BA (Hons) Costume Design and Construction

Permanent URI for this collectionhttps://eresearch.qmu.ac.uk/handle/20.500.12289/7232

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To investigate the invention of the tailored garment in the early eleventh century, and trace its development from the draped garments worn by the Egyptians, Greeks, Romans, and Early Christians 2000 BC to 475AD.
(Queen Margaret University, 2015)
This study investigates the invention of the tailored garment in the early eleventh century, and traces its development from the draped garments worn by the Egyptians, Greeks, Romans, and Early Christians 2000B.C. to 475A.D. This study looks at each era individually examining fabrics, colours and motifs used as well as studies of key elements of clothing. Studying who wore specific items of clothing and how all these factors proclaimed peoples position with in social standing. The practical part of this study covers the creation of three costumes from different eras studied from early garments using completely draped fabric with no fabric cutting to a garment that is an early form of complex tailoring. The practical aspect not only visually demonstrates silhouettes of the time but also the techniques used and how they developed with time and what effect this had on the complexity of clothing. This study shows that clothing did developed gradually over time and that the function of clothing was always to accentuate the figure but the methods altered to reflect the desired look of the time.
How can an early 21st century sceneographer replicate a late 19th century zeitgeist for a new production of 'The Strange Case of Dr Jekyll and Mr Hyde?
(Queen Margaret University, 2015)
By creating a set design for David Edgar's 2007 adaptation of Robert Louis Stevenson's 1886 novella 'The Strange Case of Dr Jekyll and Mr Hyde' this investigation will attempt to explain and demonstrate the techniques scenographers use to create a mood within the theatre audience. To create as well informed a set as possible, the designer will look at gothic conventions leading up to the publication of 'Dr Jekyll and Mr Hyde' as well as the specific characteristics of gothic art in late 19th century Europe. The social moods informing these Victorian gothic artists will be thoroughly investigated in order to find exploitable parallel ideas influencing modern society. Finally, a set box will be produced that demonstrates how scenography can be used to convey this social mood to a modern audience.
Using Laura Mulvey's Critical Film Theory 'Visual Pleasure and Narrative Cinema', analyse the extent to which the concept of 'The Male Gaze' is a prevalent feature of traditional Hollywood narrative cinema with regards to Academy Award for Best Picture winning films between the years 1975 and 2010.
(Queen Margaret University, 2015)
This study aims to explore and discuss the extent to which Laura Mulvey's ideas about the concept of 'The Male Gaze', expressed in her 1975 critical film theory 'Visual Pleasure and Narrative Cinema', are still relevant when applied to films produced after the theory's publication. To carry out this investigation the 'Academy Award for Best Picture' winning films of the past 35 years were chosen as the focus sector from the vast and varied elements that make up the film industry. The study also aims to discover whether there is a correlation between films deemed highly acclaimed artworks and the presence of 'The Male Gaze'. This has been achieved by selecting four films, between each of which there is a ten year interval, the first receiving the Best Picture Oscar in 1979 and the most recent in 2009. Each film has been watched and analysed an equal number of times, with statistics having been collated respectively as to the number of male to female characters, the number of different types of camera shot (close-up, fragmented and zoom) on each gender and finally, the amount of nudity, partial and full, there is for each male and female character. This data has been organized and placed into different graphs which display the results. This was conducted in conjunction with analysis of the context, both within the film and wider social conditions, the respective plots and the genre of each film which often provided reasoning to the absence or presence of a 'gaze'. It was discovered that these four critically acclaimed films were not exempt from conforming to many of the recognisable features of 'The Male Gaze' as it is defined by Mulvey, suggesting the film industry's chauvinistic depiction of women is deeply embedded. Further examination of whether there were such concepts as 'The Female Gaze' and 'The Homoerotic Gaze' within each film showed that rather than 'The Male Gaze'diminishing, the type of films now being produced showed the inequality to be, to a certain extent, levelling out with the industry aiming to appeal to a wider demographic.
The Victorian Art of Mourning: The evolution of mourning and funeral customs during the reign of Queen Victoria from 1837 to 1901.
(Queen Margaret University, 2016)
This dissertation examines the evolution of mourning and funeral customs during the reign of Queen Victoria, from the time period 1837 to 1901. The Victorian era has long been perceived to have been the time period in which the height of both mourning and funeral customs were achieved in British society, and through research into the topic this dissertation investigates how true this statement is. The topic shall be explored through examining three royal funerals which took place during the era: the funeral of King William IV which occurred in 1837, with his death leading to start of the Victorian era; the Prince Consort's funeral in 1861 which will be used as the midpoint comparison in this study, his death and Queen Victoria's subsequent mourning was highly influential on mourning culture towards the middle of the era; and finally, the funeral of Queen Victoria. Her death meant the beginning of new era and ushered in a new chapter in mourning and funeral customs. Royal funerals had long set the precedent to which society based their mourning and funeral traditions on, and they will be used in this dissertation of indicators of changes within the customs. The conclusion of the research gathered is that mourning and funeral customs did not progress at the same rate, and were subsequently at odds with each other during the era. Whilst the height of mourning customs and etiquette did indeed occur during the Victorian era; the tradition of ostentatious and lavish funerals was already in decline by the start of the era.
Clothing, Status And Value: how has clothing been used to show status and wealth and what makes these clothes valuable?
(Queen Margaret University, 2017)
Throughout history status and wealth have been shown through clothing. This study investigates the relation between clothing, wealth and status and how it has been shown in different ways. Value can be attributed to garments that are sentimental, have a particular label or are skilfully made, not only because they were expensive to buy. This study also looks at what makes garments that show wealth valuable, how this has changed and how it can be subjective. Thorstein Veblen's book 'The Theory of the Leisure Class' provides the basis for this study. Veblen looks at the way the upper class show status and wealth through waste rather than through the purchasing of products. This theory offers a unique take on though it was published in 1899. This study concludes that status and wealth has been, and is still being, demonstrated through various ways and that the value of clothing has changed with the advancement of technology and society. Wealth and status is no longer shown through the adornment of jewels but can be shown though designer labels. However, to fully understand the relation between clothing, status and value an in depth investigation of social and personal psychology would need to be undertaken and combined with the research from this paper.
How Has Competitive Ballroom Dance costume evolved Throughout the History of DanceSport?
(Queen Margaret University, 2017)
This project investigates the development of costumes worn by ballroom dancers; tracing the evolution of modern ballroom dance from a social activity to competitive sport and the effects this had on ball gowns. Research is presented on the history of ballroom dancing and the styles of dress worn; from corsets and crinolines to the influence of celebrities such as Irene Castle and Ginger Rogers to Christian Dior's 'New Look' silhouette and finally to todays form fitting performance wears. This study highlights the effect of dance on fashion and fashions effect on dancewear the results of which have produced stylish yet practical costumes enhancing the look and performance of a dancer. The study focuses primarily on dresses worn for the Standard category of DanceSport. The practical element demonstrates the development in fabrics and production techniques through the creation of two ball gowns - a 1950s recreation made from woven non-stretch fabrics and a modern gown produced using four-way stretch fabrics. The contrasting styles demonstrate the impact of developments in dancewear fabrics and construction techniques specifically the use of stretch fabric and elastic to create performance wear costumes that provide the athlete with a greater range of flexible and athletic movement.
How Did Orientalism and Exoticism Influence New Innovations in the Cut and Construction of Women's Clothing in Western Europe in the Early 20th Century?
(Queen Margaret University, 2017)
Modern Western fashion effectively originated in the early 20th century, stemming from revolutionary ideas advanced at this time pertaining to structures of women's dress that diverged radically from previous Western clothing ideals. During this period there were also perceived trends in Orientalism and Exoticism; interest in and emulation of 'Eastern' or foreign styles in Western society. As approaches to dress in non-Western cultures differed greatly to those in Western Europe, this study discusses the role these influences played in bringing about the structural changes in women's fashion, looking at the work of several of the most innovative contemporary designers and assessing how they may have been inspired by 'oriental' or 'exotic' principles. First examining the extent to which these themes were circulating in Western culture at this time, this study goes on to analyse the structure of the garments produced by these designers, comparing them to both previous Western dress and current 'Eastern' dress, assessing respective differences and similarities. This includes elements of practical investigation in the reproduction of several garments as research into considerations such as shape of cut and placement of seams, and culminates in the creation of an original design working from the same principles to afford greater insight into construction processes. From this, it is concluded that oriental and exotic sources were instrumental in inspiring techniques of design-by-draping, prompting increasingly creative uses of fabric, as well as methods in straight-line cutting that produced more relaxed clothing structures, concepts which still resonate in the fashion industry today.
An Investigation into the Design and Construction of an Aerialist Costume
(Queen Margaret University, 2017)
This project is an investigation into the design and construction of an aerialist costume. Literature research into the context of aerialist performance and its costume highlighted a lack of documentation into this specialised art form with texts such as Tina Bicat's Costume Design for Devised and Physical Theater focusing predominantly on the wider context of physical performance. This study explores the traditional purpose of costume, defines physical and aerial performance and uses a survey and interviews with performers and practitioners to investigate if there is a need for a specific process in creating a costume for an aerialist performer. The practical element of this project used the research findings and the collaboration with a professional aerialist to formulate a costume design and construction process. The practical project could then by used to evaluate the effectiveness of the study as a whole. Through the practical process, I produced a sketchbook outlining the research and process for the creation of a costume for my aerialist. The combination of the theoretical research and practical project suggested that the traditional costume process acts efficiently as a basis for aerialist costume design with an understanding that health and safety requirements should take president over aesthetic. This investigation proved the need for an informed study into this specialised discipline for the use of other practitioners to create a practical costume that prioritises the wellbeing of the performer. Additionally, with further exploration into the art form and personal development as a practitioner, this investigation begins to provide a refined process that could lead to successful results for both designer and aerialist performers.
What cultural and political impacts did the dress reform movements of the Nineteenth Century have on society at the time?
(Queen Margaret University, 2017)
The dress reform movements of the latter half of the nineteenth century were a group of unconnected yet intertwined movements and individuals who sought to improve the design and function of women's clothing, with the end goal of improving the health, wellbeing, and comfort of women through the use of fashion, as well as changing the style of the garments to better suit the tastes of the wearer. These new garments were often critically received by the general public, and the wearing of a reform outfit could be perceived as the wearer making a strong political statement, even if that may not have been their intention. Dress reform can be split into three distinct sub-categories - Rational, Artistic, and Healthful - and I will study each of these in depth, based on both literature from the time and modern day commentaries on the subject. I propose the thesis that the dress reform movements of the nineteenth century did have a subtle impact on both mainstream fashion and the societal views of how women should dress, and through this study I will analyse the choices of the reformers and the cultural and political implications these choices had on society at large. In the past, research has been conducted on the history of the reformers, and how they were perceived by the public, but little has been written on the subject of how they influenced society around them. The artistic dress reformers had the most commercial success, and their links with popular artistic movements gained them the most visibility. However the healthful and rational reformers perhaps had a larger hand in shaping the perspectives of those around them, resulting in a small yet positive change in attitude.
What influence did Queen Elizabeth's fashion choices and use of symbolism (illustrated within Elizabethan portraiture) have on dress choice across the social classes?
(Queen Margaret University, 2017)
Queen Elizabeth I is one of the most documented and iconic Queens recorded in British history. Historians claim her elaborate fashion choices shaped the dress styles of her people. Her sumptuous methods of attire and use of symbolism have been well recorded by portrait artists from across Europe; which makes them the main subject of this research. This dissertation will explore the influence of Elizabeth's use of symbolism on the fashion popular amongst general society with particular focus on women. It highlights the styles that became stereotypically 'Elizabethan' and questions whether other aspects of social context had a greater effect on this recognisable fashion in comparison with the Queen's influence. The main research sources will be written books, journals, articles and the portraits. It will further focus on the laws existing at that time such as the 'Statutes of Apparel' which Elizabeth used to physically influence people's choice of dress. Through offering an analytical understanding of some of the most famous portraits, by painters including Nicholas Hilliard, this work will establish what symbolism the Queen used and the exact motives behind it. The research will use this understanding of symbolism and garments recorded in paintings to later determine what influence the Queen might have had on fashion amongst the social classes drawing comparisons with other influential factors.
How did the Constructivist movement influence the work of female artists in revolutionary Russia?
(Queen Margaret University, 2017)
This dissertation illustrates the relationship between the art movement, Constructivism and four female designers and artists producing work in Russia between 1910-1930. The artists in question; Varvara Stepanova, Lyubov Popova, Alexandra Exter and Natalia Goncharova, each interacted with the Constructivism movement uniquely. The study examines the socio-political climate in Russia at the time, it looks at society both preceding the Russian Revolution, and in the earlier Soviet years which followed. It also investigates the cultural trends which were existing outside of Russia, predominantly in Western Europe. It is with this cultural context that we can begin to investigate and understand the work the artists were producing and the Constructivist movement which they helped found, both consciously and absently. This study also explores the artist as theatrical designer movement which began in the early 20th century, investigating the reasoning behind the artist's transition from canvas to stage. Additionally, the dissertation analyses how the artists interacted with each other, as collaborators, influencers and competitors.
DOES SIMON STONE’S RADICAL NEW ENGLISH VERSION OF “YERMA” MAINTAIN THE KEY SYMBOLIC ELEMENTS OF LORCA’S ORIGINAL WRITING?
(2018)
This dissertation examines how Australian theatre director Simon Stone has incorporated Federico García Lorca's key symbolic elements in his rewrite of the 20th-century Spanish masterpiece Yerma. Lorca relies on the use of symbols to give his plays and poems a romantic tone with a distinctive lyricism. An analytical study of symbols is applied to Lorca's work from a lexicographical and symbolic perspective, where the language of the poet is analysed taking into account ethnology and socio-cultural significance to correctly identify the principal symbolic components present in the play. Water, the female body and the land are recognised as the key symbolic elements in the composition. They are all symbols of fertility for Lorca. Simon Stone sees in Yerma a modern dilemma and changes the poetic language of Lorca to contemporary discourse in order to achieve his aim of connecting with an English speaking audience. The production succeeds in maintaining Lorca's fertility symbolism by the combined appearance of symbols in the script, the sound design by Stefan Gregory and the scenography by Lizzie Clachan.
Can individual specialist makers within the fashion and costume industry remain viable while incorporating ethical and sustainable issues into their business model?
(2018)
This study investigates “Can individual specialist makers within the fashion and costume industry remain viable while incorporating ethical and sustainable issues into their business model?” The study was researched through literary research, such as books, journal and online articles, interviews with specialist makers and a survey of the general public. The study compares the broader view of the fast fashion market to the small scale manufacturing of a specialist maker. The majority of previous research focuses on large scale manufacturing. Upon examination this study determines that it is possible to remain viable while incorporating ethical and sustainable issues however the scale is limited.
How has the appropriation of a male style of trouser by women in western culture marked the growth of female emancipation during the 20th century: a study into the pivotal moments across the century for both couture fashions and ready-to-wear trends.
(2018)
Women wearing trousers is a very common site in 2018, but less than 100 years ago things were very different for women. This study investigates the development and acceptance of trousers across the 20th century, and how they relate to the growth of female emancipation. Trousers became a symbol of power for women in the late 20th century, how and why this happened will be explored in this study. As this is an overview of the 20th century some pivotal moments have been picked out as focus points. These moments are key to the growth of female emancipation and trousers for women, in relation to couture clothing and ready-to-wear fashion. This study brings together multiple sources to provide evidence of how trousers for women became accepted in society and how they affected the growth of female emancipation. It will investigate how designers made their work popular and will investigate some of the most famous examples of trousers in the 20th century, Le Smoking Tuxedo by Yves Saint Laurent and the development of jeans by Levi Strauss and Co, amongst others. Research into why designers chose to include trousers in their fashion lines for women, and how that links to female emancipation will also be discussed. Connecting trousers for women and female emancipation across the entire 20th century is something that is not widely documented, and further study would be needed to give a fuller answer. This study provides some answers based on the pivotal moments it focuses on.
ANACHRONISTIC APPAREL: UNDERSTANDING THE SEMIOTIC VALUE OF HYBRID-PERIOD COSTUME DESIGN
(2018)
The purpose of this study is to investigate and categorise the use of a hybrid of periods in dramatic costume design. The main objective is to examine and explore the theory of, what this study has named, Anachronistic Costume Design (ACD). The first aim is to define ACD, discover the structure of the method, and analyse the semiotic interpretation and psychology of hybrid-period performance attire. Secondly, the study researches the use of anachronistic costuming throughout the ages to gain an understanding of its evolution from the early emblematic costumes of Ancient Greece to the Modernist costumes of the early nineteenth century. In combining the established theory and the knowledge of its historical background, the study then explores the conventions of ACD in contemporary theatre by proposing a system of categorisation for the technique. This includes dividing it into three subgenres, each representing the differing forms in which hybrid-period costume may manifest. These are classed as: Visual Period Conflict, Concordant Period Amalgamation and Neoteric Genre Creation. Each category is supported by a modern case study. The fusion of time periods in design is an important signifier as it engages a viewer. It alerts them to alien garments/costumes in a production, resulting in an increase in audience appreciation of the design and its semiotic purpose. As this theory has not been clearly codified before (however has been widely practiced), this research is open to interpretation. The formula hopes to aid costume students by providing them with a concrete design method. It should also encourage them to test, and contest, this versatile costume technique so that it may further develop and expand as a legitimate design theory.
How did the opening up of opportunities in leisure and employment evolve women’s tailoring?
(2020)
Women’s tailoring is now a massive part of mainstream fashion, this study will look at the origins and evolution of this style. Equestrianism is the first time we see Tailoring used popularly in womenswear, it crept into different types of sportwear and to eventually completely revolutionize womenswear. During the Victorian era women began to fight for their rights and win in earnest, this led to women having more bodily autonomy and we see a rise in more practical clothing and the promoting of rational dress and Bloomerism. Women also began to work in establishments more due to their newfound rights, the industrial revolution also saw a boom in new employment opportunities. The invention of the sewing machine around 1850 also let women producing their own clothes at home and at a much faster rate. Tailors at first would only make women’s riding habits, then other sportwear, then coats but eventually opened up their shops to women. Dress makers not to have their trade decrease learned tailoring skills and even copied the tailor’s flat patterns but would adapt them on a dress form to more suit the feminine silhouette. The dress makers made a more froufrou version of the austere men’s styles of the time and they created some spectacular garments. All of the subjects covered in this study will show the evolution of Women’s Tailoring from its origins in Sportswear until it trickled up to be the most fashionable outfit of a high society ladies’ wardrobe later in the Victorian era .
What construction techniques might have been used to create the “costume” in the Ditchley Portrait of Queen Elizabeth I.
(2020)
The purpose of this study is to investigate what garment construction methods might have been used to create the outfit worn by Queen Elizabeth I in the iconic Ditchley Portrait by Marcus Gheeraerts the Younger c.1592. Research is presented on each layer of clothing worn by women of the elite ranks during this time period in order to gain a clearer understanding of how the exaggerated silhouette in this portrait was created. This includes examining each garment’s purpose, what fabrics were used and how they were made. Portraits and extant garments from this era have served as visual aids whilst literature, particularly from clothing historian Janet Arnold’s extensive catalogue has proved invaluable to this investigation. The written element of this dissertation will focus mainly on the four garments which will be constructed in the practical element, these garments include a pair of bodies, a wheel farthingale, a petticoat and a gown. Since the practical element is a costume and not a fashion reproduction, it will demonstrate the use of both modern and historical construction techniques. Research on other articles of clothing which would have been worn is also included although in slightly lesser detail, this includes a smock, bum roll and ruff.
How effectively costumed are characters of the fantasy video game “Dragon Age: Inquisition” and how do these costume designs contribute to believable characters and fantasy worldbuilding
(2020)
Dragon Age: Inquisition (2014), is a popular fantasy Role Play Game (RPG) developed by Bioware. It is the part of a trilogy of games and has been awarded many accolades for its successful release. It has critical acclaim and a cult following among RPG fans and casual gamers alike. It is a visually impressive game, but this dissertation aims to evaluate the specific success of the costumes within Inquisition and how it supports the characters and worldbuilding. It critically analyses the design appeal, relevancy and effectiveness of the costumes against character origins and narrative roles. By focusing on Inquisition, it narrows down the vast field of research to a manageable state. Inquisition is a large-scale video game with many diverse characters and cultures and offers a unique range of costumes to critique. This dissertation will analyse the effectiveness of the designs using visuals and information from the game itself, The Art of Dragon Age: Inquistion (2014) and the lore books The World of Thedas Volume 1 (2013) and 2 (2015). The technical success of these costumes within the rendered game will be evaluated by outcome and design phases, including how Inquisition costumes its enemies using colour theory and symbolism. The effect on gameplay is examined thoroughly. It will evaluate the roles of the characters and the created world state against the costume designs presented and analyse the materials appropriately in the context of the game. The outcome will be a judgement on the specific effectiveness of the costumes within Inquisition using the outcomes of this critical analysis and usage of costume theory, leading to a greater understanding of video game costuming and its importance.
Conspicuous Consumption at the Court of Henry VIII. What do first-hand accounts and sources from the 16th Century tell us about material culture in Early Modern Europe and at the Court of Henry VIII?
(2020)
This study aims to identify how first-hand accounts and sources can inform us about conspicuous consumption and material culture at the court of Henry VIII. The paper uses a broad range of sources to gather this information. Surviving first-hand accounts make up the majority of sources. Through examining and analysing existing historical evidence, in the form of: the Letters and Papers of Henry VIII, Calendars of State Papers, Inventories and Wardrobe accounts, this paper uncovers the motivations and outcomes of Henry VIII’s sartorial habits. The original sources are supported by research already undertaken on subjects of Tudor dress, by authors such as Maria Hayward and David Starkey. The paper focuses on specific aspects of the Tudor court, royal residences, courtiers. It examines elements of the king’s wardrobe, textiles, embellishments and jewellery. It explores Sumptuary Law and relations with foreign rulers. Lastly it investigates the king’s personal wardrobe and how it functioned as part of his household. The combination of these topics in relation to their topics provide a unique insight into conspicuous consumption and material culture at the court of Henry VIII.
“Are traditional prop making craft skills still relevant for Film production in the era of CGI? “
(2020)
This study aims to argue how Prop Making is still relevant in the budget film productions where CGI is gradually establishing itself as a practice. To answer my research question, I personally tested some of the most used Prop techniques in the Industry on a transformation mask. To support my empirical data, I included the experience of four experts of both CGI and Prop Making. My findings show that Props and Computer Graphics are not to be intended as separate worlds. Their role is in fact complementary and they are constantly adapting one to each other to bring new levels of realness on our screen.