Luchia Marshall
8137
Context
Books, films, musicals and theatre productions provide Textile
designers with wealth of inspiration.
Design Task -The costume department of a national
theatre company has commissioned you to design and make a
costume for a modern production of the 26th anniversary of
‘The Phantom of the Opera’ which is set to appear in the West
End! The emphasis must be on modern and not to be copy of
costumes used in the past.
Mind Map Summary
I am going to research into different shows that are currently
touring or showing around the country. I like the idea of shows
that incorporate dancing, therefore I am going to research into
the Phantom of the Opera, The Nutcracker and Swan Lake. I am
going to look into the era of the show, where it is based, what
the story is, characters are like and most importantly what the
costumes are! A very important aspect of my research will be
how the costumes have been constructed to fit and suit a
dancers needs, such as the materials used, what fastenings are
suitable for a quick change back stage and what colours and
patterns will show up clearly in the light on stage. I am also
going to research on next years up coming fashion trends, such
as colours, patterns, shapes and designs, so I can fuse together
both the traditional costumes from the original shows into a
piece which will suit next years target market which will be the
audience who watch the show. I am focusing on the female
characters in the shows and female fashions.
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Here I have done some research into the up and coming fashion
trends of 2013. I found these pictures in the January 2012 Vogue
magazine. I am going to study these and see how I can use these
designs and develop them into making a modern costume for the
show.
This style will
Nipped in at the
Big, bold, loud patterns
come in very
waist. Floating
are also going to be
useful when
out into a half
bang on trend! I could
im designing
circular skirt.
definitely incorporate
my costume,
This could be
bold patterns into my
as in ballet
developed into
costume to modernise
they wear
a costume for
and make the costume
tight bodices’
Phantom by
look more interesting on
tucked in at
simply changing
stage.
the waist, and
the colours and
the tutus stick
skirt into a tutu.
out just like
the flow of
the skirt.
Pale, pastel colours
such baby blue, mint
green, light pink,
yellow, orange, and
lilac are going to be
massive in 2013.
SUMMARY: My trend research tells me that
pastel colours, bold patterns and tight fitting
tops, with floaty, big skirts are going to be in
trend next year.
Research
How?
Why?
The Theme
I visited a fancy dress
shop to take some photos
of various types of
appropriate
dresses/costumes and to
get a feel of the fit/type
of costume.
I have done this so I can
look at what is on the
costume market at the
moment to see how I can
develop it to be suitable
for next years market.
Existing designs
I found two Victorian
dresses, one being
corseted and very big
(like the dress from the
Masquarade scene in
Phantom of the Opera)
and one fairly simple
cream dress that Christine
from the show wears
quite often. I also found a
tutu/ballet costume which
was a modernised version
of the outfits the
ballerinas wear.
I tried on these three
costumes so I can get an
idea of how to combine
the Victorian elements of
the dresses into a ballet
outfit, also so I can pick
out anything I don’t like
about them, for example
any disfigurements,
colours, patterns etc, not
forgetting that I need to
make the costume
suitable for dancing, stage
and next years target
market.
Target Market
My target market is going
to be the audience of the
show. I am going to be
asking a regular theatre
visitor a series of
questions to help me with
my research
Essentially these people
are the people that will be
seeing the costumes on
stage so these are the
people that need to be
impressed!
Shop profile
The fancy dress shop I
went too was ‘Chichester
Fancy Dress Shop’ I am
also going to look at
Vivenne Westwoods past
collections.
Vivenne Westwood uses a
lot of Victorian inspired
ideas so this should help
with the designing of my
costume.
Research Questionnaire
I asked a costume designer who has worked designing costumes for shows such as ‘cats’
and many other west end shows a few questions to help me with my research.
1) What colours work well on stage? Contrasting, bright, bold prints. Nothing to small.
2) What kind of fastenings are suitable for a quick change? Velcro, hooks, hook and eye
tape, ties. No zips.
3) What modern techniques look well under light in a theatre? EG colour changing paint,
ultraviolet/ glow in the dark? Nothing thermocromic. UV and glow in the dark are good.
Fibre Optics work well.
4) What works well for ballet? Lightweight, Delicate, Needs to be able to move
For my research I am going to find out about different shows/ballets currently showing in the West End or touring around the country. I am going to look into what
era the show is in so I can get a feel of what type of costumes, materials, techniques, etc that they use when designing and making the costumes for the cast, so
that I can decide on what techniques I can put into my final piece to make it suitable for next years West End shows. I am going design a costume for the 26th
anniversary of The Phantom of the Opera! I particularly like the idea of shows which include dancing, so I will research ‘The Phantom of the Opera’ and ‘The
Nutcracker’ and ‘Swan Lake’. I can use the different ideas from each of the shows to develop a costume that will still look the part, suit next years target market and
most importantly be, safe and easy to move/dance in. I have found a variety of information on the internet and will also use my personal knowledge as I have seen
both Phantom and The Nutcracker recently.
Swan LakeSwan Lake is a famous ballet which was
composed in 1875-1876. The scenario,
initially in four acts, was fashioned from
Russian folk tales. and tells the story of
Odette, a princess turned into a swan
by an evil sorcerer's curse. The ballet
was premiered by the Bolshoi Ballet on
4 March 1877 at the Bolshoi Theatre in
Moscow. The costumes in the
nutcracker are much the same as The
Phantom and The Nutcracker with the
structured bodies and tutus.
The Phantom of the OperaThe Phantom of the Opera is a show set back in 1970 in the
famous Paris Opera House. This is why all the costumes, such
as the dresses are so big, loud, and flamboyant. The first
showing of the ‘Phantom of the Opera’ was in the 1980’s in Her
Magesty’s Theatre in London’s West End. I am going to focus on
the women’s costumes because they are a lot more detailed and
beautiful. Also I can research more into the women’s up coming
fashion trends to find out how I can change and develop a
costume to be fit for next year.
The NutcrackerThe Nutcracker is a ballet fairytail. On an enchanted
Christmas Eve, under the heavy boughs of the candlelit tree
Clara battles with the Mouse King and falls in love with a
handsome prince. As the air grows colder and snowflakes
begin to fall, Clara and her valiant Nutcracker take a hot
balloon ride across the frost-dusted London skyline to the
glistening Land of Snow where her adventure really
begins. I like the idea of designing a tutu/corset costume
for ‘The Nutcracker’.
Research analysis
In The Phantom of the Opera, The Nutcracker and Swan Lake
the women wear tight fitted bodices and tutu’s. I have chosen
to design a costume for ‘The Phantom of the Opera’ because I
think the combination between a traditional Victorian inspired
costume being infused with current fashion trends will create
an innovative and interesting piece. I have decided to design a
costume for part of the ‘corps de ballet’ (background
dancers/ballerinas) instead of a main character. I will focus in
on what they wear in the current show and incorporate my
research on the fashion forecasts when designing.
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Aesthetics (colour, shape, theme) – I have looked through various fashion
magazines such as VOGUE and found out what will be coming up for next year. I
found out that pastel colours such as pink, blue, green, yellow and lilac are going to
be seen in the fashion next year, as well as bold patterns, tight waists and big skirts.
This will compliment and work well with the Victorian/Old fashioned era of the show
and the costumes in it. Both the upcoming trends and style of the costumes in the
current show can be combined to create a fantastic, modernised costume suitable
for the show next year!
Manufacture (how will you make it) I will make the costume using a sewing
machine and hand. I may also need to use machinery such as an embroidery
machine, heat press, laser cutter, CAD/CAM etc if necessary .
Cost (how much will they be willing to pay for it) – I asked for a professional opinion
from a costume designer who has worked making costumes for many musicals and
ballets and she said a theatre would be willing to pay around 200 pounds per
costume , depending on the type/style.
Function (what is its purpose?) – Function is to look good on stage, applyto the
design task and be suitable for a dancer. It must include the up coming fashion
trends but still keeping the traditional Victorian/Old fashioned look.
Colours/patters/detail need to be seen in the light on stage.
Materials (what will you use to make it?) – Tutu net, lycra for pants and leotard
bodice. Sequins, ribbons, glitter, plexifoil, lace could possibly be used for decoration.
Ergonomics (how is it suitable for use) – It needs to be suitable for ballet dancers.
It needs to be suitable for a quick change. Cool and not make the dancer too hot on
stage.
Pale, pastel colours in the summer 2013 trend forecast.
Consumer (who will it appeal too) – It needs to appeal to the
audience and the cast of the show. Also the theatre or
company buying it. Essentially the most important people it
will need to appeal to is the audience of the show because
they are expecting to see beautiful costumes but it is also
important that the dancer wearing the costume is comfortable
whilst wearing it and the costume will need to meet the
expectations of the theatre of company hiring/purchasing the
costume.
Size/Style (how big does it need to be?) Following the fashion
trends it would be appropriate to make a costume that is tight
around the waist to make the dancer look slimmer and have a
tutu sticking out creating the effect of a big skirt, this could
either be a pancake, romantic or an unusual tutu. Bodice need
to be stretchy but structured and easy to get into and out of in
a quick change. Also easy to move/dance in. Will be worn on a
petite dancer around a size 8.
Safety (how will it be safe to use) – No pins in tutu. Safe
(quick) fastening such as hook and eye tape. No buttons or
zips. The fastenings must be suitable for a quick change, so
nothing that would take to long to fasten such as ties. Also
nothing like a zip because it could get caught and potentially
rip the costume.
As seen on the catwalk, bold, bright, loud
patterns are set to be fashionable in
summer 2013. Patterns such as flowers
would be ideal to use when designing my
costume.
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8137
Sweetheart neck.
Pastel blue. Flowers
running from the top
right down to the
pancake tutu.
Straight
neck. Large
flowers
appliquéd
into bodice.
Romantic
tutu.
Sweetheart neck
Plain, pastel pink
body.
Various different
techniques on tutu
such as a quilted layer,
appliquéd flowers, and
a felted layer.
I really like this
idea. The top is
simply covered
with flowers and
the tutu is made
from two panels,
one at the front
and one at the
back leaving all the
leg at the side on
show. It is
completed with a
puffy arm-band to
add effect to the
arms when dancing
on stage.
I was inspired to design this when I
saw a picture of a dress with the same
top half in a magazine. I think its great
because it is really different, however I
think it’s a little revealing for something
that will be worn on stage infront of
children. The tutu has a spikey effect
and is different colours, I think it is a
little too bright. The costume designer
I personally love this design. I think it is agrees that the modern trend elements
classic and beautiful… with a modern
are present but its not Victorian
twist. This pastel pink bodice and
elements.
romantic tutu is simple and stunning.
This design
The tiny Victorian inspired flowers on
is a pale
the bodice look great, creating an
blue high
elegant effect and make the waist look
neck
smaller using optical illusions. The
leotard with
flowers in the tutu add a little more to
flowers
look at, without making it look to
scattered
overcrowded. The sweetheart neckline is
over the
again a modern aspect on this costume,
front. The
but to cover up the cleavage I could add
tutu is long
a skin colored under layer. The costume
and gets
designer I interviewed said this design
shorter at
fits well with my task analysis and I
the front.
should consider this design when
creating my final design.
The bodice of this is
made from chains
being connected
together. It creates
a great spooky
effect which the
show wants to give.
The tutu is also
different because it
is short at the side
and gradually gets
longer until it stops
just below the side
of the knee.
This is a sweat-heart
neck decorated with
sequins at the top.
The tutu is made up of
5 different layers at
different lengths and
colours to add more
texture.
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8137
Colour Development
Patterns /Decoration Development
Shape/Size Development
For each design I have compared them to how well they fit with the design specification.
Luchia Marshall
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Luchia Marshall
Development
Techniques
Justification
Making fabric?
Felting, knitting, weaving, lace making, bonding
I have thought about felting and knitting flowers to put onto my costumes, it would give
my work a more interesting texture and look.
Colouring fabric?
Tie-dye, batik, ombre dying, sublimation printing, silk
painting
I could tie-dye the top part of the leotard or the tutu. Tie-dye is fairly cheap and easy to
do. This would be a great technique to use when making my costume. Silk painting could
also be a technique I could use when adding decoration, although it is expensive, it works
well on stage and looks fantastic.
Adding decoration (print
techniques)
Transfer, block and screen printing, fabric crayons,
plexifoil, stencilling
I may use plexifoil when decorating my costume because I think it adds great effect, it
doesn’t take long to do and isnt expensive. This could definitely used. I won’t use any of
the other print techniques I have listed because I don’t think they’ll compliment my
costume very nicely and they don’t fit in with the type of costume I am designing.
Adding decoration
(sewing techniques)
Embroidery, appliqué, reverse appliqué, decorative
stitching, sequins, lace, quilting
I will definitely consider using all these sewing techniques, particularly for decorating my
costume with flowers. I think it would look great having loads of different techniques on
my costume. Eg- one flower made using appliqué, one reverse appliqué, one
embroidered, etc..
CAD/CAM
Photos, writing, colour ways, patterns, laser cutter
I could use the laser cutter to make lace flowers. This is very time consuming but looks
amazing and would definitely add to the complex look and fascinating designs on my
costume.
Manufacturing fastenings
Zips, hook & eye, velcro, strings, buttons, snap fasteners
Zips would not be convenient for a stage costume as there is too much of a risk of it
jamming. Velcro would look extremely unattractive on my costume but it is very
convenient, however it may come un-done on stage. I will probably use either hook & eye
tape, strings, buttons or snap fasteners.
Manufacturing - finishing
Facing, lacing, lining, waistbands, binding
Lining the tutu in my costume would be a good idea to prevent it itching/irritating the
dancers legs. Waistbands may also be used to make the waist look smaller and it also
fits in with next years shaping fashion trends.
Manufacturing - shaping
Boning, cording, polyester boning
I may need to bone the corset/bodice of the costume to maintain the traditional look and
give the dancer good shape.
Manufacturing – seams
Overlock, French, Plain,
Overlock any fabric that could fray. French seams would be very useful because they are
very strong, as the costume is for a dancer, it will be moved in a lot, a plain seam would
also be fine, just not as stong.
Group Development
I gave this design to two people in
my class and they developed it
using their own ideas to try and
improve what I have already
designed and give me some
innovative ideas. This is a pale pink
bodice with no boning or structure,
decorated with sequined flowers at
the side. The ‘pancake’ tutu is also
pale pink, again with sequined
flowers attached randomly around
the tutu.
Development one – This
design has a structured
bodice has been decorated in
purely glitter and flowers. I
don’t like this idea much as it
doesn’t fit with the task
analysis and the decoration
makes the costume look
overcrowded and messy. It
doesn’t compliment the
Victorian era of the show. I
got some opinions off people
in my textiles class and they
agreed with my opinion on
this design.
Development two – The straps have been taken
off and the bodice has been changed. I really like
this idea. I love how half of the bodice has been
left plain and half is covered in flowers, which
flows out into the tutu. This is a gorgeous
combination of both Victorian and modern.
However I don’t think a strapless costume would
be suitable for a dancer on stage because it
might fall down and doesn’t give enough
support. I will definitely take this idea into
consideration when designing my final idea as I
really like it and could work well. The costume
designer agrees with my opinion on this costume
and thinks I should use this to inspire me with
my final design.
8137
Here I have designed and made different styles of costumes using paper so. I have
used different necklines, tutu’s and decoration.
I absolutely love this idea. The
high neckline is very Victorian in
that it covers up the dancers
modesty, as women in Victorian
times would not have worn
revealing clothes. The big flowers
coming down from the right
shoulder to the bust then down
to the right towards the hip look
gorgeous and are based around
next year’s trends for big bold
patterns.
This design is exactly
the same but instead of
having flowers on the
bodice they are placed
randomly around the
tutu.
Back
Here, I have analysed and
disassembled a child's
dance/gymnastics leotard with an
attached skirt. It is not the same as
the costume I will be making, but it
has given me some very useful
ideas on what materials work well
for dance, also on how the skirt is
attached.
Here I have designed a costume
with a plain square neck and a
romantic tutu. The neckline is
again unrevealing and
appropriate for the dancer,
audience and design
specification. There are small
flowers placed round the tutu.
This design is nice but not my
favourite.
This sweetheart
bodice and
pancake tutu could
have flowers
embroidered onto
the bodice or tutu.
I really like how
the bow tied round
the smallest part of
the waist adds
massive effect.
This is also in the
fashion trend
forecast for next
year.
This is a circular skirt. I will not be
using a circular skirt but it is fairly
similar to a tutu and how it will be
attached onto the costume. The skirt
has been inserted in-between the
bodice and pants and sewn together
so the skirt falls nicely. I could try
and use this idea for my costume!
This top is constructed in a similar way to a corset. The top half
provides support by under wiring and creating a sort of bra. Also
the adjustable straps provide support by allowing the dancer to
adjust them for their own comfort. Inside the front of this top
there is an extra layer of cotton. This would be very useful for a
costume being used on stage because it will absorb any sweat.
All dancewear, such as leotards,
must be overlocked. This is very
important because the material is
stretchy and the overlock stitch is
strong and versatile. Perfect for
hemming, seaming and edging. I
will need to construct my leotard
with the overlocker when making
my final product.
‘’ Two-way-stretch’’ material is vital and
must be used when making dancewear
products such as leotards, leggings and
shorts. Using two-way-stretch material it
allows the dancer to have a lot more
freedom to move and dance. It also makes
the product more skin tight, which again
makes it easier to dance in.
Luchia Marshall
8137
Here I have experimented with lots of different decorative techniques such as silk
painting, tie-dye, batik, felting, CAD/CAM etc... Some of these techniques I will
definitely use when decorating my costume, however some are very unsuitable.
Silk Painting
CAD/CAM 2D design
Here is a picture of a flower I create using 2d design
then lazer cut onto a piece of fabric. This technique is
very good for use on costumes for stage because it is
ver precise. I received a lot of positive feedback and was
told by people in the class to consider using it in my final
design.
Tie-Dye
Silk painting is definitely a technique I could
incorporate into my costume. I like the idea of
decorating the bodice of the costume with flowers all
made using different techniques. The flower at the
Pic of 2d flower
top is simple silk painting. The flower at the bottom I
did using silk paint then sprinkling salt over it to give
it a spotty texture. I also attached and sewed the
flower onto another piece of fabric using reverse
appliqué for extra detail.
Appliqué/Reverse Appliqué
Fabric Paint
Fabric paint is an easy to
use method. It doesn’t
take up too much time
and you can
design/make any pattern
Felting
of motif that you wish. I
Here I have felted a little could use this decorative
sample of a flower. I feel technique in my
this is a very appropriate costume if I decide to
decorative technique to
use flowers, or any
incorporate into my
other decoration. My
costume. I can make a
classmate Nalani told me
bigger, more colourful
that the fabric paint was
flower to attach to the
a very accurate way of
costume to give it a
decorating, so I am
individual, interesting look going to use this in my
and texture. My classmate final design.
Beth said this technique
looks quite old fashioned,
and is well suited to the
show, so I am going to
make a felted flower.
I am considering tie-dying either the
whole of my costume, starting at the
top of the bodice, turning into a
different colour in the bodice, or just
tie-dying the tutu so its all different
colours.
Appliqué/Reverse appliqué could be
used because it provides an
interesting texture and unique look to
the costume. I could also use appliqué
to line round the outside of the tutu.
This could make it more appealing to
the eye and give it a more interesting
Batik
texture. My friend Megan, another
I could use batik in
textiles student said reverse appliqué
Angelina
my costume,
was very detailed and pretty,
Angelina could be used on
decorating it with
therefore I am going to use it.
top of the tutu to add
flowers, although I
effect. This would give the
don’t really like the
Plexifoil
costume the spooky effect I
look of batik so I
Plexifoil looks great and
am hoping include. It would
doubt I will
shows up well in the stage
also look very effective
incorporate this into
light. It will make my
under the lighting in the
my design.
costume look more
theatre, being given this
detailed and shiny/sparkly.
information from a costume
I was told by another
designer I will make a
textiles student plexifoil
flower from angelina.
Die Sticks
works great on stage, so I
will make a plexifoil flower.
Die Sticks are great because they
Embroidery Machine
Here is a flower made by an
embroidery machine. It is very
easy to use and took roughly
about 5 minutes. It adds
detailed decoration.
are easy. Much like fabric paint
you can design and make
whatever pattern/motif to
however you want it. I could use
these for the flowers or for any
other decoration.
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8137
Other construction
techniques
Seams
Plain Seam
This is the most
simple seam I could
use, however because
the costume will be
made to dance in, a
plain seam may not
always be strong
enough.
French seam
French seams
are very strong
and ideal for
using when
making a
costume used
for dance. This
seam would be
suitable,
particularly
when
constructing the
bodice and tutu.
Buttons are useful
because they don’t
get caught on
material in the
costume, however
if there’s a lot of
buttons it can take
to long to fasten.
Hook and eye take is a
perfect way of fastening
a costume. It is fast for a
quick change, easy to
apply and wont catch on
materials.
Darts
Darts are sewn into
fabric to create a 3d
effect. Darts are
often used around
the bustline and
waist in women's
clothing, as well as
in many other
places.
Flat-Fell boning
Flat Seam
Flat seams
are also very
strong, like
french seams
would be
suitable when
costructing
the costume.
Gathers
Gathers create a ruffled
effect.It is often used
to manage fullness in
an item of clothing.
For example when a
skirt is attached to the
bodice. Gathers create
the look I am after for
the overskirt (as seen
in toile 3)
Normal boning French boning
These three types of
boning are made in exactly
the same way as the
seams, only with boning
inserted into them. If I
decide to use boning when
making corset , or
structured bodice I could
use one of these three
techniques.
Zips are a fast and easy
way to fasten an item of
clothing, bag, costume etc.
However, during a quick
change zips are highly
likely to ‘snag’ and get
caught on the costume
and cause rips and delays
so therefore are not
always the most beneficial
way of fastening a
costume. I was told by
the costume designer that
I interviewed that zips are
unsuitable for show
costumes.
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8137
1)
2)
3)
Here are some Victorian/Old-Fashioned costumes I found and tried on in
a fancy dress shop.
The two Victorian/Old-Fashioned dresses had zips as fastenings on back
back which would not be suitable for stage as they snag more easily. The
black and red dress below would not be suitable for on stage because it
also had ribbons up the front which needed doing up, that would cause to
much fuss backstage and would take too long to fasten in a quick change.
The cream Victorian dress would be ideal for on stage because the
material is very light and stretchy, so the characters wearing it wouldn’t
get too hot and they would be able to move around.
Above are three different toile prototypes.
The first one is two layers of tutu attached to a cage made from boning, with an
over skirt lying over the tutu net. The second toile is a 6 layer pancake tutu,
instead of the traditional 12 layer, to make it bigger and more puffy. The third
toile is 3 layers of tutu net, attached to an underskirt, with each layer being
sewn on slightly higher than the other to give a layered effect, which the
gathered over skirt finishes off nicely. I asked the costume designer I
interviewed for my research which tutu would be the most suitable for a dancer
in a show. She told me toile's two and three would be the best for dancers as
These dresses on the rightI saw in a window
the first toile has a cage under the tutu which could potentially interfere with
display of a shop called Harrods in London. The
the dancing. It also makes the tutu heavier which could prevent the dancer
shape of the sick dress on the left is interesting
from performing at the best ability.
because it is big and corseted, much like what a
After Comparing my prototypes to existing products on the market I have come
Victorian dress would look like. As I am designing
to the conclusion that toile number three is the most similar. As shown in some
a costume for a background dancer in the show
of the pictures there are a lot of ‘puffy’ and ‘peplum’ dress on the market at the
the dress will not need to be as extravagant as
moment. I think the gathered overskirt on toile number 3 is very much like the
this, however I could use this design to inspire
‘peplum’ effect on one of the dresses I found in a London department store.
me when making the product, for example where
Also the layered netting is a lot like another dress I found currently on the
the top part of the skirt puffs out I could develop
market. I also like toile 3 because it is still similar to the tutu’s being used in the
into a tutu or skirt. I really like the colour of the
current show of the Phantom of the Opera.
blue dress, it is pastel and follows next years
I have chosen to use toile 3 because it incorporates the modern, upcoming
fashion trend. The material is light and floaty and
fashion trends and still sticks to the traditional, pancake-like tutu as seen in the
ideal for use on stage.
current show.
This tutu I found in a dance shop. It is perfect for use on stage as it is made for dance and
shows. It follows the fashion trends as it includes bold patterns, and pastel colours. The
structure of the dress is also ideal for dance, with lycra pants attached, and boning in the
bodice. This costume is decorated with bold patterns using a lazer cutter. The pink dress I
saw in a window display in Harrods, London. I am very interested in the colour and
decoration used in this dress. The Heavy use of flowers at the top, spreading out into the
skirt part of the dress makes the dress appear much more textured and interesting. These
flowers could also represent bold patterns which are set to be in next years trend forecast.
Also this colour pink is a pastel colour, which is also in next years trend forecast. These
ideas, particularly the use of flowers could inspire me when designing the costume.
Luchia Marshall
8137
When designing my product I am going to have to take into account the environment and sustainability of the product.
To make the costume ‘sustainable’ I will have to design it making sure that it doesn’t have a massive impact on the
environment and also improving the conditions that the workers have to manufacture the product in, including growing,
dying and weaving the fabric. I will have to consider the location of where the materials are manufactured and how they
are distributed and making a product that could be re-used and recycled. I am going to research different ways to make my
product environmentally friendly and into some different materials that I could use when making the product.
Environment and Sustainability
Mass Manufacturing
I am using velvet for my leotard which doesn’t massively
effect the environment because I chose a synthetic
crushed velvet which is made using industrial power
looms. Velvet is often made in the UK so would not be
affecting workers in third world countries by paying them a
very low wage. However dying the other fabrics and
pointe shoes could cause environmental issues. In order to
make these materials environmentally friendly I would
have to insure all the fabric dyes used were organic and
non-toxic. If my product has passed the fair-trade
regulations it may make my costume more appealing to
the theatres/companies buying it and the target market
will be more satisfied that the costume is made taking into
consideration the working state of others and impact on
the environment.
I must make sure that the manufacturing factories have
passed all health and safety regulations. For example
insuring that all the dyes used are suitable for use around
humans, machines and equipment is safe for workers to
use and they have undergone full training to avoid any
injuries or accidents. All fabrics, dyes, machines etc are
all correctly labelled stating what they’re made from, how
to use, how to wash and any other necessary
instructions. Also using the minimum amount of power on
sewing machines, lights and all electronic pieces of
equipment and insure they are fully switched off when
not in use to improve environmental issues.
Fairtrade
My product, or parts of my product may be manufactured
in another country. If so, I will have to make sure the
conditions that the workers will be working in are fair and
they are being pair a fair wage. Another important factor
would be insuring that the fabrics, such as cotton are
grown by people receiving a fair pay.
Labelling
When labelling my product, I will have to inform the
consumer of any information they may need to know
about environmental issues, such as using non-bio
washing powder and washing on a low temperature so it
allows them to do what they need to be more ecofriendly.
Product Life
Now, as a designer in the 21st century, I will have to design a
costume that is durable and has a long lasting ‘life cycle’. As
fabrics, dyes, costumes and paying for workers is becoming
increasingly more expensive it would be more economically
suitable. Also as my costume is for a west end show it would
be worn and danced in everyday, if not several times a day so
therefore it would need to be very well manufactured.
Components
When decorating, fastening and constructing my product I
could recycleuse second hand fabrics and components
such as zips, buttons, boning and scraps off fabrics for
making the flowers and waistband.
Luchia Marshall
8137
BACK VIEW
FRONT VIEW
This is my final design. I have used the colours
black, grey, pale purple and yellow. I have chosen
to use black and grey because they relate well to
the ‘ Phantom of the Opera’ as they are dark,
scary, spooky colours and add a sinister effect to
the costume. I have used a pale/pastel purple
colour for the overskirt and sash because it is one
of the colours set to be on trend for next year.,
which modernises this Victorian inspired costume. I
have used yellow for the flowers because it adds
colour and warmth to the costume. I am going to
use crushed velvet for the leotard because it has a
two-way-stretch which is important when making
dancewear to make it fit tightly and allow
movement for dancing. Also the velvet appears
more black under the stage light as some other
fabrics may appear to be dark blue. I have chosen
to use grey ballet tutu net cut at the bottom into
small spikes because it creates a cob-web like
effect which adds to the spooky look of the
costume. The purple overskirt makes the costume
a little more pretty and ballet-like. It is a double
circular skirt so it creates a wavey look when sitting
on top of the tutu. I am decorating the costume
with yellow flowers using different decorative
techniques such as felting, reverse appliqué,
plexifoil, angelina and fabric painting. To complete
the costume I am going to due regular pink pointe
(ballet) shoes black using fabric dye and change
the pink ribbons to purple ones to match the
purple overskirt and sash.
How long is it going to take me?
I plan to spend approximately two hours developing, altering and drawing up my patterns for the leotard, underskirt and
overskirt. I will spend an hour cutting the fabrics and an extra half an hour cutting the spikes at the bottom of the tutu net.
I then plan to spend an half an hour overlocking the fabrics that need overlocking. I will spend two hours hand sewing the
binding onto the leotard. I will spend an hour gathering and attaching the tutu net to the underskirt. An hour will be spent
sewing the purple fabric over the boning to disguise it and attaching that to the underskirt. I will spend half an hour gathering
and sewing on the over skirt. I will spend another hour cutting out the fabric and hand sewing on the waistband. I should only
need to spend a maximum of half an hour sewing on the hooks. I will need to spend approximately around an hour and a half
gathering, hemming, adding stay stitches onto the sash and sewing it on. I plan to spend 2 hours on the flowers for decoration
and 1 hour on dying the ballet shoes.
The back of the costume is
completed and tied up with a
black bow that is attached to
the waistband. This adds detail
to the back and is an easy
fastening for quick changes in
a show.
ACCESSORIES
To complete my
costume I am going
to dye these regular
pink ballet shoes
black, using fabric
dye,. I am also going
to change the
ribbons to purple
ones, to match the
overskirt and sash of
the costume.
Luchia Marshall
8137
Working Drawings
Fabric Description:
Ballet Tutu Net -Grey
Acetate - Lilac
Crushed Velvet Two Way Stretch -Black
Polyester -Black and Yellow
Felting Wool -Black and Yellow
Components used:
Ribbons –Purple
Hook and Eyes – Black
Angelina – Yellow
Fabric Paint – Yellow and Black
Fabric Dye for shoes – Black
14cm
Stitch Details:
General Stitch – Lengh:4 Width:3
Gathering – Lengh:4 Width:1
Stretch Binding – Lengh:4 Width:5
Appliqué – Lengh:1 Width:3
Flow chart on how to make the product to be inserted here.
Care Label:
Velvet Leotard–
10cm
Hand wash only
Do not iron
Do not tumble dry
Tutu and OverskirtHand wash only
12cm
Iron on low heat (overskirt only)
Do not tumble dry
Luchia Marshall
8137
Date
Work carried out
Materials and equipment
needed
Changes made to the
plan and why
Techniques, methods and
equipment used in
industry
Quality/control checks
Risk assessment/ health
and safety issues
24/1/2013
Dyed Pointe shoes. Altered
skirt pattern.
Fabric Dye and ribbons.
Pattern paper, scissors and
pencil.
I originally planned to dye the
pointe shoes after
developing pattern but
decided to do it first to get it
out of the way.
Professional dying machines.
Ensure you’re wearing
gloves and covering clothing
when dying the ballet shoes
to prevent stains. Make sure
dye is rinsed so it doesn’t
stain the floor, feet or tights.
When using scissors to cut
patterns . Could cause
injuries like a cut/graze.
Fabric dye could cause skin
irritation.
30/1/2013
Cut patterns. Made
prototype, decided on
fastenings.
Sewing machine, scissors,
fabric, taylors chalk.
Didn’t make decoration
flowers for prototype as its
too time consuming.
Laser cutting the ‘spiky’
effect at bottom of tutu.
Make sure fabrics are
suitable. Eg for leotard the
fabric must have a two-way
stretch.
Using needles could cause
pricks/cuts. Keep watching
machines at all times to
prevent this.
5/2/2013
Cut out skirt , leotard and
tutu net.
Scissors, fabric.
No changes made.
Different people cutting each
fabric to make the process
quicker.
Make sure fabrics have no
stains or imperfections.
Double check before cutting
that the patterns are the right
size/shape.
Using scissors could cause
cuts. To prevent this, keep
focused.
7/2/2013
Sewed leotard on over
locker and overlocked over
skirt to prevent fraying.
Overlocker.
No changes made.
Professional over locking
machines
Make sure the thread in over
locker is the same color as
fabric as it is obvious.
Using needles could cause
pricks/cuts. Keep watching
machines at all times to
prevent this.
11/2/2013
Sew tutu layers onto
underskirt. Gather over
skirt . Add boning.
Sewing machine. Boning.
I planned to attach the
skirt/tutu to the waistband at
this stage but couldn’t as I
realised I have to hand sew it
which takes longer.
Sewing machine.
Ensure you’re sewing the
layers of tutu met 2cm apart
Using needles could cause
pricks/cuts. Keep watching
machines at all times to
prevent this.
26/2/2013
Handsew stretchy binding
to leotard.
Needle, thread, pins and
thimble.
I originally thought I would be
able to machine sew but
discovered it didn’t work so
had to hand sew.
Needle, thread, pins and
thimble.
Make sure the binding
remains the same size. Also
make sure the stitch is tight
so it wont rip.
Using needles could cause
pricks/cuts. Keep watching s
at all times to prevent this.
28/2/2013
Make flowers for decoration
and attach to sleeve of
leotard and waistband.
Sewing machine, fabric, fabric
paint, angelina, glue, plexifoil,
felting wool, sponge and
felting pin,
Making the flowers didn’t
take as long as I predicted.
Felting machine, lazer
cutters, professional glue.
Make sure you wear gloves
for fabric painting. Check that
paints, foils, felts etc are the
correct colors.
Felting needles can cause
small but painful stabbings.
Watch what you’re doing to
prevent this. Wear gloves to
prevent skin irritation.
5/3/2013
Cut sash, hem it and put
‘stay stitches’ in to hide the
hem.
Scissors, thread, needle and
sewing machine.
No changes made.
Scissors, thread, needle and
sewing machine.
Make sure stay stitches
aren’t too visible.
Using needles could cause
pricks/cuts. Keep watching
machines at all times to
prevent this
6/3/2013
Gather and sew sash onto
the leotard.
Sewing machine, needle and
thread.
After attaching the sash I
decided to remove it from the
leotard because it was too
restricting and wouldn’t allow
the dancer to be able to
move.
Sewing machine, needle and
thread.
Double check before sewing
to make sure sash is in the
right place on the leotard.
Using needles could cause
pricks/cuts. Keep watching
machines at all times to
prevent this
12/3/2013
Handsew waistband and
hook and eyes onto tutu.
Hook and eyes, needle and
thread.
No changes made.
Hook and eyes, needle and
thread.
Make sure the hook and
eyes are 2cm away from
each other. Check the
waistband is 6cm thick
before sewing,
Using needles could cause
pricks/cuts. Keep watching
machines at all times to
prevent this
This is the leotard I have
made for my costume,
using crushed velvet. I
made biased binding to
go round the neck, legs
and sleeves as shown in
the picture. I also overlocked the seams. As its
dancewear it needs a lot
of stretch and flexibility
which the over-locking
stitch allows.
After cutting the material
for the sash, I hemmed
the seams and then
folded it over and put
‘stay stitches’ in to hide
the hem (as shown in
picture). I then gathered
the two ends of the sash
to create a floaty/rippled
effect. Lastly I attached
the sash to the leotard.
After gathering 3 layers of tutu net at the
lengh of the circumference of the bottom of
the underskirt I attached the layers 4cm from
the bottom then 4cm apart from eachother,
creating a layered effect. After sewing on the
layers of tutu net, I attached a strip on boning
above the first layer of net. I did this so the
tutu would stick out more and hold its circular
shape .
After completing making
the tutu, I hand sewed a
wasitband onto it. I
made the waist band
longer so I could tye a
bow at the back to create
more detail. I have made
the waistband by
recycling the material of
an old dress.
This is a picture of the
finished tutu.
This is a picture of me cutting the pattern for
the over skirt, which I needed to cut 2 of
and join together to make a double circular
skirt.
Here I have started making the flowers for decoration. I have
started felting a flower and a flower made using reverse
appliqué. I asked my classmates which detail looked best on the
flower, the black and yellow button or the purple ribbon. I got
the most votes on the purple ribbon because it ties in well with
the rest of the purple detail on the costume.
This is a picture of me dying the pointe
shoes black. I had to wear an apron to
protect my clothing and gloves to
protect my hands and skin. I mixed the
dye with a small amount of water and
salt.
Luchia Marshall
8137
This is my final product. I tested the
costume by moving/dancing in it and getting
public opinions. After dancing in it I
discovered that the sash was too restricting
and I found it very difficult to move in it.
This sort of problem could result in the
dancer not being able to perform to her best
ability and as members of the general public
would be paying a lot of money to see the
show they would want to see the costumes
being worn properly and the dancers to be
performing properly.
I asked a costume designer what I should do
to resolve this problem and she suggested
that I either removed the sash or changed it
to a stretchy fabric. Because I am trying to
make the costume affordable to the
theatres, buying a new stretchy material
would add to the total cost of the costume
so I decided to unpick and remove the sash.
As seen in these photos, the flower made
from plexifoil and fabric paint does not
stay up properly. Despite sewing it up, it
still came undone. Also it gets in the way
when moving arms. This could not only
interfere with the costume and make it
break on stage, but could cause skin
irritation to the arms. Because of these
reasons I have decided to remove this
flower.
I have compared my final product to this ballet costume that is
currently on the market.
My final costume has some very
similar aspects to this costume
that is on the market now. This
costume is on trend because it
is a pale/pastel colour, and is
decorated in bold patterns using
a lazer cutter.
Here is the final leotard. It is
similar to the costume above
because it is tight around the
bust and waist and the flowers
are representing the bold
patterns on the tutu.
I asked people in my textiles
class for their opinion on the
leotard. The feedback I recieved
was that it had been made using
good quiality, suitable material
for what it is made for, the
seams are securely together and
it fits well. Also the flowers make
the leotard bold bold, bringing
life to the dark, spooky feel of
the costume.
This is the final tutu. It relates well to the
costume currently on the market because
the use of colour is very similar, using the
pale colours that are set to be on trend.
Also the shape of the tutu, with them both
sticking out to give the ‘pancake effect’. I
was originally going to sew a felted flower
onto the waistband of the skirt but asking
for advice from a costume designer, she
advised me not to as it could weigh down
the skirt.
Luchia Marshall
8137