Evaluation

During The Canterbury Tales my skills and abilities as a costume maker have been pushed to new boundaries where both my technical and construction skills have been heavily challenged. Taking on board the pointers from my last assessment, I asked to make the costume for The Wife of Bath, who is quite a big and bolshie character and well known within the play. The fabrics used on her costume were ones, which I had yet to work with, and were quite rich in texture.

From a technical perspective I faced the challenges of trying to turn my actress from a size 12 to a size 16-18 UK dress size with a 36G bust.  This meant making an understructure that wouldn’t show through the top material. I experimented with certain paddings for both and drew the conclusion a padded bra and bum pad would work best. The padded bra worked well and though the wadding had to be checked before the garments were worn it gave the actress a rather impressive bust.  The bum pad extended the skirt out to give the required shape and as it was hidden by the bloomers they were not visible to the eye.  I also had to experiment with pleating to make the skirt more full and accommodate the additional understructure.  Before this project I found pleats a nightmare, as I could never make them even. However after the first calico sample I found a technique that worked and allowed me to improve on the technique. These experiments have been to my advantage and though took time to do; I found that I have a greater knowledge of the technical process of construction.

Another major challenge was working with a designer, tutor and outside lecturers. I have had to adapt to creating the vision of the designer as well as following the decisions of the lecturers. During the final stages of the show I found my skirts train had to be cut, though the designer originally wanted the train, it was hindering the actress during a scene. The lecturer cut the skirt and though originally upset that this had happened, once the reason had been explained I came to the understanding that it doesn’t matter if the production was in house or in the West End, within the industry this can happen.  You have a duty to keep the actress safe and the garment must not hinder them.

Although this is my most successful project to date, there are some parts I would change.  The finishing’s on the tunic were to a satisfactory standard, however now that I have a greater understanding of the richer materials I would change the application process.  In future I shall baste the fur down first and then hand stitch it down securely.  As well as this the modesty panel on the tunic could have less tacks, which would allow the fabric to be more free flow. 

Overall I am pleased with how I have developed under this project and the final garments. As a result of this I have grown in confidence and feel I am more competent within the construction of garments.  I would like the opportunity in the future to advance my skills and try different techniques and resources, enabling the ability to individualise each costume, making them unique.