Final Patterns

These are the final patterns I will be drafting for each of my garments: 

Shep, R.L. (1998). The Great War: Styles and Patterns of the 1910’s. California: R.L. Shep Productions.

This is a trouser pattern that is not a military pattern but is a pattern from that time. It is a useful base that will be easy to manipulate to create the shape for the trousers. I will be adding a more pronounced fish-tail back and will be making it more narrow at the hem. I will also be adding some more volume at the top and then working it back in around the knee to create volume at the top but not bulk where the putties will be wrapped.

Cariou, G. Shep, R.L. (1999). Shirts and Men’s Haberdashery: 1840-1920’s. California: R.L. Shep Productions.

This is the final shirt pattern that has been chosen. I will be making it directly from the directions and making any style lines or design alterations at the first fitting.

Waistcoat Block from Defining Practice. 

As I am making a tailored waistcoat for the Narrator I am using the block instructions for the Defining Practice Unit. I will be making some style alterations. There will only be two pockets total, the neck will sit a bit higher and the bottom will be slightly shallower and less pronounced. I also have a few alterations to do with the actor, as well. After talking to Anushka (whom is making the rest of the suit) he seems to have a longer torso than is usual. To err on the side of caution I will be adding more length from the waist-line to the hem line and adding an extra 5cm of seam allowance to the bottom. Adding that much seam allowance is unusual in tailoring but this will just be for the first fitting to gauge the correct length. Since I will be making up the backs out of the final fabric, Silesia, it will be easier to take in than to let out if the hem from my pattern is too short.

Measuring Orchestra Members

Poole Lighthouse Theatre

Emily Hudson measuring orchestra member.

As part of this project we are working and the show will be performed with the assemble Kokoro and they will be costumed for the performance in WW1 uniforms. Today Grace Mortlock, Rose Tyack, Emily Hudson and I went to the Poole Lighthouse to measure a few of the musicians that will need costumes. This was an exciting chance for Emily and I, as makers, to meet some of the orchestra members and gain a valuable experience working with an outside group. We arrived early and set up our space for working. We had measurement sheets at the ready and decided to work in pairs; this way we had someone doing the actual measuring and someone writing. It was a good system since it was fairly speedy and we were able to measure two performers at a time. This was also my first experience working with the film crew that is making the documentary about the performance. I think it went very well. I tried to be friendly and approachable. We made sure to ask them about any special costume needs they may have. For example one of the performers mentioned there couldn't be anything around her neck or on her shoulder because that is where her violin sits. Another mentioned that there can't be anything hard right around her middle because it will affect how her instrument is held. These are easy enough problems to fix or avoid so it is good to get that information now before anything is ordered or altered.

Evaluation:

This was a great opportunity to gain some experience working with performers outside of school. They were all very friendly and I think excited about what's to come. It was useful working in pairs and I think if I was going to measure anyone for a live project I would always take someone with me to assist. Being prepared was also an important factor to making this a successful trip. Having the measurement sheets and measuring tape ready was good, however I forget to get a long length of cotton tape before leaving the school. Luckily Emily had some in her bag we were able to use. I also think I would have taken more photographs because even though I am not making their costumes a visual reference would have been helpful for possible alterations and maybe even for ordering. I can imagine this trip is very common when working on a live production and it was a valuable experience.

Poole Lighthouse picture citation: Poole Lighthouse Theatre. (n.d.). [Online Image]. Available from: http://www.tourismleafletsonline.com/theatres/Poole-Lighthouse-Theatre.jpg. [Accessed 15 October 2011]. 

First Waistcoat Fitting

Waistcoat front

Waistcoat back

Alterations on neck

I am very pleased with how my first fitting went. In our previous tailoring unit we never went through a fitting stage so I was apprehensive for my first fitting. I could cut the backing out of silesia for the fitting and although you wouldn't normally I added an extra 5cm to the hem line of the back, just for the room to make alterations. I also didn't bag-out my backs for the fitting but chose to tack them (top fabric and lining) together for the same affect. My fronts were made out of calico, this was very helpful in understanding the proportions, fit and design features. I had tacked in all my design lines for Rose to examine. Overall the fit on the waistcoat was good. There was just a little pull from the neck down but was easily remedied moving the neck line over from the neck to allow for ease. The hem at the back was correct length so that needed no alterations. The pockets and the front hem/design line were the only other things to change. The pocket sat a little too high so it was moved down to have the upper corner touch the waistline. The front hem was also shaped more to look like the design.

Evaluation:

This was a very positive first fitting. I feel like this is a good starting point for completing my waistcoat. The fit was good and there were only a few design lines to adjust. I think I could have focused more on Rose's design and drawn the fronts more to the shape in the design. I think I got a little too focused on looking at historical research and making sure it fit that rather than fit the design. I feel confident making these alterations and cutting out my waistcoat fronts although I know the checked fabric will be a challenge. I am very satisfied with this first fitting.

Second Soldier Line Drawing

Second Line Drawing of Trousers now with braces, belt; shirt and putties

Here is my second line drawing for the solider. It is much more complete after my second meeting with Rose and I feel like this is the final version I can focus on creating. Things like the belt have been added which will be taken into account when making the trousers as well as the shape and how they will fit (which was explained in previous post on the second meeting.) I feel like this is a successful update as a line drawing after my second meeting.

Second Meeting with Rose (the Designer)

After my trip to History in the Making I scheduled another meeting with Rose. I had a few questions about how to take the historical research for the trousers that I had gained from my trip and combine that to create her design. For the talk I had all my research images ready and a few ideas.

My main question (briefly) was: Would you like the trousers to be historical or theatrical? There were a few components to this questions that concerned different aspects of her design. In my research I hadn't found an image where both a belt and braces were being worn. And the trousers in her design seemed to possibly have a pleat in the front which we could do but might not be historical.

My idea/ suggestion as a maker was: To combine both my historical research and her contextual research of the character. To keep the button fly, the size of the pockets, ect, but to exaggerate different elements like width and fullness.

Our discussion: In talking to Rose we decided to go with a combination of historical research and contextual research. She wanted the trousers to look over-sized (but not foolish) like he had been wearing them for a while. We also decided that for the character both a belt and braces were appropriate. As for the size and the question of a pleat, I recommended not adding a pleat, which Rose agreed with, and instead we both decided on making the trouser slightly larger than they would be if they were fitted perfectly. Basically a half size to a full size too big. That way the volume at the waist will be indicated, as in the design, with the help of the belt but the trousers will be secure with the braces.

Evaluation: I feel like this meeting went very well and that it was useful for Rose and I. I got all my questions answered and I feel confident that I can produce a toile and then finished product that fulfills her design/vision. I also think it was useful having all my research there and having a list of questions and then possible solutions to bring with me. I feel like in other meetings with designers for other projects I was asking questions before I had gathered enough research. As a freelance maker or as a maker in a hire house having a lot of research and knowledge to accompany your questions will be just as important as knowing the right questions to ask.

Line Drawings

Here are my line drawings for the costumes I will be making. I've tried to make them as detailed as possible including structural information like darts and pockets.

Line Drawing: Waistcoat

Trousers with pleat and braces; shirt and putties

Trousers without pleat but still with braces; shirt and putties

For the soldier's uniform I've done two line drawings. It is challenging finding research for the trousers ecspeically at the waist. In the research I have found they were either worn with braces or worn with belts but not typically both. So I have just done line drawings with braces because it fits more with my research. I have also drawn one that is baggier in the trousers and looks more like Rose's design and the second is more of what I saw at History in the Making with a flat front. At this point since I am not sure about the trousers I will need to have a meeting with Rose to see what she would actually like to be included. This is important meeting to define exactly what she had envisioned because different features will need to be considered when making my costume (as I will be making fastenings in the trousers for the braces and if I need loops for a belt).

Evaluation: I feel like these drawings are successful. I feel they are a good mix between a technical drawing and the design I was given. I usually find line drawings difficult to do because I'm not strong in my figure drawing. I used a template that I had created for my summer project, and I found that more successful. By starting with a finished form I could concentrate on the proportions and the details of the garments more closely. I think this is a good first line drawing but I can see more to follow. I think as I look at my pattern research I may want to do a more line-drawings of the garments I will be working on.

SP Contextual Engagement

Here is a hand-out I filled in on the context of A Soldier's Tale and the costume  I am making. I think it was a good exercise that helped me find out a bit more about what context includes and how it relates to my project. We presented these within our presentation groups which let everyone know what  our other group members are doing and gave us time to get a bit more in-depth with everyone's projects.

Emily Manning

Specialist Practice

Contextual Engagement

Genre	What type of production are you working on? Dance, physical theatre, pantomime, drama, film, etc. I am working on a live AUCB Production. The written text could be considered a drama, it is accompanied by live instrumental music.
Script, Synopsis, treatment	Describe briefly the outline of your project. I will be making a pair of WW1 army trousers with putties as well as a early 20th century male shirt, both will be broken down according to the design. I am also making a tailored early 20th century waistcoat. These will be worn in the AUCB Production: A Soldier’s Tale. The first two items (trousers, shirt, and putties) are for the character of Soldier. The waistcoat is for the character of The Narrator.
Character	If appropriate describe the character you are working on. I haven’t gotten a copy of the script due to copy-right issues. From the designer here are a few key words for the two characters: Soldier: Deserter, clothes are: worn, lived-in, ragged, over-sized. Narrator: smart, neat, of the period
Broader context	What research have you gathered within the broader context of your project? eg. who is the author/ director, what is the wider socio economic, political context.  Set and written in 1918 by Igor Stravinsky. Music follows a journey of a deserter soldier and his dealings with the devil. Performed with just 7 instruments and 4 actors. The story is based on a Russian folk tale. “The Music uses only the essentials in melody, rhythm, and instrumentation. The starkness of the instruments, the dryness of the melody is what creates the mood of the piece.”  (Good-Music-Guide. 2010).
Where have you researched	List some of the books you have found and places you have visited to find your research, remember these must be recorded in the Harvard system. Cariou, G. Shep, R.L. (1999). Shirts and Men’s Haberdashery: 1840-1920’s. California: R.L. Shep Productions. Good-Music-Guide (n.d.). Igor Stavinsky- The Soldier’s Tale. [online]. Available from: www.good-music-guide.com/reviews/081_soldiers_tale.htm. History in the Making. (2011). Historical Reconstruction Specialists. Research   re-created WW1 trousers. 13th October. Liddle, P. (1979). Testimony of War 1914-1918. Great Britain: Butler and Tanner Ltd. Masters, J. (1965). Fourteen Eighteen. London: Michael Joseph Ltd. Shep, R.L. (1998). The Great War: Styles and Patterns of the 1910’s.     California: R.L. Shep Productions.

LO2 Demonstrate the initiation and   creative application of intellectual reasoning and practical research to a high level of attainment

LO3     Inform project solutions with appropriate understanding, a high degree of  independent judgement and demonstrate critical self-awareness

Evidence of knowledge of conceptual and contextual issues – The level to which you have considered the context of your project including a self-initiated learning agreement outlining your body of work