Helping On Top Girls

Top Girls Program

A Soldier's tale is starting for it's performance in December but there are other AUCB shows in production at the moment. The first show this year is Top Girls written by Caryl Churchill in 1982. It is an all female cast, set in the 1980's and is being performed in the round. I was really interested in helping with this show to see how it was working back-stage and dressing. This was a large play with several costume changes and since it was being performed in the beginning of the term almost everything was sourced and then altered. I starting helping earlier than just the week before, by making a skirt for the production. It was for the character of Kit and was just a simple school girl skirt. I combined patterns from other projects and made it out of top fabric for their first fitting. The waistband didn't fit the actress but a simple solution was found to just take the waist-band off and face it. Taking up the hem a little was the only other alteration. I feel like this was successful project because I was able to produce it quickly and have it fit with only minor alterations. For a maker this was a good experience working on a live show and having to put something together promptly and independently.

Line Drawing for Kit Skirt.

Before the Show: After finishing my skirt I made I let the supervisor Ellen know that I was available if they needed help. I assisted on the first fitting, mostly to see my skirt but also to help assist in pining things and measuring them. There were many alterations after the first fitting but I think over-all it went well. I tried to help with some alterations over the next few days, while still working on my work. This was a tricky balancing act that in the end got the better of me. The immediacy of Top Girls made it feel like a priority for anyone helping and I think I wasn't able to divide my time evenly between my project and Top Girls. By the end of the week towards the first performance on Thursday I was mostly just helping on Top Girls doing alterations and being at most rehearsals to help with the quick changes. Thursday morning was very busy making a new tablecloth, altering an old one, and making new napkins. It taught me to always think on your feet during a live show and that you can't be prepared for everything but should strive to be so. 

Dressing: I really enjoyed being a dresser. I enjoyed the environment of excitement that comes with working backstage on a live theatre production. The core team of this production: Ellen (supervisor), Amy (buyer and assistant supervisor), and Zoey (designer) made it a very easy production to help on. They were organised backstage and knew the show and the characters thoroughly. I mostly helped with the quick changes back stage and doing some pre-setting before the show and ironing and prep for the next show afterwards. It only took a few dress rehearsals to get a good routine for the quick changes. 

I feel like the performances went very well and it was a strong show. 

Evaluation: Working on Top Girls was a valuable experience in working on a live show. It was unlike any experience I have had at AUCB because it was a fast get in, a mostly sourced show, and was more modern in setting and costumes. Making Kit's school skirt was a rewarding making project that gave me the chance to work quickly and creatively in terms of my pattern making. I think it fit in well with the rest of costumes. Helping with alterations and dress rehearsals was at times an overwhelming experience. Although I don't think I balanced my time well between Top Girls and my own work, I was glad I could help on Top Girls. Since my hand-in is later I will be able to make up that time over the next few weeks to catch back up with my time-plan. I enjoyed dressing for the show and working as a team for each performance. Just like being prepared when making a costume with fabric and patterns and tools, the supervisor and dressers had to be prepared and organized for quick changes back-stage and to be attentive for any alterations or prepping before and after each performance. I think as a costume team we all worked really well together and that helped make every performance a success. 

Soldier First Fitting

I had my first fitting with my actor Josh who will be playing the Soldier. I was very excited to see how everything would come together. Especially the trousers since I made them purposefully a little bigger in the pattern. I was pleased with my results. The shirt did fit him well, it had a sort of loose-ness and bagginess that was in the design. The trousers were big as they were meant to be but they might have ended up a bit too large. The putties as well were cut at 4inch wide and were a little wide. However over-all my adjustments were minor and Rose was pleased with this first fitting.

The Shirt:
My main adjustments to the shirt are scaling down the size of things. Both the collar and the cuffs are a little too wide. The collar needs to be a bit more narrow and it also sits a little high so the neck line has been lowered to sit more on his lower neck than upper neck. The were a bit too wide, in a comical way so a large amount of that has been taken out and they were also too large for his wrist so that was adjusted as well.

      


The Trousers: 

Overall the trousers are a good shape and style. I was very happy that Rose was pleased with the shape that they created. When I went to wrap the putties around, starting at the ankle, I made sure that the hem line was sitting at his ankle and that added a little volume to around the knee which reflected the design nicely. However they are a little too baggy the whole way round. The loose-ness and comfort should be kept but with the thick wool of the trouser fabric it could end up looking sloppy. So there were adjustments made and pinned around the center front seam and the center back seam. I will need to remember to accommodate the fish-tail in the back when making my adjustments. And I will also need to make sure the braces buttons are an equal distance from the center when I mark them for the second fitting. I will also be raising up the top waistline about .74inches the whole way round so they sit a little higher on Josh and fit more with historical research and Roses design. Now that it is decided that there will be a belt and braces I will need to consider belt loops while making them.



Evaluation:

I feel that this was a very successful fitting. It has given me a lot more confidence in my pattern-making skills, to see a toile that doesn't need any massive alterations. I also find it very encouraging that the trousers really came together well, and that my research really aided me for these creations. I think I could have done a bit more while patterning to judge the proportion of my collar and cuffs on the shirt. Luckily these are things that can be easily altered before cutting out of the top fabric. I will also need to do some more research on the putties, their width and how they should be wrapped. I am happy with my first fitting for the Soldier.

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 

Trip to History In the Making

At the beginning of this project I was really struggling to find research on WWI army trousers. Especially the waistband of the trousers because most historical photographs are more formal and usually include the jacket. I was able to find some good pattern examples and had found a great photograph of the back of trousers so I knew I was going to do a fish-tail back but I was unsure about the pockets and the fastenings on the front. To gain some more insight I traveled to History in the Making: Historical Reconstruction Specialists in Portsmouth. They are a costume hire house that specializes in historical recreations, with a large section devoted to the military. For more information on History in the Making here is their website: http://www.history-making.com/

I was very lucky to get the opportunity to enhance my research and technical understanding of WWI trousers by looking at a recreated pair in a professional hire house. I was shown around by one of the owners Hamish who took me to the WWI section. With his guidance I was able to look through their stock and pick out a pair that would fit the rank of the character of Soldier. I also got to look at costumes for higher ranking officers as well as an original WWI jacket. Once selected I sat down with the trousers to take numerous photographs, notes and measurements. Here are just a few of the photos I took:

This is just a small sampling of the pictures that I took. I started from the outside taking photographs then flipped them inside out to look at how they were constructed and to take photographs. This is where I started making measurements. Some of the things I measured that I felt might be useful when I make my pair were: seam allowances, size of cotton waist-band lining, pocket length, location of buttons, fly front size and length, location of top-stitching, button hole size and hem size. 

Evaluation: By taking measurements and taking time to look at each component I feel I better understand how the trousers will be/could be put together. There may be some differences between this historically made pair and my costumed pair but with the knowledge of how the historical pair was made, as my base, I can build and alter to fit my character. This was also a chance to see the level of work put into this pair in a professional setting and has given me good idea of the level to which I have to work in a setting like History in the Making. 

All images have been taken by me first hand but here is also a citation for History in the Making:

History in the Making. (2011). Historical Reconstruction Specialists. Research re-created WW1 trousers. 13^th October.

Research: Army Trousers

 I've been finding it difficult to find good images of army trousers in the First World War. I've been successful in finding images of men in full suits, jacket including. I've been able to find some good detail for how they looked wrapped with the putties, but not at the waistband. At this point my research is somewhat inconclusive. I've made an appointment to look at a historically re-created pair later this week but here is some of my initial research:

Masters, J. (1965). Fourteen Eighteen. London: 

Michael Joseph Ltd.

Carmen. W.Y. (1957). British Military Uniforms from 

Contemporary Pictures, Henry VII to the     

Present Day. London: Leonard Hill Limited.

Liddle, P. (1979). Testimony of War 1914-1918. Great Britain: Butler and Tanner Ltd. 

Out of all my research images for the trousers I feel like these are some of the stronger. The first image is of a smart young officer, maybe some context into what the soldier might have been like before he deserted. I think this is a good image of how the putties might have been wrapped and the way the trousers hang around the knee. The second image (citation beginning with Liddle) is a great and rare image of the back of the trousers. It's easy to see how high they sit on the waist and the fish tail backs and where the braces sit and function. The third image is of a guardsman and is a good reference for how the trousers and putties look together.

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

 This first pattern is of military 'service' knickers. This was one of the first patterns I feel could be useful in drafting my pattern. The back piece has a fish-tale back and they are clearly fuller around the hip to the knee. This might be more comfortable for the actor than having long trousers wrapped with gaiters however this pattern might not fit the rank of our soldier.

This pattern is not for a military trouser but rather a suit trouser from a pattern of that time. Since it is a long trouser that might be more useful  and there is no waistband which would fit in with the design. Also the back would be easy to make into a fish-tale back.

This is an interesting pattern option as well because it has a few different options. There is a full length trouser option, although it has a separate waist-band, which wouldn't really fit the design. The other options all have the potential to be drafted then altered to fit the design. Perhaps they could be made longer to be wrapped up or stay shorter and then popper into the putties. 

Through my research so far it has become clear that finding a real physical example would be the best research and the most effective research I could do. With what I have found so far I have many different options to discuss with my designer and to consider when I am drafting the pattern. 

Research: Waistcoat

Men's Fashion Illustrations from the time, part of
Anushka's research as well

 When I initially began researching for my waistcoat I wasn't sure the best starting point. In some ways I was unsure my role within the costume of the Narrator, should I be working closely with Anushka, who was making the jacket and trousers, or focus on the waistcoat as a separate part and it's own distinct project? In the end the best research was a mix of both. I was able to discuss the general shape of the waistcoat, the length, and some design lines with Anushka based off of her research. I checked with Rose, the designer, about how many pockets I needed and if there was anything special that I needed to know for the part of the Narrator. Since this is a tailored suit I will be following what we learned in our tailored waistcoat unit last year. Once that information was gathered I did a little independent research to find more examples of what I was making.

These three images were a lucky find. The are all from The Met Museum website. The front and back cream waistcoat was made in 1916, it is British made out of Wool. The Accession Number is: 1979. 152.8. The checked waistcoat is dated: 1910, it is British made of wool and silk cotton and the accession number is: 1984.160.4

These three waistcoats are a great example of what I will be making for the Narrator. Both are collar-less and have hem lines shaped similarly to the design. I thought it would be a good mix to get a waistcoat from 1910, the checked ( maybe a little earlier) and then one closer to when the play is set: the cream from 1916. Although the Narrator isn't a shabby character he's not overly wealthy and Rose has said she wants his costume to looked lived in but not worn out. The main differences between the early and later waistcoat is the shape in the center-front of the hem line. On the cream the curve is slightly more pronounced, and therefore might have been a little longer, whereas the checked waistcoat has a shallower curve and might have sat a little higher on wearer. These are both two good examples of a waistcoat fitting the historical context and the design of the character. 

Images References:

Men's fashion Illustrations from the time, Part of Anushka's research too.

Jno. J. Mitchell Co. (1990). Men’s Fashion Illustrations from the Turn of the Century. London: Dover Publications Inc.

M.J. & Co. , Checked Waistcoat. (1910). [Online image]. Available from:

http://images.metmuseum.org/CRDImages/ci/web-large/1984.160.4_F.jpg

[Accessed 10 October, 2011].

Whitaker & Co. Inc. Cream Waistcoat. (1916). [Online image]. Available from:

http://images.metmuseum.org/CRDImages/ci/web-large/1979.152.8_F.jpg

[Accessed 10 October, 2011].

Research: Shirt

When researching the shirt I felt like it was really important to make sure it fit the context of the character. When talking to Rose she pictured him in a kind of undershirt. Not something that was formal or very stiff. Her design featured a small stand collar and a long button stand. Within my research I found it more relevant that there would have been a yoke or a short button stand (something more like a placket); even on an undershirt. This is some of the research I found: 

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

This is one of the patterns I found for the shirt, you can see the use of a yoke for the front and at the shoulder. I think this is a strong pattern for a period shirt but a little too formal for this character.

Liddle, P. (1979). Testimony of War 1914-1918. Great Britain: Butler and Tanner Ltd. 

I think this is a really good image to represent the how casual the shirt could be in the context of the war. This was an especially good find because, aside from a few changes this is how the soldier's costume will look/be worn. The army trousers help up by a belt and wrapped around with putties and a casual shirt with the sleeves rolled up. But focusing on the shirt there are some major differences between this image and my design like: the size of the collar and the pockets. It's difficult to tell as well if the button stand ends or is the length of the shirt. 

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

This is the pattern Rose and I chose for the shirt. It is actually an historical undershirt from 1909, so even though the show was written and set in 1918 I think it is a good fit. The collar is the right size and shape. It also has the right type of button stand. It was very easy to go an talk to Rose about what she was expecting and I think with the breaking down techniques it will fit the design. It's simplicity in style and cut will make it more casual and understated on stage.