The Northern School of Art is pleased to introduce our talented and skilled 2023 BA (Hons) Costume Interpretation with Design graduates.
You can view our other course gallerieshere.
Kiera WaresAhsoka TV Series Costume Design
Designed for the costumes that I was going to make in my Final Major Project module, the design is of Ahsoka Tano from Star Wars. Specifically for the upcoming Disney+ show Ahsoka; which is set following the events of The Mandolorian.
Having grown up as a Jedi she is a highly skilled fighter, especially as she was able to survive the extermination of the Jedi by The Empire. This costume design works to show George Lucas’ influences, from Japanese culture and Samurai to Medieval Monks, whilst also having a mixture of other cultural inputs. Because of the scene setting I heavily researched into Inuit culture as it would be the most appropriate clothing styles for the situation. While this is a fantasy costume it has been designed to reflect a multitude of historical factors and cultures, as well as character and universe references, like the Morai bird on the embroidered panel at the front.
Instagram: @wares_wardrobes
Designed for the costumes that I was going to make in my Final Major Project module, the design is of Ahsoka Tano from Star Wars. Specifically for the upcoming Disney+ show Ahsoka; which is set following the events of The Mandolorian.
Having grown up as a Jedi she is a highly skilled fighter, especially as she was able to survive the extermination of the Jedi by The Empire. This costume design works to show George Lucas’ influences, from Japanese culture and Samurai to Medieval Monks, whilst also having a mixture of other cultural inputs. Because of the scene setting I heavily researched into Inuit culture as it would be the most appropriate clothing styles for the situation. While this is a fantasy costume it has been designed to reflect a multitude of historical factors and cultures, as well as character and universe references, like the Morai bird on the embroidered panel at the front.
Instagram: @wares_wardrobes
Emma BowersGentleman Jack: Anne Lister and Ann Walker
Gentleman Jack is a BBC TV series based on the life of Anne Lister. Anne Lister is considered to be the first modern lesbian. She documented her many relations in a diary that she kept with her at all times, constantly writing and recording her life and never once shying away from her relations with other women. I have taken her silhouette and made each element into a colour of the original Pride flag. This contrasts to what she wore in real life, as she only ever wore black. Throughout the years she jumped from relationship to relationship until she found her lifelong partner, Ann Walker. Ann Walker was nothing like Anne Lister. She was always in highly fashionable clothing and made sure everything she wore was coordinated. She was described as having a delicate mind, and we now know that she suffered with anxiety and depression. This gave me the idea to make her costume in all black.
Instagram: @handmade_by_emmab
Gentleman Jack is a BBC TV series based on the life of Anne Lister. Anne Lister is considered to be the first modern lesbian. She documented her many relations in a diary that she kept with her at all times, constantly writing and recording her life and never once shying away from her relations with other women. I have taken her silhouette and made each element into a colour of the original Pride flag. This contrasts to what she wore in real life, as she only ever wore black. Throughout the years she jumped from relationship to relationship until she found her lifelong partner, Ann Walker. Ann Walker was nothing like Anne Lister. She was always in highly fashionable clothing and made sure everything she wore was coordinated. She was described as having a delicate mind, and we now know that she suffered with anxiety and depression. This gave me the idea to make her costume in all black.
Instagram: @handmade_by_emmab
Emma HurstThe Wizard of Oz
My final major project is based on the classic film ‘The Wizard of Oz’ and has been adapted into dancewear to suit the coinciding theme of ‘Strictly Come Dancing’. The costumes have been created for the characters of Dorothy and the Wicked Witch, for the dance styles of the Charleston and the Paso Doble.
For Dorothy, the leotard features a central panel adorned with sapphire rhinestones, intricately creating a gingham print that is synonymous with Dorothy. The embellishment continues into the skirt with each of the six, yellow godets featuring gold foiling, with the pattern being representative of the iconic ‘yellow brick road’ that takes Dorothy on her journey throughout the film. The Wicked Witch forms a more elongated silhouette with Spanish influences throughout; the oversized, tiered, flared sleeves with red pom-pom trim, cape with stencilled broomstick motifs on both Spanish matador inspired epaulettes, cummerbund style belt and flounced skirt.
Instagram: @emmahcostume
My final major project is based on the classic film ‘The Wizard of Oz’ and has been adapted into dancewear to suit the coinciding theme of ‘Strictly Come Dancing’. The costumes have been created for the characters of Dorothy and the Wicked Witch, for the dance styles of the Charleston and the Paso Doble.
For Dorothy, the leotard features a central panel adorned with sapphire rhinestones, intricately creating a gingham print that is synonymous with Dorothy. The embellishment continues into the skirt with each of the six, yellow godets featuring gold foiling, with the pattern being representative of the iconic ‘yellow brick road’ that takes Dorothy on her journey throughout the film. The Wicked Witch forms a more elongated silhouette with Spanish influences throughout; the oversized, tiered, flared sleeves with red pom-pom trim, cape with stencilled broomstick motifs on both Spanish matador inspired epaulettes, cummerbund style belt and flounced skirt.
Instagram: @emmahcostume
Caitlin HawkinsLabyrinth
The inspiration for my designs was the masquerade ball scene in the movie ‘Labyrinth'. I focused upon two characters - Sarah Williams and the junk lady. To portray a youthful look for Sarah I drew inspiration from romantic tutus. By layering white tulle and iridescent organza I created the skirt which was sewn onto a basque. The white satin corset was softened by the cascade of laser cut flowers over half of the bodice and up the strap. This piece was finished with crystal and pearl embellishments.
I created an under bust corset with rust dyed satin fabric for the junk lady. The costume is accented with newspaper printed satin fabric that was pleated and sewed to the top of the corset. The corset was attached to a tiered tulle skirt and then topped by a hand gathered overskirt made using printed newspaper fabric. Ageing and distressing techniques were used to make the top of the dress suit the character’s story.
Instagram: @costumes_by_cait
The inspiration for my designs was the masquerade ball scene in the movie ‘Labyrinth'. I focused upon two characters - Sarah Williams and the junk lady. To portray a youthful look for Sarah I drew inspiration from romantic tutus. By layering white tulle and iridescent organza I created the skirt which was sewn onto a basque. The white satin corset was softened by the cascade of laser cut flowers over half of the bodice and up the strap. This piece was finished with crystal and pearl embellishments.
I created an under bust corset with rust dyed satin fabric for the junk lady. The costume is accented with newspaper printed satin fabric that was pleated and sewed to the top of the corset. The corset was attached to a tiered tulle skirt and then topped by a hand gathered overskirt made using printed newspaper fabric. Ageing and distressing techniques were used to make the top of the dress suit the character’s story.
Instagram: @costumes_by_cait
Lorinda DeanBest Little Whorehouse in Texas
The costumes are based on the characters Miss Mona Stangly, the Madam of the whorehouse, and one of her whores.
Miss Mona's costume consists of a bustle, petticoat, underskirt, overskirt, and bodice. The undergarments are made from 100% cotton that are both embellished with embroidery, lace, and ribbon.
The underskirt is made from brocade, while the overskirt and bodice are made from two tone taffetas. Vintage lace and glass beads adorn both the bodice and underskirt.
The combinations for the whore character's outfit are also made from 100% cotton and lace which have been dyed. They have also been embellished with odd metal buttons, embroidery, tiny black glass beads and lace.
The corset consists of eighteen separate panels and is made from brocade. A heavy satin belted section has been quilted and embellished with eyelets and ribbon. A spoon busk is used and around 80% of the corset was sewn by hand.
Instagram: @lorinda.designs
The costumes are based on the characters Miss Mona Stangly, the Madam of the whorehouse, and one of her whores.
Miss Mona's costume consists of a bustle, petticoat, underskirt, overskirt, and bodice. The undergarments are made from 100% cotton that are both embellished with embroidery, lace, and ribbon.
The underskirt is made from brocade, while the overskirt and bodice are made from two tone taffetas. Vintage lace and glass beads adorn both the bodice and underskirt.
The combinations for the whore character's outfit are also made from 100% cotton and lace which have been dyed. They have also been embellished with odd metal buttons, embroidery, tiny black glass beads and lace.
The corset consists of eighteen separate panels and is made from brocade. A heavy satin belted section has been quilted and embellished with eyelets and ribbon. A spoon busk is used and around 80% of the corset was sewn by hand.
Instagram: @lorinda.designs
Livia WrightPhantom Of The Opera
For my specific design of the Phantom, his costume is made up of fabric and clothing that he would have stolen or made from the Costume Department of the Opera House. The idea came from the notion that the Phantom would be unable to buy himself clothes and for Madam Giry to buy men’s clothes for him would invite suspicion, as she is a widow. The chosen design of having half the jacket with detailed, brocade fabric was to show that it could possibly be some leftover fabric from costumes in past opera productions. This also represents the Phantom’s scared face that’s on the right side of his face. To create the detailed side of the costume, I gold foiled the brocade to create an angelic feel for the Phantom, The Angel of Music. With having the contrasting red fabric for the waistcoat and lining of the jacket, it creates some mystery and power to the costume.
Instagram: @wrightrosecostumes
For my specific design of the Phantom, his costume is made up of fabric and clothing that he would have stolen or made from the Costume Department of the Opera House. The idea came from the notion that the Phantom would be unable to buy himself clothes and for Madam Giry to buy men’s clothes for him would invite suspicion, as she is a widow. The chosen design of having half the jacket with detailed, brocade fabric was to show that it could possibly be some leftover fabric from costumes in past opera productions. This also represents the Phantom’s scared face that’s on the right side of his face. To create the detailed side of the costume, I gold foiled the brocade to create an angelic feel for the Phantom, The Angel of Music. With having the contrasting red fabric for the waistcoat and lining of the jacket, it creates some mystery and power to the costume.
Instagram: @wrightrosecostumes
Jess BucktonBeauty and the Beast
My work has been made for a theatre production of Beauty and the Beast, for the characters of Lumière and The Rose. When deciding on the setting of my costumes I fell in love with this whole concept of bringing lifeless objects to life through costume - how could I create the semantics of a candelabra and a rose through costume? Throughout the design and construction process of these costumes I sampled extensively to figure out which techniques conveyed certain messages best. For example, creating the wax drips for the hat or picking the correct fabric to achieve the aesthetic I wanted for the rose flounces on the dress. Overall, this course has been challenging but I’ve thoroughly enjoyed learning all these different genres of costume, and I feel I have improved incredibly. From here, I hope to find employment in the costume industry- though I’m not sure exactly which branch yet.
Instagram: @jesslbcostume
My work has been made for a theatre production of Beauty and the Beast, for the characters of Lumière and The Rose. When deciding on the setting of my costumes I fell in love with this whole concept of bringing lifeless objects to life through costume - how could I create the semantics of a candelabra and a rose through costume? Throughout the design and construction process of these costumes I sampled extensively to figure out which techniques conveyed certain messages best. For example, creating the wax drips for the hat or picking the correct fabric to achieve the aesthetic I wanted for the rose flounces on the dress. Overall, this course has been challenging but I’ve thoroughly enjoyed learning all these different genres of costume, and I feel I have improved incredibly. From here, I hope to find employment in the costume industry- though I’m not sure exactly which branch yet.
Instagram: @jesslbcostume
Imogen Rolfe1850's American Costume
This full-length dress is an interpretation of the costumes worn in the film ‘Seven Brides for Seven Brothers’. The film is set in 1850s Oregon, America and I carried out extensive research into this period before creating this costume. Each of the seams on the bodice are piped to draw attention to the placement of the pieces. There is also a hand gathered panel on the front of the dress. The sleeves are lined with cotton coutil fabric which allows them to hold the gently folded shape, alongside some hand stitches to hold the folds in place. To accompany this dress and to give the entire costume a historically accurate silhouette, I also designed and created a corset and two different petticoats to be worn underneath. This costume has been selected to be worn in two different theatre productions and I altered it to fit the actresses on both occasions.
Instagram: @imogen_astrid_costume
This full-length dress is an interpretation of the costumes worn in the film ‘Seven Brides for Seven Brothers’. The film is set in 1850s Oregon, America and I carried out extensive research into this period before creating this costume. Each of the seams on the bodice are piped to draw attention to the placement of the pieces. There is also a hand gathered panel on the front of the dress. The sleeves are lined with cotton coutil fabric which allows them to hold the gently folded shape, alongside some hand stitches to hold the folds in place. To accompany this dress and to give the entire costume a historically accurate silhouette, I also designed and created a corset and two different petticoats to be worn underneath. This costume has been selected to be worn in two different theatre productions and I altered it to fit the actresses on both occasions.
Instagram: @imogen_astrid_costume
Ella BeattieHowls Moving Castle
My costumes were made for the production Howl’s Moving Castle. I designed for the characters Howl Pendragon and the Witch of the Waste, in a 1930’s production. I focused my work on how to portray these characters if the villain was triumphant.
The Witch is a greedy and rich young woman who uses magic to maintain her appearance and wants Howl’s heart. To convey this, I used materials that would have been considered luxury in the 1930’s, I used stretch velvet, faux fur and creating a custom fabric from symbols used in the witch’s scenes.
Howl Pendragon is a powerful wizard with a childish heart, and without his heart he slowly loses his humanity. I portrayed this through darker colours and feathers, not his usual bright colours. The feathers reveal his transformation into a monster. I kept his identity by embellishing the jacket with beading and crystals revealing his love of pretty things, much like a child.
My costumes were made for the production Howl’s Moving Castle. I designed for the characters Howl Pendragon and the Witch of the Waste, in a 1930’s production. I focused my work on how to portray these characters if the villain was triumphant.
The Witch is a greedy and rich young woman who uses magic to maintain her appearance and wants Howl’s heart. To convey this, I used materials that would have been considered luxury in the 1930’s, I used stretch velvet, faux fur and creating a custom fabric from symbols used in the witch’s scenes.
Howl Pendragon is a powerful wizard with a childish heart, and without his heart he slowly loses his humanity. I portrayed this through darker colours and feathers, not his usual bright colours. The feathers reveal his transformation into a monster. I kept his identity by embellishing the jacket with beading and crystals revealing his love of pretty things, much like a child.
Margareta AkermarkThe Frog Prince
These costumes have been designed and created for the classic fairy tale The Frog Prince. The costumes are designed with a young, mostly female audience in mind and are heavily inspired by European court dress of the 1560s and 1570s. My aim was to create a whimsical, feminine, and historical feeling for the costumes, while also designing the costumes in a way that would appeal to a modern sense of style. I utilise a colour palette and materials that are both luxurious and dreamy. The Princess’s airy, feminine colours and fanciful embellishments stand in contrast to The Prince’s jewel tones and relatively simple design. The green velvet is reflecting the Prince’s royal status, with the fabric covered buttons and the reflective quality of the velvet hinting at the texture of a frog’s skin. Reality and fantasy meet in these costumes.
Website
These costumes have been designed and created for the classic fairy tale The Frog Prince. The costumes are designed with a young, mostly female audience in mind and are heavily inspired by European court dress of the 1560s and 1570s. My aim was to create a whimsical, feminine, and historical feeling for the costumes, while also designing the costumes in a way that would appeal to a modern sense of style. I utilise a colour palette and materials that are both luxurious and dreamy. The Princess’s airy, feminine colours and fanciful embellishments stand in contrast to The Prince’s jewel tones and relatively simple design. The green velvet is reflecting the Prince’s royal status, with the fabric covered buttons and the reflective quality of the velvet hinting at the texture of a frog’s skin. Reality and fantasy meet in these costumes.
Website
Ali Hutchinson King Midas and His Golden Touched
My final major project is an adaptation of the myth of King Midas. Raven Kennedy’s ‘The Plated Prisoner’ series centres around King Midas and Auren - his Golden Touched, with their costumes reflecting the fantasy realm. The costumes combine elements of bespoke tailoring, corsetry, and underwear-as-outerwear. Canonically, Midas picks his own and Auren’s clothing, so in the design process I created a distinct contrast between the two characters. Auren’s costume presents a corset base to allude to the historical fantasy influence and gold sheer fabrics drape over the body to create a very revealing, lingerie-esque ensemble, displaying Auren as a symbol of Midas’ control. In terms of visual representation, the modest nature of Midas’s costume demonstrates this divide. His shirt and trousers utilise bespoke tailoring methods, adapted to reflect the historic fantasy setting. While the corseted waistcoat represents Midas’ vanity, playing on a preconceived concept of corsets being worn by vain, vapid, or shallow individuals.
Instagram: @alis.Porfolio
My final major project is an adaptation of the myth of King Midas. Raven Kennedy’s ‘The Plated Prisoner’ series centres around King Midas and Auren - his Golden Touched, with their costumes reflecting the fantasy realm. The costumes combine elements of bespoke tailoring, corsetry, and underwear-as-outerwear. Canonically, Midas picks his own and Auren’s clothing, so in the design process I created a distinct contrast between the two characters. Auren’s costume presents a corset base to allude to the historical fantasy influence and gold sheer fabrics drape over the body to create a very revealing, lingerie-esque ensemble, displaying Auren as a symbol of Midas’ control. In terms of visual representation, the modest nature of Midas’s costume demonstrates this divide. His shirt and trousers utilise bespoke tailoring methods, adapted to reflect the historic fantasy setting. While the corseted waistcoat represents Midas’ vanity, playing on a preconceived concept of corsets being worn by vain, vapid, or shallow individuals.
Instagram: @alis.Porfolio
Hannah CrosbyBurlesque
For these particular costumes I was very heavily inspired by the movie Burlesque. I wanted to look a lot more into the fetish side of burlesque and what types of fabrics are used throughout. The costume consists of a corset that is made using using a combination of Lycra with PVC seams and added suspender tabs to give it a lot more of a fetish feel. The separate top is entirely PVC with added corset lacing detail on the back and a chain harness attached at the shoulders.The second costume consists of a cotton bodysuit corset that has contrasting boning channels with hand placed hot fix rhinestones on all of the boning channels which I think gives the costume a much more feminine look. Alongside this is a feather skirt that is a lot of feather boas hand sewn onto a cotton bum roll and then ribbon to fasten.
Instagram: @Costume_by_Hannah
For these particular costumes I was very heavily inspired by the movie Burlesque. I wanted to look a lot more into the fetish side of burlesque and what types of fabrics are used throughout. The costume consists of a corset that is made using using a combination of Lycra with PVC seams and added suspender tabs to give it a lot more of a fetish feel. The separate top is entirely PVC with added corset lacing detail on the back and a chain harness attached at the shoulders.The second costume consists of a cotton bodysuit corset that has contrasting boning channels with hand placed hot fix rhinestones on all of the boning channels which I think gives the costume a much more feminine look. Alongside this is a feather skirt that is a lot of feather boas hand sewn onto a cotton bum roll and then ribbon to fasten.
Instagram: @Costume_by_Hannah
Katie BourneMet Gala Renaissance
Designing costumes for the Met Gala, I choose the theme of, “The Renaissance: An Age of Exploration”, inspired by the intricate artworks of the time. I played around with popular clothing elements from original Italian Renaissance fashion, homing in on making it more modern. The cage represents the elaborate puffed sleeves popularly worn by everyone, changing the historically circular shape into something more angular, creating structure with boning and carefully cut-out shapes. The skirt imitates the loose free-falling fabric represented in portraits and statues, using manipulation to make it look like it’s free-falling off the body. With an added detail of a ruff, commonly worn by many. His modern tailored jacket features a gold chain tied detail attaching the two front sides of the jacket, representing the way some did with sleeves as embroidery. The trousers are holding artwork together using patchwork, making a rustic collage of the past.
Instagram: @K.Bourne_Fashion_Design
Designing costumes for the Met Gala, I choose the theme of, “The Renaissance: An Age of Exploration”, inspired by the intricate artworks of the time. I played around with popular clothing elements from original Italian Renaissance fashion, homing in on making it more modern. The cage represents the elaborate puffed sleeves popularly worn by everyone, changing the historically circular shape into something more angular, creating structure with boning and carefully cut-out shapes. The skirt imitates the loose free-falling fabric represented in portraits and statues, using manipulation to make it look like it’s free-falling off the body. With an added detail of a ruff, commonly worn by many. His modern tailored jacket features a gold chain tied detail attaching the two front sides of the jacket, representing the way some did with sleeves as embroidery. The trousers are holding artwork together using patchwork, making a rustic collage of the past.
Instagram: @K.Bourne_Fashion_Design
Elizabeth MarleyObi-Wan Kenobi
For my Final Major Project, I designed for the Star Wars spin-off series Obi-Wan Kenobi. Choosing The Evil Jedi Hunter, The Grand Inquisitor I wanted to keep to the imperial look already made popular by the franchise, designing him in armour influenced by 18th-century Japanese and European armour. Wanting to create two polar opposite looks I choose to create a costume for the main character himself, the ex-Jedi Obi-wan Kenobi, with his taking influence from traditional nomadic fashion and more modern dystopian apocalypse styles.
Instagram: @lizziemarleycostume_
For my Final Major Project, I designed for the Star Wars spin-off series Obi-Wan Kenobi. Choosing The Evil Jedi Hunter, The Grand Inquisitor I wanted to keep to the imperial look already made popular by the franchise, designing him in armour influenced by 18th-century Japanese and European armour. Wanting to create two polar opposite looks I choose to create a costume for the main character himself, the ex-Jedi Obi-wan Kenobi, with his taking influence from traditional nomadic fashion and more modern dystopian apocalypse styles.
Instagram: @lizziemarleycostume_
Ellen MeasorMadame Bovary
Within my interpretation of Gustave Flaubert’s “Madame Bovary”, I have explored a multitude of different colours, textures and fabrics to create the most vivid and interesting portrayal of Emma Bovary and Monsieur Lheureux. Within Emma’s character, the heavy use of silk taffeta and small use of silk velvet throughout her costume signifies her uncontrollable thirst for the highest fashions and social standing. To convey Monsieur Lheureux, I chose to work with fine wools, silk taffeta and pinstripe patterns which allowed for a richer colour palette and textures to portray his trade and character to the audience. Tailoring has been developed thorough embellishment which played a crucial role from embroidery, beading and fabric manipulation to ribbon drapery. Throughout all areas of my work, I enjoy the exploration of fabric manipulation to create shape, detailed embellishment to strengthen the storyline in addition to crisp tailoring to achieve a clean finish to every garment.
Instagram: @ellenmeasorcostumes
Website
Within my interpretation of Gustave Flaubert’s “Madame Bovary”, I have explored a multitude of different colours, textures and fabrics to create the most vivid and interesting portrayal of Emma Bovary and Monsieur Lheureux. Within Emma’s character, the heavy use of silk taffeta and small use of silk velvet throughout her costume signifies her uncontrollable thirst for the highest fashions and social standing. To convey Monsieur Lheureux, I chose to work with fine wools, silk taffeta and pinstripe patterns which allowed for a richer colour palette and textures to portray his trade and character to the audience. Tailoring has been developed thorough embellishment which played a crucial role from embroidery, beading and fabric manipulation to ribbon drapery. Throughout all areas of my work, I enjoy the exploration of fabric manipulation to create shape, detailed embellishment to strengthen the storyline in addition to crisp tailoring to achieve a clean finish to every garment.
Instagram: @ellenmeasorcostumes
Website
Michael WallaceNatuical Nuance
By taking inspiration from the sea and the maritime history of Hartlepool, I have designed and created The Ship which a representation of a Salvador Dali painting. The mythical and androgynous creature within this painting hovers over masculinity and femininity, representing women throughout history. She has to be both male and female, mother and father, god and goddess. The ship upon her back can represent both the weight of her burdens and the strength she has to carry them.
By using Powertex, I was able to manipulate the muslin dress into a silhouette that appears to be blown backwards by the wind. I created the bow of the ship by using plumbing pipe, texturized and stained to look like wood and manipulated into shape by using hot sand, this ensures a light weight structure.
Using seashells found on local beaches I was able to create a natural and colourful textural surface.
Instagram - @michaeltwallace
By taking inspiration from the sea and the maritime history of Hartlepool, I have designed and created The Ship which a representation of a Salvador Dali painting. The mythical and androgynous creature within this painting hovers over masculinity and femininity, representing women throughout history. She has to be both male and female, mother and father, god and goddess. The ship upon her back can represent both the weight of her burdens and the strength she has to carry them.
By using Powertex, I was able to manipulate the muslin dress into a silhouette that appears to be blown backwards by the wind. I created the bow of the ship by using plumbing pipe, texturized and stained to look like wood and manipulated into shape by using hot sand, this ensures a light weight structure.
Using seashells found on local beaches I was able to create a natural and colourful textural surface.
Instagram - @michaeltwallace
