Although I’m not primarily interesting in costume design, my
love for all things fashion led me to the discovery of a masterclass –
Introduction to Making Period Costume – at Northern Stage in Newcastle Upon
Tyne. The course was led by professional
costumier Gayle Playford and the head of Northern Stage wardrobe department
Alison Stringer.
Gayle Marie Playford is a designer, supervisor and maker of
costume for professional theatre and film productions. She has worked in the costume
interpretation industry for over 15 years and embraces collaborations with
experts in multidisciplinary arts. She also developed the degree programme
Costume Design and Construction at Cleveland Collage of Art & Design. She
is currently making the costumes on the BBC1 Drama The Paradise.
The places on the course are very limited – only 10 people
per class, but the small numbered group makes the course more intimate and
enjoyable. The day began by meeting in the reception of Northern Stage before
being greeted and a register was taken – just like in school days! The group
was then took to a small conference room, in which we were introduced to
everyone as well as being introduced to the schedule of the day. To start the
day we were given a presentation on the ‘’Introduction to Making Period Costume’.
Along with the PowerPoint slideshow, Gayle and Alison explained various topics
found within costume making; such as the different roles within the process of
completing a costume project; for example: costume designers, costume makers,
costume finishers.
They explained that a costume designer would have to decide
at the very beginning of a project whether or not to create a historically
correct aesthetic or a historical interpreted design, the designer would also
be in charge of the financial decisions as well as the visual and aesthetic.
The costume maker would then interpret the designers’ ideas
into reality by creating samples, advising on fabrics, timescales, toiles, fittings,
etc. The role of finishing a costume could be given its own job title; there
are specialists trained in finishing costumes, they would take the newly made
garment and use various techniques to ‘age’ the garment to create a
historically accurate look, for example make them look dirty, ragged, frayed,
worn, etc.
An example of a costume created for a Northern Stage Production
Gayle Playford then explained the importance of the underpinnings
of period costume; the underwear. Historically woman wore a lot of under
garments including corsets, chemises, petticoats, caged crinolines, bustles, bum-pads,
etc. The combination of the under garments all contributed to creating the
overall silhouette of the final garment and outfit worn.
Gayle then went on to talk about fabric sourcing
for period costumes; she said that because of the nature of period costume
design heavyweight fabrics are most often used; she said that upholstery fabric
can work really well with costume making projects. She also said that it is
often cheaper to travel to Europe to buy fabric and bring them back than it is
to buy them in this country. Both Gayle and Northern Stage often use a German company
– Fukotex, when sourcing period fabrics. Gayle proceeded to show us some of her
designs and costumes for The Paradise;
displayed in the form of moodboards they showed photographs of finished
costumes alongside notes and fabric samples. To my surprise one of the boards showed a
costume made entirely from fabrics sourced from a local fabric shop, First for
Fabrics – my personal go-to shop for fabrics! Gayle then went on to say that if
not from Europe the fabric she sources are almost always from northern England.
She also praised various northern resources for costume enthusiasts such as Manchester
Gallery of Costume, Macclesfield Silk Museum, and The Bowes Museum, to name a
few.
Blue dress made from fabrics sourced from First for Fabrics seen on BBC1’s The Paradise.
After discussing fabrics and fabric sourcing, Gayle then
explained different methods of pattern cutting for period costumes; cut/drape
on the stand, create pattern from scratch using measurements or use an existing
pattern from a book.; she suggested the Patterns of Fashions series by Janet
Arnold. There are also some good books to help with creating patterning from
scratch using measurements, such as books by author Ron Davis. She explained
that the method chosen should reflect the design, for example a Tudor period costume
would need to be made using a flat pattern due to its straight shape, in comparison
to a curved silhouette which would be best cut on the stand.
Janet Arnold - Patterns of Fashion
After the informative presentation we then headed down to
the wardrobe department where we would spend the rest of the day. We were then
shown various demonstrations of techniques that would be used in the making of a
costume; such as tailor tacks, attaching padding/interlining, pleating,
pressing, etc. Using some of the techniques we were then giving the task of constructing
half (one side) of a ¼ scale 18th Century coat. We were given
pattern pieces and two weights of calico – one for the coat and one for the
lining, we started making the coat but unfortunately didn’t have time to
complete it on the day but hopefully I will finish it at home soon. It was
really different working 1/4 scale but it was definitely a good experience, would
consider working that way in the future for appropriate projects.
As a whole the experience was very insightful and enjoyable,
the day seemed to go so fast. I would also like to take part in the ‘Pattern Cutting
for Theatrical Corsetry’ masterclass but unfortunately the previous classes
have always sold out and the next one I can’t make it to! Hopefully there will
be the chance to go to one and it would be great to see even more masterclasses
on offer – particularly interested in the underwear construction so it would be
perfect if a class based on that is created!
If you’re interested and want to know more; why not book up
and experience it for yourself:
http://www.northernstage.co.uk/whats-on/introduction-to-making-period-costume
