Tayler StephensNevermore
I have always been inspired by musicals. I first wanted to make costumes after seeing how Donkey's costume from Shrek the Musical was made. Learning about the time and effort taken to make an amazing piece of work. Throughout university I have linked my modules to different musicals, such as 'American Idiot' creating some punk inspired trousers to pair with a denim jacket. Another musical was 'Funny Girl' in which I created a sinamay version of the hat worn in the song 'Don't rain on my parade.' I really enjoy making the most and learning about the different techniques which can be used. After leaving the northern school of art I hope to work within theatres creating the costumes that will help tell the story on stage.
I have always been inspired by musicals. I first wanted to make costumes after seeing how Donkey's costume from Shrek the Musical was made. Learning about the time and effort taken to make an amazing piece of work. Throughout university I have linked my modules to different musicals, such as 'American Idiot' creating some punk inspired trousers to pair with a denim jacket. Another musical was 'Funny Girl' in which I created a sinamay version of the hat worn in the song 'Don't rain on my parade.' I really enjoy making the most and learning about the different techniques which can be used. After leaving the northern school of art I hope to work within theatres creating the costumes that will help tell the story on stage.
Stephen Rhodes BrownEragon
As a costumier, fantasy and period dramas are a passion of mine. Projects that I have worked on include The Princess and the Goblin, Eragon and a Midsomer night’s dream. Designing and making costumes are my favourite things to do, especially those of a historically accurate nature. A hobby that I spend a great deal of time on is illustration, which I am constantly developing my skills in. These include both hand drawing and digital rendering. I have had work experience on the set of two different television shows as a costume daily, runner and in the costume making department. This was an opportunity that greatly influenced my mindset on future career prospects because I enjoyed it so much. My intention after graduating is to enter the costume industry making costumes for fantasy/period dramas while continuing to illustrate in my spare time. My ultimate goal is to become a costume designer myself.
As a costumier, fantasy and period dramas are a passion of mine. Projects that I have worked on include The Princess and the Goblin, Eragon and a Midsomer night’s dream. Designing and making costumes are my favourite things to do, especially those of a historically accurate nature. A hobby that I spend a great deal of time on is illustration, which I am constantly developing my skills in. These include both hand drawing and digital rendering. I have had work experience on the set of two different television shows as a costume daily, runner and in the costume making department. This was an opportunity that greatly influenced my mindset on future career prospects because I enjoyed it so much. My intention after graduating is to enter the costume industry making costumes for fantasy/period dramas while continuing to illustrate in my spare time. My ultimate goal is to become a costume designer myself.
Sophie RichmondSnow White and the Huntsman
For my Final Major Project, with being interested in bridal gowns, I chose the film ‘Snow White and the Huntsman’. I wanted to focus on the evil queen ‘Ravenna’, in a winter setting, and how she is portrayed in the scene of her marriage to the king. The Bridal gown and coat that I have created heavily focuses on the act of innocence ‘Ravenna’ shows at the wedding and the underlayer of darkness that emerges once she has the power of the kingdom. This is shown through the raven feathered underskirt covered by the white innocent beauty of the beaded bodice and duchess satin skirt, along with the winter white coat finished with fluffy feathers.
To achieve the lust of a fantasy, the garments were inspired by the dresses worn in the 18th century, with the likes of Marie Antoinette and the movie ‘The Duchess’ I was able to gain a wide range of inspiration. This can be seen in the rounded corset bodice and the petticoat layer. With the element of modern bridal, I was able to gain a unique look on ‘Ravenna’s’ wedding dress. The white feathers on the winter wedding coat resemble the ideal of ‘Ravenna’s’ innocence, the fluffy pure feel being the total opposite to a black sharp raven feather. With have a vast interest in wedding gowns, veils, and anything bridal, my plan after graduation are to work within the bridal industry preferably designing and making unique wedding dresses for brides to be.
For my Final Major Project, with being interested in bridal gowns, I chose the film ‘Snow White and the Huntsman’. I wanted to focus on the evil queen ‘Ravenna’, in a winter setting, and how she is portrayed in the scene of her marriage to the king. The Bridal gown and coat that I have created heavily focuses on the act of innocence ‘Ravenna’ shows at the wedding and the underlayer of darkness that emerges once she has the power of the kingdom. This is shown through the raven feathered underskirt covered by the white innocent beauty of the beaded bodice and duchess satin skirt, along with the winter white coat finished with fluffy feathers.
To achieve the lust of a fantasy, the garments were inspired by the dresses worn in the 18th century, with the likes of Marie Antoinette and the movie ‘The Duchess’ I was able to gain a wide range of inspiration. This can be seen in the rounded corset bodice and the petticoat layer. With the element of modern bridal, I was able to gain a unique look on ‘Ravenna’s’ wedding dress. The white feathers on the winter wedding coat resemble the ideal of ‘Ravenna’s’ innocence, the fluffy pure feel being the total opposite to a black sharp raven feather. With have a vast interest in wedding gowns, veils, and anything bridal, my plan after graduation are to work within the bridal industry preferably designing and making unique wedding dresses for brides to be.
Rosie FoersHamilton
I am so thankful for my experience at The Northern School of Art, I especially loved the design aspects over the past three years. When designing these costumes of Eliza Hamilton from the musical ‘Hamilton’ by Lin Manuel Miranda, I wanted to make sure that it was both original to me and coordinated with the original costumes. Adding in final touches like the off the shoulder sleeves of my lace dress and the classic ‘Hamilton’ simplicity of the turquoise gown, really made these costumes feel authentic to the original play. With the addition of my cloak and jacket, it completes the essence of Eliza Hamilton, through her journey with Alexander Hamilton, from single women in New York to grieving widow. My inspiration behind my costumes, was that of bringing the modern age simplicity and the historical aspects of the play all together, whilst also putting my own twist on the designs. I achieved this even in the smallest details, for example, by using modern sew techniques like sewing machines to create these historical costumes, I have stitched the past and present together. I am very proud of these accomplishments.
My company ‘Everything’s Rosie’ is my future after graduation, I am hoping that it will really take off, the plan is to create clothing lines that suit everybody’s body type whilst being in style. I want to create fashions that are both whimsical and practical for the modern girl. Creating outfits so that women feel like the main character in their own movie. I will be selling items from my website, everythings-rosie.com and company Instagram, @everythings_rosie_clothing.
Eventually I want to create more than just a women’s line, I would love to create a teen, child, and men’s line. I want to create a successful clothing company, that will one day go international.
I am so thankful for my experience at The Northern School of Art, I especially loved the design aspects over the past three years. When designing these costumes of Eliza Hamilton from the musical ‘Hamilton’ by Lin Manuel Miranda, I wanted to make sure that it was both original to me and coordinated with the original costumes. Adding in final touches like the off the shoulder sleeves of my lace dress and the classic ‘Hamilton’ simplicity of the turquoise gown, really made these costumes feel authentic to the original play. With the addition of my cloak and jacket, it completes the essence of Eliza Hamilton, through her journey with Alexander Hamilton, from single women in New York to grieving widow. My inspiration behind my costumes, was that of bringing the modern age simplicity and the historical aspects of the play all together, whilst also putting my own twist on the designs. I achieved this even in the smallest details, for example, by using modern sew techniques like sewing machines to create these historical costumes, I have stitched the past and present together. I am very proud of these accomplishments.
My company ‘Everything’s Rosie’ is my future after graduation, I am hoping that it will really take off, the plan is to create clothing lines that suit everybody’s body type whilst being in style. I want to create fashions that are both whimsical and practical for the modern girl. Creating outfits so that women feel like the main character in their own movie. I will be selling items from my website, everythings-rosie.com and company Instagram, @everythings_rosie_clothing.
Eventually I want to create more than just a women’s line, I would love to create a teen, child, and men’s line. I want to create a successful clothing company, that will one day go international.
Rhiannon MorrisonChild of Light
For the costumes presented in this Degree Show, I decided to recreate the characters of Rubella and Tristis from the videogame, ‘Child of Light’. As the art design and story of ‘Child of Light’ is meant to be invocative of a storybook, I decided to translate that watercolour style and bright colours into the costumes when bringing them into a 3D space, painting on colour of the fabric and the detailing. The Film, ‘Mary Poppins Returns’ was a big inspiration for how I created the costumes, as it contains a scene where the live-action characters dress up in clothes that have been painted in order to match the animated setting.
The base material of my costumes is a simple cotton, as it was the best material to paint on. The main body colours of red and blue were painted on using a mix of watercolour paints and fabric medium, which allows for the paint to remain on the fabric after being washed. And the details of the costumes, such as the fabric slits and buttons are painted on using fabric paints and fabric markers. For the future, I hope to work as a costume maker in the TV industry. But, for now, I plan to continue developing my skills and expanding my capabilities, growing my own business at the same time.
Instagram:@costume_and_craft / Etsy:etsy.com/CostumesAndCraft
For the costumes presented in this Degree Show, I decided to recreate the characters of Rubella and Tristis from the videogame, ‘Child of Light’. As the art design and story of ‘Child of Light’ is meant to be invocative of a storybook, I decided to translate that watercolour style and bright colours into the costumes when bringing them into a 3D space, painting on colour of the fabric and the detailing. The Film, ‘Mary Poppins Returns’ was a big inspiration for how I created the costumes, as it contains a scene where the live-action characters dress up in clothes that have been painted in order to match the animated setting.
The base material of my costumes is a simple cotton, as it was the best material to paint on. The main body colours of red and blue were painted on using a mix of watercolour paints and fabric medium, which allows for the paint to remain on the fabric after being washed. And the details of the costumes, such as the fabric slits and buttons are painted on using fabric paints and fabric markers. For the future, I hope to work as a costume maker in the TV industry. But, for now, I plan to continue developing my skills and expanding my capabilities, growing my own business at the same time.
Instagram:@costume_and_craft / Etsy:etsy.com/CostumesAndCraft
Raquel FernandezThe Book of Life
One of my earliest memories is of me sitting on my grandmother’s lap helping her sew one of my folkloric costumes on her old treadle machine when I was only six years old. I’ve not been without a sewing machine since. I began to take my sewing much more seriously when I began to cosplay and started pushing my skills learning many techniques such as corsetry, dance wear and pattern making. To further my skills, I enrolled in fashion design for two years before finishing my last two years in costume design, where I further honed my skills in tailoring and millinery, focusing on historical garments, particularly of that in the Victorian Era. I have worked for local theatres and worked with performers individually to help them create the perfect costume for their show.
Instagram: @raquel_alejandra_costume / Linkedin: Raquel Fernandez / Facebook: Raye Makes
One of my earliest memories is of me sitting on my grandmother’s lap helping her sew one of my folkloric costumes on her old treadle machine when I was only six years old. I’ve not been without a sewing machine since. I began to take my sewing much more seriously when I began to cosplay and started pushing my skills learning many techniques such as corsetry, dance wear and pattern making. To further my skills, I enrolled in fashion design for two years before finishing my last two years in costume design, where I further honed my skills in tailoring and millinery, focusing on historical garments, particularly of that in the Victorian Era. I have worked for local theatres and worked with performers individually to help them create the perfect costume for their show.
Instagram: @raquel_alejandra_costume / Linkedin: Raquel Fernandez / Facebook: Raye Makes
Perrie FordThe Witch Hunt of Alice Kyteler
A designer and creator whose interests lies in the worlds of dark fantasy, mystery and horror, but often dabbling in other worlds, such as fantasy, mythology and much more. Pursuing many skills that include, mask making, costume distressing, leatherworking and moulding, corsetry, embellishment, millinery and more.
The learning curve that comes with the university experience is often dramatised, and for good reason. My time at the Northern School of Art has been one filled with laughs, learning, and going a little looney. While most of my skills lie in headgear and masks that have a flair of the macabre and darker mystique, I have grown a lot more into skills that I thought I would never venture into. Such as the creation of historical and folk costumes. Where I turned the classical children’s story, the Little Broomstick by writer, Mary Stuart, and transformed the characters into everyday people who wear the Welsh national costume from rural Wales in the 19th to 20th centuries. During my time at the School, I have also gained a lot of experience working on a local, award-winning production of ‘A Lion in Winter’. Alongside spending much of my time volunteering at a local museum, Preston Park Museum and helping in the authentic Victorian drapers and sweet shop.
Although I have learned much at the School, with my degree coming to an end, I wish to seek out a more real-world experience in the industry. Perhaps starting my own business, but no matter where it might take me, I wish to cement myself in a stable and steady world.
Instagram: @perriecostume / Website: pfpezza1.wixsite.com / Email: perrieford@outlook.com
A designer and creator whose interests lies in the worlds of dark fantasy, mystery and horror, but often dabbling in other worlds, such as fantasy, mythology and much more. Pursuing many skills that include, mask making, costume distressing, leatherworking and moulding, corsetry, embellishment, millinery and more.
The learning curve that comes with the university experience is often dramatised, and for good reason. My time at the Northern School of Art has been one filled with laughs, learning, and going a little looney. While most of my skills lie in headgear and masks that have a flair of the macabre and darker mystique, I have grown a lot more into skills that I thought I would never venture into. Such as the creation of historical and folk costumes. Where I turned the classical children’s story, the Little Broomstick by writer, Mary Stuart, and transformed the characters into everyday people who wear the Welsh national costume from rural Wales in the 19th to 20th centuries. During my time at the School, I have also gained a lot of experience working on a local, award-winning production of ‘A Lion in Winter’. Alongside spending much of my time volunteering at a local museum, Preston Park Museum and helping in the authentic Victorian drapers and sweet shop.
Although I have learned much at the School, with my degree coming to an end, I wish to seek out a more real-world experience in the industry. Perhaps starting my own business, but no matter where it might take me, I wish to cement myself in a stable and steady world.
Instagram: @perriecostume / Website: pfpezza1.wixsite.com / Email: perrieford@outlook.com
Morgan Doherty Labyrinth
I am a Southerner who originally lived in Bedfordshire who travelled up North for university. Shortly after I started, I fell in love with the beaches and parks of the North East so I decided to live up here with my boyfriend and cat. A lot of inspiration for my work comes from 80’s pop culture, something that I regularly consumed as a child through music and films.
Growing up, I enjoyed the strange and macabre, regularly described to be away with the fairies. This is why I have decided to start a fantasy costume business where I aim to create dresses, shirts and stays that seem to have leapt out of the pages of the Brothers Grimm. Using my childhood hobby of embroidery I will incorporate things like moss, mushrooms and little bugs onto my costumes.
I am a Southerner who originally lived in Bedfordshire who travelled up North for university. Shortly after I started, I fell in love with the beaches and parks of the North East so I decided to live up here with my boyfriend and cat. A lot of inspiration for my work comes from 80’s pop culture, something that I regularly consumed as a child through music and films.
Growing up, I enjoyed the strange and macabre, regularly described to be away with the fairies. This is why I have decided to start a fantasy costume business where I aim to create dresses, shirts and stays that seem to have leapt out of the pages of the Brothers Grimm. Using my childhood hobby of embroidery I will incorporate things like moss, mushrooms and little bugs onto my costumes.
Mina PerkinsSabriel
As a costumier my creative work mainly takes influences from a historical context with the goal of invoking the feel of an era, this is completed through shapes, textures and colour palettes whilst remaining mostly true to a garment’s historical context. This style of costuming is something I hope to carry forward into the theatrical context to create a realistic and grounded feeling. Throughout my time at the Northern School of Art I have developed a respect and interest in the art of corsetry and it's effective use in creating historical silhouettes. When creating costumes, I aim to experiment and expand my range of techniques used when bringing my work to life such as learning the art of kilt making in pursuit of my artistic vision.
As a costumier my creative work mainly takes influences from a historical context with the goal of invoking the feel of an era, this is completed through shapes, textures and colour palettes whilst remaining mostly true to a garment’s historical context. This style of costuming is something I hope to carry forward into the theatrical context to create a realistic and grounded feeling. Throughout my time at the Northern School of Art I have developed a respect and interest in the art of corsetry and it's effective use in creating historical silhouettes. When creating costumes, I aim to experiment and expand my range of techniques used when bringing my work to life such as learning the art of kilt making in pursuit of my artistic vision.
Marloes PeerenboomLord of The Rings
Throughout my time at The Northern School of Art I have developed a love for fantasy costumes. From velvet witch hats with sculpted buckram cones and hand made flowers to Viking costumes with leather armour. The best work however is of course my Final Major Project, based on The Witch King of Angmar from Lord of the Rings. This thermoplastic armour has been decorated with over 100 casted foam clay ornaments to reflect the 16th century parade armour inspiration. Ageing and distressing has been added to make the costume look like it comes straight from the battlefield. With these projects I have been able to collaborate with some amazingly talented people from the industry which will help me to get my name out there when I hopefully start working as a freelancer after graduation.
Instagram: @moonrise_artistry / Website: moonrise-artistry.com / Email: info@moonrise-artistry.com / Facebook: Moonrise Artistry
Throughout my time at The Northern School of Art I have developed a love for fantasy costumes. From velvet witch hats with sculpted buckram cones and hand made flowers to Viking costumes with leather armour. The best work however is of course my Final Major Project, based on The Witch King of Angmar from Lord of the Rings. This thermoplastic armour has been decorated with over 100 casted foam clay ornaments to reflect the 16th century parade armour inspiration. Ageing and distressing has been added to make the costume look like it comes straight from the battlefield. With these projects I have been able to collaborate with some amazingly talented people from the industry which will help me to get my name out there when I hopefully start working as a freelancer after graduation.
Instagram: @moonrise_artistry / Website: moonrise-artistry.com / Email: info@moonrise-artistry.com / Facebook: Moonrise Artistry
Marc HepworthQuadrophenia
The foundation of my final major project was to re-envision the characters Ace Face and Jimmy Cooper from the 1979 film Quadrophenia and give a modern twist on a sophisticated, fashion forward culture. I explored the culture’s fierce rivalries, lifestyle choices and their highly unique fashion style that grew to be an important turning point in men’s clothing.
The menswear industry will be where I focus my future career through either the fast-paced fashion world or the creating of costumes for theatre and film. My passion is to create a contemporary flair on past fashions, drawing influences from them and turning them into clothing that will interest the modern consumer but will still lend itself to the time period referenced. I have completed a couple of work placements whilst undertaking my education, one being held at York Theatre Royal, creating garments and accessories for their upcoming performances of Suffragette and the Christmas Pantomime. The other images show a tailored hacking jacket inspired by the link of fashion & architecture, a 1950s couture costume for the character Celia Bowen from ‘The Night Circus’ Novel and finally my Cruella DeVil Costume ready for the upcoming release of the ‘Cruella’ film.
The foundation of my final major project was to re-envision the characters Ace Face and Jimmy Cooper from the 1979 film Quadrophenia and give a modern twist on a sophisticated, fashion forward culture. I explored the culture’s fierce rivalries, lifestyle choices and their highly unique fashion style that grew to be an important turning point in men’s clothing.
The menswear industry will be where I focus my future career through either the fast-paced fashion world or the creating of costumes for theatre and film. My passion is to create a contemporary flair on past fashions, drawing influences from them and turning them into clothing that will interest the modern consumer but will still lend itself to the time period referenced. I have completed a couple of work placements whilst undertaking my education, one being held at York Theatre Royal, creating garments and accessories for their upcoming performances of Suffragette and the Christmas Pantomime. The other images show a tailored hacking jacket inspired by the link of fashion & architecture, a 1950s couture costume for the character Celia Bowen from ‘The Night Circus’ Novel and finally my Cruella DeVil Costume ready for the upcoming release of the ‘Cruella’ film.
Magda WellsStar Wars
My name is Magda Wells, and I came to The Northern School of Art as a mature student. I have always been interested in fashion and other forms of arts and crafts, but I found it hard to focus on a specific discipline that I would like to pursue further. Over the last three years I have had the opportunity to engage with, learn and develop many new skills such as pattern drafting, tailoring, millinery, and research. I have also gained confidence in both myself and my skills and I have finally decided what I want to do in the future. I am very excited to say that after graduation, I am planning to start a business creating bridal headwear. I will be able to use the millinery and embellishment techniques that I have learnt.
My name is Magda Wells, and I came to The Northern School of Art as a mature student. I have always been interested in fashion and other forms of arts and crafts, but I found it hard to focus on a specific discipline that I would like to pursue further. Over the last three years I have had the opportunity to engage with, learn and develop many new skills such as pattern drafting, tailoring, millinery, and research. I have also gained confidence in both myself and my skills and I have finally decided what I want to do in the future. I am very excited to say that after graduation, I am planning to start a business creating bridal headwear. I will be able to use the millinery and embellishment techniques that I have learnt.
Madelaine RoyleThe Night Watch
My work is predominantly inspired by period clothing, striving to produce accurate representations or modern interpretations. This often is incorporated with cultural explorations using embellishment and symbolism.
Instagram: @Royle_maadness / Facebook: Royle_Madness
My work is predominantly inspired by period clothing, striving to produce accurate representations or modern interpretations. This often is incorporated with cultural explorations using embellishment and symbolism.
Instagram: @Royle_maadness / Facebook: Royle_Madness
Lucy ValentineCharles Worth and the Second Empire
These costumes are for a television drama set in Paris which tells the story of the designer Charles Worth’s beginnings as well as the rise and fall of the Second French Empire lead by Napoleon III and his wife Eugenie de Montijo. The characters I’ve chosen are Worth’s wife Marie and Empress Eugenie. Marie’s dress would be worn early in the series in 1849, when she was working in Gagelin and Opigez, the dressmaking shop where she met her husband. In this dress we can see the classic bell shaped skirt of the 1840s created by the layers of petticoats. This costume also features a corded corset designed to create a long narrow bodice.
Eugenie’s dress would be worn in 1865 when she was at the height of her power, serving as regent during her husband’s absence. This dress is for what one of the famous balls at the Palace Tuileries and is designed to show Eugenie’s wealth and status. The shape of this dress is created with an elliptical crinoline which created the flat front and voluminous back shape which was synonymous with Eugenie and French fashion. In this project I wanted show the contrasting characters of the two women through the colours and designs of the dresses. I also wanted to show the shift in tone from the subdued romanticism of Paris in the 1840s to the decadent luxurious times at the height of the Second Empire.
In the future I’d like to work my way up within the costume department. This year I’ve been lucky enough to be employed as a daily assistant on an upcoming Netflix feature film, and I hope to find more positions such as this in the future. I love the practical side of costume so I’d like a job where I can be hands on and involved.
These costumes are for a television drama set in Paris which tells the story of the designer Charles Worth’s beginnings as well as the rise and fall of the Second French Empire lead by Napoleon III and his wife Eugenie de Montijo. The characters I’ve chosen are Worth’s wife Marie and Empress Eugenie. Marie’s dress would be worn early in the series in 1849, when she was working in Gagelin and Opigez, the dressmaking shop where she met her husband. In this dress we can see the classic bell shaped skirt of the 1840s created by the layers of petticoats. This costume also features a corded corset designed to create a long narrow bodice.
Eugenie’s dress would be worn in 1865 when she was at the height of her power, serving as regent during her husband’s absence. This dress is for what one of the famous balls at the Palace Tuileries and is designed to show Eugenie’s wealth and status. The shape of this dress is created with an elliptical crinoline which created the flat front and voluminous back shape which was synonymous with Eugenie and French fashion. In this project I wanted show the contrasting characters of the two women through the colours and designs of the dresses. I also wanted to show the shift in tone from the subdued romanticism of Paris in the 1840s to the decadent luxurious times at the height of the Second Empire.
In the future I’d like to work my way up within the costume department. This year I’ve been lucky enough to be employed as a daily assistant on an upcoming Netflix feature film, and I hope to find more positions such as this in the future. I love the practical side of costume so I’d like a job where I can be hands on and involved.
Lucy CarrGentlemen Prefer Blondes
From a young age I have always been drawn to the varying forms of artistic creation, and found myself always sketching or creating different forms of costume. I have always found a love of historical aspects, from Victorian to the 1950’s. I also hold a deep passion for creating more unusual costumes and artwork, often focusing on ageing and distressing. This links to a love of the horror genre, and how important costumes are in creating the perfect character.
Each piece of work I create often draws on varying sources of inspiration, from natural forms such as flowers, to pieces of literature and old Hollywood films. I embrace each subject and create a costume which is completely unique, and I believe stands out but still keeps the specific theme or era firmly at its core.
Continuing on from university, I intend to create and design unique pieces of artwork and millinery, exploring the many different techniques which I have learnt and practiced. I will continue to sketch and illustrate, creating new pieces of artwork which reflect on the subjects I am interest within. With this, I hold the ultimate goal of running my own business, selling my art and millinery creations.
Instagram: @211.bespoke / Website: 211bespokemillinery.uk
From a young age I have always been drawn to the varying forms of artistic creation, and found myself always sketching or creating different forms of costume. I have always found a love of historical aspects, from Victorian to the 1950’s. I also hold a deep passion for creating more unusual costumes and artwork, often focusing on ageing and distressing. This links to a love of the horror genre, and how important costumes are in creating the perfect character.
Each piece of work I create often draws on varying sources of inspiration, from natural forms such as flowers, to pieces of literature and old Hollywood films. I embrace each subject and create a costume which is completely unique, and I believe stands out but still keeps the specific theme or era firmly at its core.
Continuing on from university, I intend to create and design unique pieces of artwork and millinery, exploring the many different techniques which I have learnt and practiced. I will continue to sketch and illustrate, creating new pieces of artwork which reflect on the subjects I am interest within. With this, I hold the ultimate goal of running my own business, selling my art and millinery creations.
Instagram: @211.bespoke / Website: 211bespokemillinery.uk
Kyra Murthwaite-BeddingMexican Gothic
My work is often influenced by period clothing, with a modernised twist. Having an interest in the fantasy genre, I like to explore how it can be depicted in a period costume. To explore this, I often use my own photography and art within my work, creating digitally printed fabrics. Through this I have developed an interest in digital design, working on software such as Procreate and Photoshop, to create design illustrations and concepts for my work. Throughout my work I try to capture the essence of the characters I create and design for, really homing in on this during a photoshoot, where the characters come alive. Throughout my time at university, I have learned many new skills, which I intended to take forward with me into the future.
My work is often influenced by period clothing, with a modernised twist. Having an interest in the fantasy genre, I like to explore how it can be depicted in a period costume. To explore this, I often use my own photography and art within my work, creating digitally printed fabrics. Through this I have developed an interest in digital design, working on software such as Procreate and Photoshop, to create design illustrations and concepts for my work. Throughout my work I try to capture the essence of the characters I create and design for, really homing in on this during a photoshoot, where the characters come alive. Throughout my time at university, I have learned many new skills, which I intended to take forward with me into the future.
Kaye DaltonFMP
For my final piece I chose to make an 1885-89 ball gown (also known as the second bustle era). The film I chose was Barbie and the 12 Dancing Princesses and I made the gown for Courtney since her quiet, book loving character really spoke to me as I was growing up. After researching extant garments, I decided to use taffeta for the outer of my dress because it has the most luxurious look and feel, and I thought it would work well for my character and the era. I pattern drafted my corset and bustle from the Corsets and Crinolines book, which are both based on pre-existing garments from the time. I used floral hand embroidery of forget-me-not flowers on two of the side panels of the corset and I flossed my corset with a book motif to reference my character. I hand embroidered a ‘C’ monogram and twelve forget-me-not flowers onto the chemise, corset cover, bustle and petticoat as I could imagine sharing a wardrobe with eleven sisters would result in clothes getting lost easily. I also used machine embroidery along the front of the dress with a cluster of forget-me-not flowers and freestanding gold lace which used 6 layers of stabilizer for each piece. The ivory underskirt was pleated down to resemble pages of a book framed with the navy overskirt to resemble the cover of the book. I also decided to give my skirt a train which really helped the ball gown silhouette. On the hem of the overskirt there is just under 10 meters of gold trim which I stitched down by hand. I am really glad I chose to delve into historical costuming in my final year and it has made me want to do more in the future. I hope to recreate extant garments from museums which are too delicate to be displayed to help make history more available and interactive.
For my final piece I chose to make an 1885-89 ball gown (also known as the second bustle era). The film I chose was Barbie and the 12 Dancing Princesses and I made the gown for Courtney since her quiet, book loving character really spoke to me as I was growing up. After researching extant garments, I decided to use taffeta for the outer of my dress because it has the most luxurious look and feel, and I thought it would work well for my character and the era. I pattern drafted my corset and bustle from the Corsets and Crinolines book, which are both based on pre-existing garments from the time. I used floral hand embroidery of forget-me-not flowers on two of the side panels of the corset and I flossed my corset with a book motif to reference my character. I hand embroidered a ‘C’ monogram and twelve forget-me-not flowers onto the chemise, corset cover, bustle and petticoat as I could imagine sharing a wardrobe with eleven sisters would result in clothes getting lost easily. I also used machine embroidery along the front of the dress with a cluster of forget-me-not flowers and freestanding gold lace which used 6 layers of stabilizer for each piece. The ivory underskirt was pleated down to resemble pages of a book framed with the navy overskirt to resemble the cover of the book. I also decided to give my skirt a train which really helped the ball gown silhouette. On the hem of the overskirt there is just under 10 meters of gold trim which I stitched down by hand. I am really glad I chose to delve into historical costuming in my final year and it has made me want to do more in the future. I hope to recreate extant garments from museums which are too delicate to be displayed to help make history more available and interactive.
Isobel CooperFMP
This costume is made for the concept of Burlesque and is for the character Jill Masterson from the film Goldfinger. This costume is inspired by 1950’s fashion and the colour gold. The overall costume is made to be suitable for a Burlesque performance, made with gold sequin stretch fabric, black and gold lace and heavy embellishment including black and gold rhinestones.
This costume is made for the concept of Burlesque and is for the character Jill Masterson from the film Goldfinger. This costume is inspired by 1950’s fashion and the colour gold. The overall costume is made to be suitable for a Burlesque performance, made with gold sequin stretch fabric, black and gold lace and heavy embellishment including black and gold rhinestones.
Indigo Welsh“Corteo”
My final exhibition has enabled me to push the boundaries of contemporary circus costume which is a passion of mine as a trapeze artist. I have explored a range of narratives which incorporate many physical extremes to create new interpretations for the characters found in Cirque Du Soleil’s “Corteo”.
My work integrates 3D modelling and draws inspiration from architecture and the built environment. I have also applied a range of experimental techniques and collaborative working to develop these costumes and to define each character. My designs reflect the change from traditional circus styles to contemporary where there is a need for a greater audience perception, interpretation of characters and personification of the costume.
I would like to continue studying costume design at a Postgraduate level, with further career progression within companies such as Cirque Du Soleil or in theatre where the work would involve costume design with intent. It is within this genre I believe I could push the boundaries of my creativity.
My final exhibition has enabled me to push the boundaries of contemporary circus costume which is a passion of mine as a trapeze artist. I have explored a range of narratives which incorporate many physical extremes to create new interpretations for the characters found in Cirque Du Soleil’s “Corteo”.
My work integrates 3D modelling and draws inspiration from architecture and the built environment. I have also applied a range of experimental techniques and collaborative working to develop these costumes and to define each character. My designs reflect the change from traditional circus styles to contemporary where there is a need for a greater audience perception, interpretation of characters and personification of the costume.
I would like to continue studying costume design at a Postgraduate level, with further career progression within companies such as Cirque Du Soleil or in theatre where the work would involve costume design with intent. It is within this genre I believe I could push the boundaries of my creativity.
Gillian CarlingUntitled
Eve CoulthardBallet Production of Animal Farm, by George Orwell
My costumes are designed for the characters Napoleon and Mollie from the classic George Orwell political novel Animal Farm. The theme of my Final Major Project is ballet, with influences from Elizabethan fashions from the royal court, traditional Russian clothing, 1930s tailoring and the cutting-edge couture of Alexander McQueen; these inspirations combined have created the ideal aesthetic for my two characters and their barnyard setting.
Napoleon’s character is a pig; he is the villainous leader of Animal Farm. For this reason, he has been given a very royal look, with elaborate sleeves and voluminous Elizabethan trunk hose trousers, to make him look large and powerful. Key details suggest that he is a pig, such as the leather moulded pig’s ears and mask, complete with an upturned snout and furrowed brow, and his curly pig’s tail. Mollie is a white show horse, who takes great pride in her appearance and ensuring her red ribbons are immaculately placed in her mane. Due to this, Mollie has been delicately designed in a palette of creams and red, with her costume featuring hooves, a horse ear headpiece and a braided horsetail.
I used specialist techniques, such as traditional ballet tutu, basque and bodice construction methods, leather moulding with my own handcrafted moulds, and an estimated 60+ hours’ worth of goldwork and advanced hand embroidery skills. I took sustainability into consideration too, using mostly second-hand fabrics, donated old curtains, and even two deconstructed leather sofas! After graduation, I’m looking forward to throwing myself into the exciting, hands-on environment of working behind the scenes on set, for both theatre and the TV and Film industry. I’ve also always had a keen eye for detail in the embellishment sector of both the costume and fashion industries, which is another area I’d love to explore further!
My costumes are designed for the characters Napoleon and Mollie from the classic George Orwell political novel Animal Farm. The theme of my Final Major Project is ballet, with influences from Elizabethan fashions from the royal court, traditional Russian clothing, 1930s tailoring and the cutting-edge couture of Alexander McQueen; these inspirations combined have created the ideal aesthetic for my two characters and their barnyard setting.
Napoleon’s character is a pig; he is the villainous leader of Animal Farm. For this reason, he has been given a very royal look, with elaborate sleeves and voluminous Elizabethan trunk hose trousers, to make him look large and powerful. Key details suggest that he is a pig, such as the leather moulded pig’s ears and mask, complete with an upturned snout and furrowed brow, and his curly pig’s tail. Mollie is a white show horse, who takes great pride in her appearance and ensuring her red ribbons are immaculately placed in her mane. Due to this, Mollie has been delicately designed in a palette of creams and red, with her costume featuring hooves, a horse ear headpiece and a braided horsetail.
I used specialist techniques, such as traditional ballet tutu, basque and bodice construction methods, leather moulding with my own handcrafted moulds, and an estimated 60+ hours’ worth of goldwork and advanced hand embroidery skills. I took sustainability into consideration too, using mostly second-hand fabrics, donated old curtains, and even two deconstructed leather sofas! After graduation, I’m looking forward to throwing myself into the exciting, hands-on environment of working behind the scenes on set, for both theatre and the TV and Film industry. I’ve also always had a keen eye for detail in the embellishment sector of both the costume and fashion industries, which is another area I’d love to explore further!
Ethan Crawford-ThomsonMuch of my work explores themes of gender and the role of costume and clothing in shaping people's experience of gender throughout history and the present day. I gained this interest from researching the Victorian period and the ways gendered clothing has been used to create power. I have also become interested in the ways Victorian social issues are represented through costume. I also have an interest in creating historical fantasy costumes for film and TV. My interest in this genre often influences my work when designing costumes in fictional settings. When creating costumes for fantasy settings I use materials such as leather and fur frequently. My use of these materials and their synthetic counterparts has interested me in how animal materials can be sourced and used ethically and sustainably and the various issues that can occur when using natural or synthetic materials. When sourcing these materials I spend extra time to ensure that they have a reputable and ethical origin.
Emma CrosslandDuring my time studying at the Northern School of Art, I have enjoyed exploring and developing a vast range of skills, techniques and costume disciplines. I greatly enjoy both the research and making side of costume which I have learnt greatly compliment each other. Some of my highlights have been learning new skills such as tutu making, corsetry and millinery, with two of my favourite projects being a recreation of a 1903 hat and a replica of Anna Pavlova's iconic Rondino ballet costume. I was lucky enough to gain some work experience as a costume runner for a music video and help make costumes for the award-winning local production of the Lion in Winter as well as collaborate on many in-house projects over the past few years. I will be exhibiting three costumes at the degree show, each based on the brief Strictly Come Dancing: Musicals Week. My first costume is a ballroom costume based on Anastasia, then a Charleston costume themed on Barnum and lastly a cha cha cha costume for Paulette from Legally Blonde.
After leaving the Northern School of Art, I will be continuing my studies at postgraduate level, studying MA Costume Making at Liverpool Institute of Performing Arts. Alongside this, I will will be open to commissions and I aspire to start my own small business. I am greatly intrigued by both historical costume and dancewear, and endeavour to find a costume making career that caters to my passions for my specialist interests.
Instagram: @emmacrossland_costumier / Linkedin: emma-crossland-costume / Website: emmacrosslandcostume.wixsite.com / Email: emmacrosslandcostume@gmail.com
After leaving the Northern School of Art, I will be continuing my studies at postgraduate level, studying MA Costume Making at Liverpool Institute of Performing Arts. Alongside this, I will will be open to commissions and I aspire to start my own small business. I am greatly intrigued by both historical costume and dancewear, and endeavour to find a costume making career that caters to my passions for my specialist interests.
Instagram: @emmacrossland_costumier / Linkedin: emma-crossland-costume / Website: emmacrosslandcostume.wixsite.com / Email: emmacrosslandcostume@gmail.com
Emily CarterMy costume is centred around the 1956 motion picture The King and I, with having redesigned and created costumes for the two pinnacle characters Anna Leonowens and the King of Siam, King Mongkut. The film itself is set in the early 1860’s and I choose to keep this period and to create an 1860’s ball gown and royal wrapping to portray the characters. I decided to create garments for The King and I due to my love and my families love for old musicals as well as my personal interest in history. I am happy I chose to recreate for The King and I as this has inspired me to continue with historical garments and has further encouraged my love for researching. After graduation I would like to continue to delve in to recreating historical costumes and designing my own alongside with hopes of becoming freelance or creating a small business.
Linktree: linktr.ee/emilycarter.costume / Instagram: @emilycarter.costume / Email: emilycarter.costume@gmail.com
Linktree: linktr.ee/emilycarter.costume / Instagram: @emilycarter.costume / Email: emilycarter.costume@gmail.com
Elizabeth JonesBefore starting my degree, I had a background in textiles and explored embellishment and surface design. I had strong interests in taking these skills forward into the world of costume. I have used my final major project to challenge myself and explore new embellishment techniques. Inspired by the Victorian poem, ‘Goblin Market’, my costumes have been designed for the two sisters in the poem – Laura and Lizzie – The final costumes showcase embellishment techniques such as beadwork, embossing, smocking and embroidery.
Throughout my three years I have been able to develop myself, pushing my initial skills. This has enabled me to interpret costumes while gaining new knowledge in areas such as corsetry, tailoring, millinery and costume design. Costume has also enabled me to accumulate a bank of knowledge in historical fashion. The archive has been an abundant source of inspiration and has sparked a new interest in historical costume researching. Moving forward with my degree I am eager to explore new embellishment methods, both traditional and modern, and work within the film, television or theatre industry.
Instagram: @tilly_costume/ Email: elizabethmjones00@gmail.com
Throughout my three years I have been able to develop myself, pushing my initial skills. This has enabled me to interpret costumes while gaining new knowledge in areas such as corsetry, tailoring, millinery and costume design. Costume has also enabled me to accumulate a bank of knowledge in historical fashion. The archive has been an abundant source of inspiration and has sparked a new interest in historical costume researching. Moving forward with my degree I am eager to explore new embellishment methods, both traditional and modern, and work within the film, television or theatre industry.
Instagram: @tilly_costume/ Email: elizabethmjones00@gmail.com
Eleanor BirchenoughOne of my inspiration for becoming a costumier was watching my mother create costumes for my and my bother as child. I loved how we could change ourselves completely just though the clothing. That passion and the fact that always loved the arts especially textiles are what led me to want to become a costumier.
Through the three years, I have come to realise that out of all the genres I could choose when given the choice I always lean towards period pieces. I feel this is because when researching I can see how the older generation wore clothing different. For the future I am looking at a career in television and film as I love detail and one day hope to specialise in period dramas. With this idea of going into period dramas I decided to create my favourite book series ‘the cat royal adventures’ as a television adaptation, as it is set in the 18th century.
Instagram: @Elles_belles_costumes
Through the three years, I have come to realise that out of all the genres I could choose when given the choice I always lean towards period pieces. I feel this is because when researching I can see how the older generation wore clothing different. For the future I am looking at a career in television and film as I love detail and one day hope to specialise in period dramas. With this idea of going into period dramas I decided to create my favourite book series ‘the cat royal adventures’ as a television adaptation, as it is set in the 18th century.
Instagram: @Elles_belles_costumes
Christina MarshallFMP
The costumes that I have created are for the characters, Frida Kahlo and Diego Rivera. The costumes reflect both traditional 1930s Mexican wear and modern festive elements. Symbolism of the marigold flower decorates Kahlo’s and Rivera’s costumes appearing amongst the skirt, buttons, gold work and headpiece. This brings to light the fiery and hopeful attitudes apparent in their turbulent relationship.
Frida Kahlo’s costume consists of a petticoat and corset which make up the undergarments. The corset is fan laced relating to the back injuries Kahlo suffered with during her lifetime and also gives support to the character’s fragile stature. The blouse, known as ‘huipil’ in Mexican wear, features a square neckline with double layered, flared sleeves. The floral goldwork motif on the front of the blouse adds an air of sophistication to Kahlo’s clothing. The shape of the skirt is full of volume which was created by applying horsehair braiding. This also helps to conceal Kahlo’s damaged leg in the process.
Diego Rivera’s costume incorporates the style of the traditional Charro suit. The white shirt brings formality to the costume, sitting smartly underneath his jacket. The sleeves of the jacket are embellished with marigold flowers, vines and leaves made from purl goldwork and beading. This technique adds to the festival feel of the costume. A Charro bow sits around the neck of the shirt made from purple silk to match Kahlo’s blouse. The trousers are embellished with digital embroidered marigolds and embellished brocade fabric which accentuates the detail in the flowers. A sombrero hat completes the look with embellishment added around the brim. My three years studying costume has challenged me to develop new skills including corsetry, millinery, tailoring and ballet construction. I look forward to a future of working in the costume industry within film and TV or theatre.
The costumes that I have created are for the characters, Frida Kahlo and Diego Rivera. The costumes reflect both traditional 1930s Mexican wear and modern festive elements. Symbolism of the marigold flower decorates Kahlo’s and Rivera’s costumes appearing amongst the skirt, buttons, gold work and headpiece. This brings to light the fiery and hopeful attitudes apparent in their turbulent relationship.
Frida Kahlo’s costume consists of a petticoat and corset which make up the undergarments. The corset is fan laced relating to the back injuries Kahlo suffered with during her lifetime and also gives support to the character’s fragile stature. The blouse, known as ‘huipil’ in Mexican wear, features a square neckline with double layered, flared sleeves. The floral goldwork motif on the front of the blouse adds an air of sophistication to Kahlo’s clothing. The shape of the skirt is full of volume which was created by applying horsehair braiding. This also helps to conceal Kahlo’s damaged leg in the process.
Diego Rivera’s costume incorporates the style of the traditional Charro suit. The white shirt brings formality to the costume, sitting smartly underneath his jacket. The sleeves of the jacket are embellished with marigold flowers, vines and leaves made from purl goldwork and beading. This technique adds to the festival feel of the costume. A Charro bow sits around the neck of the shirt made from purple silk to match Kahlo’s blouse. The trousers are embellished with digital embroidered marigolds and embellished brocade fabric which accentuates the detail in the flowers. A sombrero hat completes the look with embellishment added around the brim. My three years studying costume has challenged me to develop new skills including corsetry, millinery, tailoring and ballet construction. I look forward to a future of working in the costume industry within film and TV or theatre.
Charlie SwalesFMP
My costume is an interpretation of the dress worn by Mia Thermopolis in the 2000 Princess Diaries book series. I decided to change the time period to the Rococo period, as I particularly enjoy making large and over the top dresses and I was interested in the colours and styles of the period.
Mia is the princess of a fictional European country known as Genovia, which mixes elements of different European cultures, meaning that I could take influences from different styles of dress from the time. Mia’s overbearing grandmother is the one who chose the dress, so I decided to add elements such as the fichu and the veil to make Mia look overdressed, to make the dress look more modest. Being able to adapt a series I’ve loved since I was a child was a wonderful experience, despite the amount of work required and has sparked a love of making structured undergarments and gowns. After graduation, I hope to have my own business or work freelance both making and designing dresses.
My costume is an interpretation of the dress worn by Mia Thermopolis in the 2000 Princess Diaries book series. I decided to change the time period to the Rococo period, as I particularly enjoy making large and over the top dresses and I was interested in the colours and styles of the period.
Mia is the princess of a fictional European country known as Genovia, which mixes elements of different European cultures, meaning that I could take influences from different styles of dress from the time. Mia’s overbearing grandmother is the one who chose the dress, so I decided to add elements such as the fichu and the veil to make Mia look overdressed, to make the dress look more modest. Being able to adapt a series I’ve loved since I was a child was a wonderful experience, despite the amount of work required and has sparked a love of making structured undergarments and gowns. After graduation, I hope to have my own business or work freelance both making and designing dresses.
Bethany Le-BrunFMP
My work throughout my time at university has been heavily period-based clothing. I have thoroughly enjoyed bringing past styles back to life in the modern-day but something which I have found especially interesting to explore was the aging and distressing of pieces. Because of this newfound love, I would love to explore some darker tones and themes within my future work as a costumier. As well as this, I have also been very interested in the designing process of my work. This initially came from my love for drawing and art before I came to The Northern School of Art, but I have thoroughly enjoyed designing my own costumes and rendering the fabrics, and then seeing these designs come to life within my construction.
My work throughout my time at university has been heavily period-based clothing. I have thoroughly enjoyed bringing past styles back to life in the modern-day but something which I have found especially interesting to explore was the aging and distressing of pieces. Because of this newfound love, I would love to explore some darker tones and themes within my future work as a costumier. As well as this, I have also been very interested in the designing process of my work. This initially came from my love for drawing and art before I came to The Northern School of Art, but I have thoroughly enjoyed designing my own costumes and rendering the fabrics, and then seeing these designs come to life within my construction.
Angela List-EvansMy creative practice is influenced by a wide range of historical periods and references cultural, social, and political aspects of the era. My aim is to reflect an authentic as possible costume that reflects the construction techniques and materials used during the historical period. I like to compliment my costumes with accessories such as millinery, masks, leather work and bags as I feel that this helps to bring the costume alive. My outcomes are unique and innovative whilst maintaining an authentic feel and aim to highlight the strong personalities and individuality of the characters. To further my love of history combined with the creative industry I will be progressing to a History of Design MA.
Alex DawesMy Final Major Project is based around the Shakespeare play A Midsummer Night’s Dream, looking specifically at the characters of Demetrius and Helena. Due to the popularity of this particular play, I wanted to add a twist to the traditional look through bringing it into the modern world of haute couture fashion. The inspiration behind these costumes has come from a variety of modern and traditional elements to create two unique pieces that would not only fit within a runway setting but also represent the characters well.
Within the male costume I have used traditional tailoring techniques as the basis for the design, whilst the use of more contemporary materials, as well as the idea of incorporating some sustainable elements helps bring it into a modern setting. For the female costume however, elements such as the half crinoline, smocked sleeves and hand embroidery give reference to historical female clothing whilst the more oversized style dress and tulle skirt link to more modern fashion trends seen in recent years.
With sustainability becoming a huge topic of conversation within modern society and fashion, I wanted to bring this concept into my work through the use of recycled materials such as old clothes, unwanted fabrics and plastic bags, as seen on the flowers, to help prolong their life span and demonstrate that there is beauty within reusing and repurposing. As my degree comes to an end, I look forward to what the future brings for my career, hoping to work within the film, TV and theatre industries.
Within the male costume I have used traditional tailoring techniques as the basis for the design, whilst the use of more contemporary materials, as well as the idea of incorporating some sustainable elements helps bring it into a modern setting. For the female costume however, elements such as the half crinoline, smocked sleeves and hand embroidery give reference to historical female clothing whilst the more oversized style dress and tulle skirt link to more modern fashion trends seen in recent years.
With sustainability becoming a huge topic of conversation within modern society and fashion, I wanted to bring this concept into my work through the use of recycled materials such as old clothes, unwanted fabrics and plastic bags, as seen on the flowers, to help prolong their life span and demonstrate that there is beauty within reusing and repurposing. As my degree comes to an end, I look forward to what the future brings for my career, hoping to work within the film, TV and theatre industries.
