EMP 1: Aether
By carrying out extended sampling prior to my metalwork construction processes, I was able to reflect on and present the successes and weaknesses of various techniques to the designer, which enabled us to reach a united outcome. The sampling also helped me during my discovery of a new skill, and opened my mind to further creativity, offering techniques that I hadn’t considered before as I was unaware of them.
As the designer had limited time on this project, I was initially only provided with a line drawing and given free rein on fabric choices. This was both useful and challenging respectively. The undergarment was to be constructed to appear fragmented, and in this way I developed my draping (or in this case sculpting) on the stand. I began by creating a cardboard mock up to get a feel for the rigidity needed, prior to making a toile for fitting.
For the first part of EMP, as I was the only maker involved, I had responsibility for pitching my progress and interpretational ideas to the designer, director and the actress. For each, I found that I needed to present my work using alternate approaches, depending on which aspects they needed to know. For example, the actress needed to know how risqué the costume would be, prior to initial construction. I had not met the director or the actress prior to this project and therefore conducted myself both formally and professionally. The first time I met the actress, was to take her measurements and introduce the costume. This meeting was located at her flat in London and I was alone. I found this experience valuable as it caused me to consider how to address oneself within another’s personal environment. All fittings were conducted at this location and I needed to be flexible and reliable to work around her timings.
The approach that I needed to take when presenting to the director involved being reassuring and versatile but also standing up for the actress’ comfort. This was of key importance during filming and needed addressing frequently.
Despite ethical issues concerning the welfare of silk worms (which I hadn’t realized the severity of, prior to sourcing), I feel that the fabrics chosen for this costume were the most appropriate, as silk chiffon has such a delicate quality which suited the weight and hang needed to meet the aesthetic desired. The silk habotai used within the undergarment could’ve been reconsidered if I had previously been aware, but when sourcing this was the clear choice to match the fleshy tones that were requested. I will however consider the ethical issues regarding silk during any future purchases.
Throughout the fitting and filming processes, it was important to consider the actress’ comfort as the costume was intended to hint at nudity. During the fittings, I ensured that she was wearing a vest top and leggings/ tights so that she was well covered until the costume was secured, whilst getting a good feel for fit without a bra affecting this. During the filming, I was on set keeping the actress warm and ensuring that the film crew considered her needs. I initially found it difficult to approach the crew as they were so familiar with each other and I was new to the whole experience, however I soon made sure that I was heard when required with matters of continuity and cast comfort.
Although many may consider attempting to be acknowledged by a male dominated film team a social issue, I did not find that this was an issue regarding gender, merely that I was new to the situation. This may have been a different matter if I had been familiar but they were welcoming to the experienced female makeup artist (who they had previously worked with) and soon respected my costume responsibilities.
EMP 2: 3PO
For this part of the unit, I researched women’s tailoring techniques, as I had never encountered this before, and adapted a basic coat pattern, building on my pattern adaptation skills. Other adaptations and challenges involved creating a unique collar and sleeves, which were also made from unusual fabric. I used the knowledge of stiffeners that I had gained during the undergarment construction for Aether, in order to suggest the most suitable for the collar. I found working with lycra very challenging as I had become accustomed to working with delicate fabrics and had never encountered stretch.
I found presenting my work within this unit slightly more intimidating than previously, as during fittings and other presentations (dress parades etc) there was a much larger audience. It was initially overwhelming but I gradually became accustomed to it, and feel more prepared for the professional environment because of this experience.
I didn’t encounter many issues directly within this part of the unit, as I was part of a large team and anything drastic would’ve been addressed within the initial stages. The main concern with the costume was ensuring that the actress was comfortable wearing a bodysuit, which wasn’t actually an issue as it was a flattering fit with complementary design features.
I found that juggling various projects and deciding priorities was a useful experience that would prepare for any career pathway, I felt that I managed this considerably better than during Specialist Practise, and was careful not to take on more than I could handle. I therefore limited myself during the allocation of Threepenny Opera designs. I chose to construct one lycra bodysuit and one coat, in order to allow a suitable amount of time to focus on PPP, and ensuring that it was completed to the best of my ability. Throughout EMP, I kept personal, hand-written weekly time plans which were adapted daily. This ensured that I kept informed of my progress.
During one of our university projects, we learnt traditional tailoring methods in order to construct a well fitted waistcoat. By choosing a striped main fabric, I embraced the challenge of pattern matching, which I found very rewarding, especially when constructing pockets.
Amy Thackeray 