINGER Mr Enzinger is the business man who wants world domination. Owns the bunker.

Polyester/Viscose with Linen

Velvet Ribbon on Cotton Drill

Faux Leather on Wool Mix

Wool Suit Fabric

Teddy/Suede

Faux Fur, 100% Polyester

GOVERNOR

Chancellor Reitbauer, leader of Austria. She’s the one who takes the late decision about quarantine.

Polyester Jaquard weave

Faux Fur, 100% Polyester

Crushed Velvet, 100% Polyester

85% Wool, 10% Polyacrylic, 3% Mohair, 2% Viscose

Knit, 100% wool

Lace knit, 100% polyester

COSTUME PROCE

ESS

SKI TROUSERS

The process of making the ski trousers started with a toile (right image) that needed some adjustments to the fit and also the thickness of the wadding. I made the final trousers in the orange waterproof fabric and started with sewing the pockets and the fly. Then I prepared the quilting in the bottom of the trousers (left image) before I sewed them all together. The last thing I added was the belt hoops in the lining (mid image).

Images on left page, from top; Knitting process; rib knit, front piece, sleeve Bottom; First toile with fur inserted in the seams Right page; First step of front piece, Pocket inserted in the lining, Bottom right; Toile for the collar shape.

For the knitted jumper I started to knit the ribbed waistband (image at top on left page). I knitted the whole jumper in pieces and sewed it all together. I used a mix of knitting techniques including moss stitch, braid knit, lace knit and fair isle. The image on the left-side on the bottom shows the second toile for the jacket with the fur piece on top. I had to figure out how to sew the pieces of the jacket with the wadding and the fur in between. I ended up sewing the front piece together with the fur before I added the wadding underneath. Image above shows the process of the front pockets (hidden by the fur) and the inner pocket. Image to the right is the toile for the high standing collar. I wanted it to hide parts of the face but still allow for free movements.

FINAL COSTUME

Photographs of the final costume Photographer: Scott Marshall. Poppy Anderson Model: Isabella Samuelsson.

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Photographs of the final costume, details and the knitting. Photographer: Scott Marshall. Poppy Anderson. Model: Isabella Samuelsson.

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KNITTING

Photographs of the final costume, showing the hand-knitted jumper, with a mix of knitting techniques. Photographer: Poppy Anderson. Model: Isabella Samuelsson.

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