Month: November 2024

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End of Week 2 (3/10/24) Continuing Princess of Monaco Gown Alterations and Week Takeaway’s

I found today a mixture of exciting, yet also challenging and frustrating. I ended up spending the whole day on the Princess of Monaco garment, as it had a lot more alterations than I realised and these were new to me, so it took me much longer. I really enjoyed problem solving and finding ways to resolve issues with the dress, however only working on one garment made me feel really inefficient and a bit inadequate. Toward the end of the day, I started levelling the hem. Helen had offered to do it, as it was fairly time consuming and challenging, but I wanted to learn and force myself out of my comfort zone. However, it did become very frustrating and tedious. I think doing it at the end of the day meant that my energy was low and my focus was waning. I am going to look back on it with fresh eyes on Monday. I also got my first pay check today, which felt incredibly rewarding. It feels exciting to feel like the work I’m doing is worth being paid for and that it is an ‘official’ ‘real’ job. I feel like although I am less experienced and of course on placement, this validates the work that I’m doing.

Hemming the Princess of Monaco gown and its finished bodice

End of Week Notes and Takeaways:

  • Was really insightful to sit in Stephen’s fitting – so fascinating to see a military jacket be built up from scratch, from its base all the way to having its embellishments and badges tacked into place. This was quite a magical way to watch a garment come to life before may eyes and it gave me a great admiration for tailoring. 
  • Everybody in the company has been such a pleasure to work for. I have also been surprised by how much we have interacted with the dancers, who have made a lot of effort to introduce themselves and make conversation. I had made an unfair assumption that their may be a lot of big egos in the cast, however everyone has been really down to earth and lovely. 
  • I have found watching the dancers in rehearsal incredibly inspiring. They push themselves to both the physical and emotional limit everyday and have trained for years to be in these shows. One of the dancers is blind, in one eye and it is so astonishing to watch him dance seemingly effortlessly in rehearsals. 
  • Feeling like I would really like to specialise in dance costume and have fallen deeply in love with the ballet – the dancers are so motivating and push their bodies to the limit to the point that they are essentially breaking them every day – I find this is inspiring me to work harder and makes me want to design costumes that are beautiful and magical enough to do justice to the dancers 
  • Entranced by the mysticism, fairytale and magic of the ballet 
  • Incredibly exciting and surprising to have met Matthew Bourne and spoken to him about Swan Lake, over the years. 
  • Was also really encouraged by the conversation I had with Lez about design – I would like to see if I could ask to shadow him, or to possibly look at my portfolio, however I am a bit intimidated by this and would want to ask Diane if she though it was okay to ask first. 
  • Really exciting that the boys Swan legs came in this week, having all been tirelessly made Phil Reynolds and his team, since March. They were incredibly beautiful and delicate appearing (although they should last 200 shows) and it was really thrilling to see such an iconic costume in the studio, face to face. 
The Iconic Swan Legs have arrived!!!
The Swan Legs
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Week 2 (2/10/24) ‘Princess of Monaco’ Dress Bodice Adjustment:

Today presented surprises in the alterations I was doing. I found that a job that appeared to be simple (moving fastenings to make a bodice smaller) was more complicated that I anticipated. When I moved them, an overhang was created so that the bottom of the bodice didn’t line up on both sides at the same height. I really liked working out how to resolve this. At first I was intimidated, however, on completing it to a standard that surprises me, it gave me a new found confidence. It ended up being much easier than I realised and has encouraged me to be more adventurous. I am realising that there is no right way to do things, rather there are many options of how you can do it, it’s just using the option that makes sense to you and/or is the most efficient. I feel really comfortable asking for help and advice on how to do things from the others, especially Amy (who I’m also on internship with) and Helen, who is a very skilled costume maker (as well as a bit of a work Mum to me and Amy).  The team are incredibly supportive and very willing to share their knowledge and advice. I am really enjoying working with everybody and it has very quickly felt like a close-knit team, I am very comfortable with and find enriching and exciting to work with everyday.

Adjusting the Princess of Monaco Dress Bodice
The lovely Aimee, a costume interp student from Bournemouth, who I am also on placement with
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Week 2: 30/09/24 Repairing the ‘Butterfly’ Character Bodice and Adding Fullness into the Tutu

Initially, I found the morning of today felt very repetitive. I spent several hours replacing fastenings on costumes which became quite tedious and unchallenging. I then focussed on repairing a yellow ‘Butterfly’ character costume. As I did last time, I replaced the torn mesh panels and rusted fastenings on the back of the bodice. I found this very enjoyable, as it was my second time doing it and I felt my method of fixing it had improved.

Butterfly bodice damaged panels before I replaced them

The process of recutting the new panels and hand slip stitching them carefully into place became really satisfying and even relaxing. I liked that it allowed for a bit of creativity. I was very pleased with the neatness of the outcome.

The Butterfly Costume and Adjustment Notes from the Fitting

I was also a bit nervous, as this ensemble needed to have more fullness added into the tutu skirt. I’ve been fairly safe with the alterations I’ve been doing. This is partly because I felt a bit out of my depth and lacking confidence. It can be intimidating being surrounded by very experienced makers, who have been in the industry for decades. I am also finding that I am somewhat comparing myself to Aimee, who is also on placement and had graduated from costume interpretation at Bournemouth. Her skills are much more refined, which makes sense as her degree was centred around construction, whilst mine is a design based degree. I also realise that I am the one creating these comparisons and putting my skills down, as everybody had been really encouraging and reassuring of my work. I do think this experience has really opened my eyes to the idea that I should build on my construction skills and knowledge. Although I ultimately aim to become a designer, it is incredibly unlikely that that will be how I make my start in costume. It is more realistic to aim to begin as a maker and to work myself up, however I need to improve my practical skills to make this viable.

An Early Design for the ‘Butterfly’ Character by Lez Brotherston

I also think that having an extensive understanding of construction is integral in being a successful designer who can communicate well with makers. This is something I have noticed the team admire about Lez and has enabled him to get what he wants from the costumes, as he understands how they can be adjusted and made.

The back panels after I replaced them

I am also aware that focussing on smaller more monotonous tasks, like replacing hooks and eyes, would allow for the more experienced makers, such as Helen, to tackle more complex alterations, suited to their skill level and this would get the work load done more quickly, which is a necessity, given the timeline we have to get all of the costumes fitted, altered and refitted.

The Moth Maiden, Moths and Butterfly Costumes onstage

However, I wanted to challenge myself and break the fear of trying one of these alterations. Through using one Helen had already done, as a guide, I was able to add in gathered tule, to the sides of the underskirt of Eve Ngbokota’s Butterfly tutu. This added in fullness which revived the skirt, perking it up and breathing new life into it. This was extremely fulfilling. Helen gave it her thumbs up which was validating and I really enjoyed overcoming the challenge and fear of this alteration. 

Adding Fullness into the Skirt
The Completed Butterfly Tutu
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Week 1, Day 5 at Swan Lake: Meeting Matthew Bourne and Watching Rehearsals with Him

Friday 27/09/2023:

The events of today have left me on a bit of a euphoric high and have felt somewhat surreal.

I have been really enjoying working with the team; they are all incredibly welcoming, patient and happy to offer insight into their experiences of theatre. Diane has been really generous in letting me come into fittings and had expressed that myself and Amy would be  welcome to poke our heads into the dance studio to watch a bit of the ballet rehearsals. I was really excited by this prospect, as ballet is a world I have limited knowledge of, other than through shows at Sadlers. I am finding it really exciting to speak to the dancers about their experiences, as they are so different to my own and I am finding their unrelenting drive really inspiring and in some ways difficult to comprehend as I cannot imagine having the capability to push myself, mentally and physically to within half of their efforts. I am finding it really personally motivating. It makes me feel that what I want to achieve, to work within industry as a successful designer, is attainable, if I commit myself in an equally driven way. 

Matthew Bourne with original 1995 Swan, Adam Cooper

Myself and Amy went into the tea room, for a quick break and were both a bit awe stricken to find Matthew Bourne in the room with us. I was really grateful to Amy, as she initiated a conversation with him and from there on, I found it easier and more approachable to work my own questions into the conversation. It was really fascinating and revealing to hear from him, directly, about his inspirations and experiences with the show. Asking him about how the show has changed over time, he explained that through the years he has been able to refine and reimagine his original choreography and that he feels the show is at a point where he is currently the happiest and proudest he has been of it. He says he feels more connected to the show in its current form, as it is a reflection of his own artistic evolution and it has been able to grow into a more mature and refined piece. It is so fascinating to hear how Bourne relates to the show in this way; one may assume that due to the original 1995 shows 5 star reception and being burnt into ballet history, Bourne may not have felt that it needed improvement or development from its original performance. I find that I also look back on older pieces of work I create with critical eyes and see flaws that may not be so pronounced to other viewers. However, I also think that it is wonderful that a piece can develop and become fluid and ever evolving, beyond its original iconic form. Bourne’s Swan Lake today, sharing the same essence and fundamentals of the 1995 show, is birthed from Matthew Bourne’s learning and own development since he first choreographed it. We had a really rich conversation with Matthew and it was really encouraging to genuinely engage with someone I have found so inspirational and to be able to learn more about the show. He then invited myself and Amy in to watch the rehearsals. We sat and watched as the 8 principles evolved into the Swan and Prince characters, with Matthew and Etta Murfitt (Associate Artistic Director) directing them. This was thrilling to watch. I am becoming incredibly fascinated by dance. I love how the body becomes the vehicle of the storytelling, as words are lost. In relation to costume, it has been so interesting to listen to Diane, Lez and Sarah Holmes take into account how fabrics need to be malleable, for the dancers, with modifications made to garments, such as the mens sleeves having gussets added in, to ensure movability. I really like how this adds a new element of problem solving into the costume design and making process. The costumes become even more important, as they are the only other indication, outside of the dancers physical expressions and set that convince the audience of the story they are being asked to believe. Overall this was such an incredible day and has left me feeling elated and curious as to what a career making costume for ballet could look like. 

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Week 1, Day 3, 25/09/24: First Fitting and Discussion About Pursuing a Career in Design with Lez Brotherston

Today was an incredibly enriching and inciteful. The day began gently, as I started by replacing rusted fastenings and prepping garments for adjustments, specifically unpicking the side seams of the yellow ‘Butterfly’ costume. It was fascinating to see how eroded the old fastenings have become (the garments have been stored away in trundles since 2018). A very experienced older maker Sue, came in and she gave me really intriguing and informative insights; I had been button hole stitching the fastenings back on, however she told me that this was not the ideal way to do theatre fastenings, although it is attractive. Instead she told me that the best way is to ensure the thread goes through all the layers of fabric, even if its seen at the back as it ensures the fastening is attached as securely as possible and because the visible threads can’t be seen as these are stage costumes, as a pose to film, where everything can be subjected to the critical view of the camera. It was really helpful to realise that there is this difference between film and stage costume. Stage needs to be incredibly durable, needing to last a minimum of 200 performances, whereas films costumes may only be shot in one scene and must be perfectly executed. The morning alterations were fairly straightforward and I feel that the tasks of the first few days have begun to ease me into the placement

I also had the pleasure of meeting Helen, an experienced costume maker who often works with the Royal Opera House and will be working with myself and Aimee for the next 6 weeks. She immediately struck me as approachable and open to questions, creating a welcoming environment for learning. I really appreciated her honest feedback; she wasn’t afraid to tell me when something needed redoing, but she did so in a supportive way that encouraged me to improve.

Cast List for Matthew Bourne’s New Adventures Swan Lake 2024-2025

A highlight of the day was attending a fitting with Diane Williams, (Costume Supervisor) and Lez Brotherston (renowned Costume Designer). This was my first fitting in a professional context, and I felt a bit out of my depth. However, Diane made me feel included and eager to absorb as much knowledge as possible. During the fitting, for dancer Molly Shaw Downie, I found Molly so  friendly and receptive, which made it easier for me to ask questions about her experiences. Hearing about her experience as a dancer was incredibly inspiring, as it requires a huge amount of discipline, drive and dedication. I found speaking to her made me want to apply her work ethic to my own practice.

Costume Design for Hungarian Escort for Swan Lake by Lez Brotherston
Lez Brotherston OBE, Set and Costume Designer for Matthew Bourne’s Swan Lake

Talking with Lez, in the fitting, was both exciting and intimidating given his impressive career. However, he was surprisingly open to my questions. He shared some valuable insights about the industry, expressing his concern that too many designers are graduating from universities without enough job opportunities. He expressed that a mixture of drive, motivation and candidly  a bit of luck is integral in order to make it in the industry, as a designer. I appreciated such honest advice and it was a reminder that a lot or hard work and maybe a bit of delusion and self belief is a necessity if I want to make a career in costume design viable. 

Costume Design for Fan Dancer for Swan Lake by Lez Brotherston
Costume Design for Queen at Ballet for Swan Lake by Lez Brotherston

Lez also revealed that he doesn’t see himself as skilled in drawing, but instead finds ways to communicate his vision through specific poses and materials. This really struck me, highlighting the importance of developing my own approach rather than just focusing on conventional skills. He critiqued the trend of relying solely on mood boards and designers who come to meeting with vague, generalised ideas, emphasising the need for specificity and clear references designs.

Costume Designs for Swans for Matthew Bourne’s Swan Lake by Lez Brotherston

I feel that I have gained invaluable knowledge today and it was a lesson in asking questions. It has also given me a very realistic and honest perspective on the difficulty of breaking into the industry. However, this doesn’t leave me feeling cynical, instead I’ve found it very motivating and encouraging that there is a place for me if I work hard enough. 

Rails of costumes in the studio, fitted and ready to be adjusted
Lez’s gorgeous staffy, Trevor
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Week 1: First Day at Matthew Bourne’s New Adventures ‘Swan Lake’ as a Costume Production Assistant 23/09/24

Three Mills Studio, where I will be working for the next 6 weeks
The River Lee Canal on my walk to Three Mills

Reflection on My First Day at Matthew Bourne’s New Adventures

Today was my first day at Matthew Bourne’s New Adventures, and I felt a mix of excitement and nerves, especially as this is a company I greatly admire. I met the team, including Diane Williams, the costume supervisor, and fellow placement student Aimee Ward. Diane’s warm welcome immediately put me at ease.

I arrived 15 minutes late due to flooding on the DLR, which made me anxious about my first impression, but Diane was very understanding. 

One highlight was discovering that the costume studio is right next to the dance studio, which will hopefully allow us to attend some rehearsals and also means fittings are much more easy to coordinate. 

In the tea room, I saw Matthew Bourne’s pass for the rehearsals. This felt so surreal. I had overlooked that fact that he would be there and having admired him and the company, I couldn’t believe I was becoming part of it, for the next 6 weeks and with a relatively small team. 

My tasks included setting up sewing machines and creating fitting rooms, using trundle boxes, as well as organising name hanger dividers and locating costumes for the dancers. This was helpful as it meant I knew exactly where everything would be going. It was so exciting to see peaks of costumes coming out of the trundles, as we opened them. I was especially drawn to the rich black and burnt orange velvet Moth costumes, bejewelled with glimmering hot stones. 

Matthew Bourne’s Swan Lake (1995) starring Adam Cooper

As the day came to a close, I reflected on how excited I am to be involved. This production has such a storied history, within the world of ballet and was the pivotal show in establishing New Adventures’ reputation. It feels incredibly special to be my first experience of ballet. I am really looking forward to seeing the iconic Swan Legs.

I’m also eager to meet both Matthew and Lez Brotherston, although I do feel a sense of nervousness, as they are two icons within the industry, whom I really admire.

Overall, it was an exciting start, and I look forward to the challenges and experiences to come.