There was such a good, fun atmosphere in the workshop today. Amy and I snuck Dougie away and tied bow ribbons all over his harness. We then released him in full regalia back into the workshop and everyone, especially Diane, was very amused. I did a lot of replacing Moth wing zips today. It required a lot of attention as getting them on the right way, folding into the centre is fairly challenging if you don’t keep track of where the zips lie. I found it really good practice and feel it has improved my confidence around zips. I also began to unpick Jade’s Butterfly bodice, ready to take it I and remake some of the panels a bit bigger. I really enjoyed this and it feels like a bigger job to get my teeth into a bit.
I took in a dress by creating darts this morning. I was initially a bit nervous and unsure as I haven’t often done this, however, with help and guidance from Amy, I soon realised it was a fairly simple adjustment and I was really happy with it once I finished it. It made me realise that often the thought of something is more confronting than the doing.
Today I continued with small alterations. I quite enjoyed sewing a protective under-patch on the underarm of one of the sequinned dresses and was happy with its execution. This was to prevent the sequins from rubbing against the performer and causing irritation. It was a good lesson in considering how garments wear on the body and how this should be taken into account in their construction. I also attempted to add fullness into the Moth Maiden skirt, however I soon realised this was a feat outside of my experience and was a point to pass it onto Helen or Sarah. This didn’t feel like giving up, rather assessing my own skills and realising that in order to maintain the integrity of the skirt, somebody with greater construction knowledge would be better suited to working on it.
Today I was focussing on smaller alterations: one included taking out an old bra and fitting the dress with a new one. Frustratingly, although a simple alteration, I realised, after herringboning it back in, by hand, that I hadn’t lined the back up exactly and so I had to redo it and unpick all of the herringbone. Ultimately this was a good lesson in checking my work and the silver lining was that I got in more practice of my herringbone stitching. I also replaced the fingers on the Goblin King suit, which I enjoyed because it gave me a bit of creative freedom with choosing from the spares.
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 SkirtThe Completed Butterfly Tutu
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.
