Costume variation: Photoshoot preparation and sourcing

In exploring the characterisation of Prometheus as well as showcase my work in another light, I wanted to work on modelling in the medium of costume as well as simultaneously working on the maquettes I've been focused on. I feel this could add to the characterisation of the fox-spirit as well as give me an opportunity to work with camera; both in moving image and stills, which I think was one of my strong points in previous projects. I was lucky enough to have two models to choose from! I got all the outfits I had sourced and had them both wear them in order to see which I though suited the character better. Although I prefer the height of the model on the left, I think the tattoos and aesthetic of the model on the left work better with the themes and visuals I've been working on for this character! 

Costume tutorial: Padding a mannequin

1) Its quick and easy to use wadding in order to pad a mannequin, however you can achieve a more precise and subtle pad by halving the wadding sheets you're using, especially if they're thick. Padding is used to make the mannequin more realistic to the model you're sewing for. Pin close to the body; the proper way to pad is to pin at first then herringbone stitch the padding afterwards once you're happy with it.
2) Layer up the padding depending on how much you need. 

3) For the waist you can simply wrap wadding around the mannequin to layer it.  

1) For the breast area, use wadding of different sized circles. This will maintain a good shape of a body and stop it from looking boxy. With wadding it's possible to get quite defined and harsh lines, so taking thinner pieces of wadding and using them to blend in the bigger pieces is a good way of creating smoother curves. 

2) In the case of creating fat suits, you would gradually build up the places you would need the extra weight. Rough circular shapes are good for both fat suit padding as well as breast and bum pads; they don't need to be perfect! The most important thing is to measure constantly! Every time a layer is added you will need to check measurements against the models own to ensure you haven't gone over, or if you still need to add more. Always remember to smooth lines as you go too!
Another good tip is to make shapes out of the wadding to match the part of the body you're padding, e.g. ovals for the bum and belly, and circles for the chest etc.

Pleating the padding is an option if you're dealing with a difficult corner, like a shoulder. Underwear like corsets and bras can be out on top of the padding to achieve the shape you want, just remember to re-measure every time! And always remember to use a herringbone stitch to attach layers together; it allows for movement but still keeps the layers flat.

Mask Progression: Final mask, dying and distressing.

1) The final mask pieces cut out. The piece to the left has been untouched, but the piece on the right has been sanded and textured using P120 wet and dry sandpaper. 

2) The stained and textured jaw panel pinned to the to side pieces of the mask. I figured out with earlier prototypes that this is the best order in which to assemble the mask. 

3) Jaw and side panels hand stitched together. Center seam pinned into place. 

4) Samples for the leather belt strap that will go round the back of the head. 

5) Gluing the leather head strap into place after measuring and texturing. 

6) A selection of tea and coffee I plan on using to texture the end of the beak; I want it to look like theres food, rot and dirt where the mask has been used so much and become a part of the character.

7) Feather distressing samples: made using black acrylic paint and water.

Tail Progression: Construction

Now the separate pieces had been coloured the tail was at a stage of completion; all was left to do was sew the two parts together, make any adjustments necessary and embellish it.

The top image shows the simple process of sewing the finished fin piece into the inside of the tail, underneath the bottom row of scales to the join would be hidden. Before this was done a line of sewing was fixed across the tail fin section to stop the wadding from coming out, as can be seen in the previous post.

Once all construction was done, a mixture of PVA and glitter was dotted across the tail in places that would catch the light, or wouldn't look too clumpy next to one another. The excess was shaken off afterwards. Then Charlotte and I sat down and between us glued down shells and sewed on sequins in little clusters in thought out compositions, so again it wouldn't look messy or too busy in one area.

Corset Fittings and Costume Experimentation: 27/4/2016

The visit from the entire cast of Orpheus presented a great opportunity to fit all the corsets that Joy and Magda had previously ordered. It was a perfect time to do this now so that they could be adjusted (if needed) and tagged with each actresses name. This way we could keep track of which corset fitted each performer, making it more efficient in preparation for the night of the production.

Practice for the jumpsuit and corset reveal was also available to be experimented with during this visit: As this is part of a costume change that supports an alteration in environment during the play, it was a good idea to figure out exactly how this would work.

Costume Examples: Ring Leader Characters

Through sourcing costumes and working on multiple projects for the C.C.C assignment I've realised that across the different productions there are characters that bear resemblance. For example, in the Farnham Maltings project Hades has been designed as a ring leader type front man. In comparison, we have a lion tamer in the Real Medway and Swale augmented reality project, so using the same costume for multiple uses (as long as the photoshoots or performance dates don't coincide) seems a simple way of cutting project budgets as well as time spent sourcing extra costumes.

Red jackets, top hat, and black trousers with red stripe could be used both for Ellie as the Lion Tamer in the Real Medway and Swale project, as well as Andy performing as Hades in the Farnham UCA production of 'Orpheus.'

Outfit Progress: Mermaid

Sarah and Emmie compiled this mannequin of the current progress of the mermaid characters outfit, arranging the tail pieces and a top and jewellery they sourced. Putting it all together on the mannequin was a really effective way of seeing what stage the character was at and what kind of steps should be prioritised next. Currently, I feel that the whole things seems a little washed out and definitely in need of colour, so dying and distressing the whole outfit and beginning to consider embellishments will be my next stage with this character.
Thinking of details to add to the punk/ drag queen vibe would be useful to contemplate at this point, e.g. traditional sailor style tattoos, accessories in the hair, where the fish scales will be placed, accessories on the arms etc.

Tail Progression

With the main body piece of the tail well on its way to being completed, the tail fin was the next step to figure out. Firstly I cut the basic shape from some pattern paper then transferred this to a stretchy green fabric. By making the tail and body sections both out of a stretchy fabric, there was a better match in fabric textures.
Cutting out the fin shape twice, I then cut the same shapes from a length of wadding. The next step was to line up the wadding shapes with the green, then sew these three pieces together. By layering the wadding on top of the two green pieces I could turn the whole thing inside out and the wadding would be encased inside the two green outer pieces. A little hand stitching was required where the sewing machine didn't pick up the sides properly so the wadding was poking through, but this only took a short while to fix.
Once the basic tail was constructed I decided to take advantage of the wadding within the tail and added in some quilted patterns to create a more realistic, webbed/ boned look.

Tail Fitting 2

After Louise and I cut out the lines of scales I machined them on, starting from the bottom and working up to the top in order to get them to lay correctly. Sewing layers onto the actual body stocking meant that it became less stretchy, so a second fitting was needed in order to check it was still the right size. The above images show that it does indeed still fit fine, and at this point I was also able to observe how the scales looked once on the model, which I was happy with.
 My next steps will be to make the tail fin, then dye and embellish the whole thing.

Tail Fitting 1

Back, side and front views of the first tail fitting.
The seams are on the outside in the photos though, as the fitting had to be done hastily! However, the tail itself fit perfectly allowing me to progress with it. The model did say they have some balance issues which I will keep in mind when designing the tail fin and where abouts the feet will go, as making sure the model is comfortable and not at any risk is priority.

Mermaid tail construction

Knowing the design definitely had the mermaid tail aspect to it, I set about creating a pattern, (left.) Essentially I was making one big body stocking from the waist to the ankles. I decided to choose a stretch fabric in order to stay taught across the model, reassuring me that the tail wouldn't go saggy or need adjusting later. Once this was cut out and a seam was put down each side, I tried it on the model to make sure it fit before doing anything else to it (photos of first fitting to be uploaded.)

After the fitting, strips of the same fabric were cut out in rows of 'scales', ready to be machine sewn around the body stocking. The image on the right displays the bottom row of scales already machine sewn on, and the layer above being pinned into place.

Final Submission Space

Final submission desk space/ set up for specialist pathway project. Included quilting samples, all sketchbooks and folders, final costume on a mannequin, final photos, storyboard and toiles. 

Final Costume Photo

My favourite photo from any of the photo shoots! Love the lighting that the studio manager helped me set up and the effect it has on the atmosphere. A lot colder, moodier, definitely the deep space vibe I was looking for. 

Photoshoot 2: Final Specialist Pathway Photos

Two images from the second photo shoot. A darker setting was used instead of the plain white backdrop last time, as I wanted to create a 'spacey' and more serious vibe. The first shoot, in using the white backdrop allowed for detailed shots of the costume and to experiment with character personality with the model too. However, the darker background gave a moodier feel and also created a bigger illusion of space in the studio.
At this point every aspect of the costume was completed, so shots from behind were achievable, as well as use of the helmet and shoulder piece.

Photoshoot 1

Four final images, taken myself in the first of two photo shoots. At this point, the chest plate had no back piece so only photos from the front were available when it was being worn. The helmet was already sourced and painted, but the colour was a little too light, and the shoulder plate had yet to be finished or attached to the chest piece. This photo shoot was organised to ensure I had professional photos for portfolio, but was carried out while I was still applying finishing touches to the costume! So overall I made time for two separate shoots, one that now shows progression and one with the final completed outfit.

EVA Armor Progress

Not particularly great quality photos, but here stands the chest piece as it was in a state of being shaped and painted! As my first piece of EVA armor and first time working with these materials,   I'm definitely happy with the current outcome. Photos of final painted piece will soon follow.