The Northern School of Art is pleased to introduce our talented and skilled 2022 BA (Hons) Costume Interpretation with Design graduates!
You can view our other course gallerieshere.
Hollie PalfreymanOutlander
My FMP project is based on the 'Outlander' book series by Diana Gabaldon and is set in 18th century Scotland. As a result of this, I felt that it was important to fully embrace historical costume making and the cultural elements that made up Jacobite history. This was done throughout my preparation and the construction of my two pieces.
I was also heavily inspired by both texture and natural imagery throughout the projects process. The costumes include hand-painted 18th century inspired fabric, small elements of Jacobite symbolism, leather work and structural elements specific to the period my costumes are based in.
Instagram:@Jayne_hollie
My FMP project is based on the 'Outlander' book series by Diana Gabaldon and is set in 18th century Scotland. As a result of this, I felt that it was important to fully embrace historical costume making and the cultural elements that made up Jacobite history. This was done throughout my preparation and the construction of my two pieces.
I was also heavily inspired by both texture and natural imagery throughout the projects process. The costumes include hand-painted 18th century inspired fabric, small elements of Jacobite symbolism, leather work and structural elements specific to the period my costumes are based in.
Instagram:@Jayne_hollie
Borbala IszlaiDracula
During my time at The Northern School of Art I developed and interest in both horror and gothic genres, allowing me to explore the viewers emotion through costume. I have also explored techniques within theatre and contemporary costume, pushing my skills with the use of soutache braiding (narrow decorative braid) and leatherwork.
For my FMP, I decided to delve in Bram Stoker's Dracula, setting the production and character in the Elizabethan period, while remaining true to the horror genre within the film industry. Embellishment techniques such as hair embroidery and batiking together with metalwork were all applied, relating to architectural influences to showcase the Count's death like presence.
Website: www.borb4la.com
During my time at The Northern School of Art I developed and interest in both horror and gothic genres, allowing me to explore the viewers emotion through costume. I have also explored techniques within theatre and contemporary costume, pushing my skills with the use of soutache braiding (narrow decorative braid) and leatherwork.
For my FMP, I decided to delve in Bram Stoker's Dracula, setting the production and character in the Elizabethan period, while remaining true to the horror genre within the film industry. Embellishment techniques such as hair embroidery and batiking together with metalwork were all applied, relating to architectural influences to showcase the Count's death like presence.
Website: www.borb4la.com
Emily ClyburnLegends of King Arthur
My Final Major Project is based on the King Arthur legends and is intended for use in a theatre production. I took my inspiration from pre-raphaelite art and fantasy films like Lord of The Rings. I worked a lot with natural materials that would have been available in the medieval era. My work includes hand embossed and dyed leather items as well as metal link chain mail. These are paired with wool, fur, and cotton fabric.
Email: Emlish.made@gmail.com
My Final Major Project is based on the King Arthur legends and is intended for use in a theatre production. I took my inspiration from pre-raphaelite art and fantasy films like Lord of The Rings. I worked a lot with natural materials that would have been available in the medieval era. My work includes hand embossed and dyed leather items as well as metal link chain mail. These are paired with wool, fur, and cotton fabric.
Email: Emlish.made@gmail.com
Fern RossDo Androids Dream of Electric Sheep
These costumes are designed and constructed for use in a film production of Phillip K. Dick's 1968 post-nuclear novel Do Androids Dream of Electric Sheep? which explores themes of destruction, consumerism and humanity. The piece would be set in a post-nuclear war 1992 San Francisco, focusing on the character of Deckard, a bounty hunter, and his adversary Rachel Rosen, an android he has been tasked to hunt. My designs were heavily influenced by the economic and political climates of the 1960's, particularly the fear of the growing power in the East. This led me to include elements of historical Japanese dress within my costumes.
Instragram: @ferndoesart
These costumes are designed and constructed for use in a film production of Phillip K. Dick's 1968 post-nuclear novel Do Androids Dream of Electric Sheep? which explores themes of destruction, consumerism and humanity. The piece would be set in a post-nuclear war 1992 San Francisco, focusing on the character of Deckard, a bounty hunter, and his adversary Rachel Rosen, an android he has been tasked to hunt. My designs were heavily influenced by the economic and political climates of the 1960's, particularly the fear of the growing power in the East. This led me to include elements of historical Japanese dress within my costumes.
Instragram: @ferndoesart
Leigh TelfordThe Guardians of Childhood
For my FMP I developed a Ballet adaption of William Joyce's children's novel series The Guardians of Childhood, formerly recognized from the later Dream Works animation Rise of the Guardians. The costumes represent the characters the Easter Bunny, the Tooth Fairy and the Sandman.
With each of the imaginary character's having an interchangeable aesthetic globally. I used influences of their origin based on history to highlight their true identities while maintaining the fantasy genre of the novels. The costumes combine elements of dancewear historical tailoring, mask making, ballet construction, as well as embellishment techniques of specialist beading and goldwork embroidery. These elements assisted in the development of new and existing skills through unique collaborations as well as previous projects.
Website: www.leightelfordcostumier.com
For my FMP I developed a Ballet adaption of William Joyce's children's novel series The Guardians of Childhood, formerly recognized from the later Dream Works animation Rise of the Guardians. The costumes represent the characters the Easter Bunny, the Tooth Fairy and the Sandman.
With each of the imaginary character's having an interchangeable aesthetic globally. I used influences of their origin based on history to highlight their true identities while maintaining the fantasy genre of the novels. The costumes combine elements of dancewear historical tailoring, mask making, ballet construction, as well as embellishment techniques of specialist beading and goldwork embroidery. These elements assisted in the development of new and existing skills through unique collaborations as well as previous projects.
Website: www.leightelfordcostumier.com
Charlie HughesPoison Ivy
I have created a costume for Poison Ivy. She is a super-villan in the Batman and Robin comics. The costume is made for the purpose of film and tv. I have also used a lot of finer beadwork elements and focused on the smaller details in the costume. I have given the costume an overgrown aesthetic because my character is half plant. After university, I would like to specialise in beadwork, embroidery and greenery in costumes.
Email: hand.madebycharlie1@gmail.com
I have created a costume for Poison Ivy. She is a super-villan in the Batman and Robin comics. The costume is made for the purpose of film and tv. I have also used a lot of finer beadwork elements and focused on the smaller details in the costume. I have given the costume an overgrown aesthetic because my character is half plant. After university, I would like to specialise in beadwork, embroidery and greenery in costumes.
Email: hand.madebycharlie1@gmail.com
Lucy RoseHow to Train Your Dragon
For my FMP, I have made costumes for the two main characters from How to Train Your Dragon, Astrid and Hiccup. It is for a theatrical adaptation of the movie. As the movie was set in the Viking age, this is where I based my research for this project as I wanted to make it more accurate to the time period than the movie. To portray this, I made the wool garments with historically accurate patterns that would have been used in the time period. I used fantasy leather armour as inspiration for the amour I designed.
Email: lucy.rose@gmail.com
For my FMP, I have made costumes for the two main characters from How to Train Your Dragon, Astrid and Hiccup. It is for a theatrical adaptation of the movie. As the movie was set in the Viking age, this is where I based my research for this project as I wanted to make it more accurate to the time period than the movie. To portray this, I made the wool garments with historically accurate patterns that would have been used in the time period. I used fantasy leather armour as inspiration for the amour I designed.
Email: lucy.rose@gmail.com
Isobel PattersonDracula
For my FMP, I have focused the theme of Bram Stoker's Dracula and the three characters of the 'The Brides'. I have altered the context by changing the setting to fit the 1920's and reimagined the theme to suit a theatre production.
When designing the costumes, I took inspiration from 1920's evening wear, embellishment, and show girl attire, particularly within the headdresses. To create each piece, I demonstrated a range of techniques such as hand dyeing, devore, foiling, and beading as well as millinery techniques including blocking and trimming.
Within this project, I was able to expand upon existing techniques acquired from previous projects regarding various construction and embellishment processes.
Email: isobelpatterson@gmail.com
For my FMP, I have focused the theme of Bram Stoker's Dracula and the three characters of the 'The Brides'. I have altered the context by changing the setting to fit the 1920's and reimagined the theme to suit a theatre production.
When designing the costumes, I took inspiration from 1920's evening wear, embellishment, and show girl attire, particularly within the headdresses. To create each piece, I demonstrated a range of techniques such as hand dyeing, devore, foiling, and beading as well as millinery techniques including blocking and trimming.
Within this project, I was able to expand upon existing techniques acquired from previous projects regarding various construction and embellishment processes.
Email: isobelpatterson@gmail.com
Kathryn WalkerMy FMP project is based on Mozarts opera The Magic Flute, focusing on the characters The Queen of the Night and her daughter Pamina. The formidable Queen features a Charles James inspired petticoat, boned corset and structured bodice with peplum. The skirt features 2,500 laser cut and spray-painted feathers representing the birds papageno catches for her, in an attempt to prevent dawn coming and the inevitable end of her reign.
Her daughter Pamina has been converted to a ballet role, allowing me to refine my tutu making skills. The tutu itself has been created as a star shape, reminiscent of her heritage, with blue under layers representing the overriding influence of her mother. The tutu also features foiling and applique detailing, with complex pattern cutting. The images also featured show previous modules development skills in tailoring and leather work.
Email: kathrynwalker26@hotmail.com / Instagram: @kathrynwalkerdesign
Her daughter Pamina has been converted to a ballet role, allowing me to refine my tutu making skills. The tutu itself has been created as a star shape, reminiscent of her heritage, with blue under layers representing the overriding influence of her mother. The tutu also features foiling and applique detailing, with complex pattern cutting. The images also featured show previous modules development skills in tailoring and leather work.
Email: kathrynwalker26@hotmail.com / Instagram: @kathrynwalkerdesign
