Fashion Museum, Bath - The Archive Part 3

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This dress was from 1885-1889 would also have been worn as a day dress and it was made from silk.  Looking at the dress laying flat on the table the back of the skirt is much longer than the front of the skirt.  This is because a bustle would have been worn under the skirt and so the extra length is to accommodate for this.  

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BATMC 1.09.1191

The buttons that run all the way down the front of the dress have been covered this thin brown thread and they are then decorated with a simple white flower pattern.  

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The sleeves on this dress have a lot of puffed and gathered fabric around the armhole to create the iconic large puffed sleeves of the decade.  The sleeves are also cut with a bend in them to accommodate for the natural bend in the arm.  

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The front of this dress is very boxy with the high collar and the straight lines of the lace.  To give the impression of a jacket an over section is sewn into the collar to make the dress look like it includes a jacket.  

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BATMC 1.09.1191

Fashion Museum, Bath - The Archive Part 2

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After looking at the corsets from the Victorian and Edwardian era we then looked in more detail at the dresses that would have been worn over the top of the corsets.  This dress pictured above and below is from about 1858-1859 and would have been worn as a day dress.  When I first saw this dress my initial thought was that the pattern quite unusual and not a design that I have seen before on a dress; I feel that this is because the colours and design on this dress are not popular today and would be considered busy on a television screen and so it wouldn't be used very often on replicated costumes.  

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One thing that I find so surprising about this dress is that the fabric that it is made out of is so thin and the threads are quite far apart.  This makes the dress look very delicate and cool suggesting that it would have been a summer dress.  I believe that the reason it is made from such a thin material is to keep the wearer cool even when wearing all the petticoats and corset layers.  Hidden under the first layer of the tiered skirt was a pocket that had been stitched into the side seam of the skirt.  

BATMC 1.09.1058

BATMC 1.09.1058

Down the front of this dress were sewn on some very nice, neat looking buttons that were added just for decoration.  Underneath the front panel by the buttons are several hook and eyes that would hold the dress closed and keep the finish of the dress looking smart.  

Fashion Museum, Bath - The Archive

The main reason for visiting Bath was to have a closer look at their archive to see how actual articles of clothing have been made in the past.  

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This corset, from 1904-1908, is incredibly thick and strong which is very surprising considering its age.  With it being in such good condition I would have though that it wasn't as old as it actually is and compared with some of the younger examples that we were shown this corset is really well kept.  I found that with this corset the padding an the quilting stitches on the gusset areas gave it a much sturdier appearance and made it all the more heavier.  

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I found that this corset was quite unusual and I was surprised to see that the panels were made up of separate strips of fabric rather than one piece.  I believe that this was done to create a softer corset and thus a softer appearance when worn.  

This corset was also really small and only appeared to start below the bust.

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This example of a corset from the 1890's is made from a light brown cotton material and it is decorated with pink embroidery and lace.  When looking at this corset, as well as many of the other corsets from the archive, I was quite surprised to see how decorative and embellished they actually are.  I would have thought that the corsets would have been made quite plain and simple.

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This corset is from the 1880's or 1890's and what I found so surprising is the condition that it is still in.  The red colour of this corset is still so bright and catching considering that it is about 130 years old.  The detail of the stitching and the cording to create the correct fit is so neat and even for a corset that would probably have been made by hand or on an early sewing machine.  

Stardust

www.watchkidsmoviesonline.blogspot.com

Based on the 1998 book 'Stardust' by Neil Gaiman.  The costumes for the film were designed by Sammy Sheldon and the film is set in Victorian England and the magical land of Stormhold.  

http://img0.mxstatic.com/wallpapers/f2e4706574076c02a3e9734c3de339b7_large.jpeg

The costumes from the image above are the first costumes that these characters wear.  The dress that Yvaine (Claire Danes) is wearing is quite plain and a shimmering silver Valentino silk fabric.  This dress works well for her character as the fabric catches the light and reflects it back off giving the impression that she is a star.  The smooth, shimmering fabric of Yvaine's costume drastically contrasts the costume of Tristan (Charlie Cox) as his is an earthy brown colour that blends in with their surroundings where hers stands out.  The cut and fabric of his costume is also much more realistic and accurate for the Victorian setting whilst Yvaine's costume appears more otherworldly; representing the fact that she is a Star and not actually Human.  

http://img0.mxstatic.com/wallpapers/f1703811666dc73f014f3d330bb651cb_large.jpeg

This costume above is that of Lamia (Michelle Pfeiffer) the main villain and witch of the film.  According to one interview with Sheldon her costume is based more on a renaissance style and her costume is inspired by the Greek origins of her name: she is half human, half snake, intent on devouring children.  This link between her name and costume is seen in the colour green, which is often associated with snakes and the small pattern that gives the impression of scales.   

http://img0.mxstatic.com/wallpapers/544cc3b1f8d512d61596a5760d034d5b_large.jpeg

http://img1.mxstatic.com/wallpapers/5c4d5e355649b992a5567237f6355263_large.jpeg

When it came to dressing the seven princes of Stormhold Sheldon and director Matthew Vaughn didn't want to stick with the traditional images of princes; rather they wanted to give them a more cowboy, swashbuckling appearance.  To identify each of the individual princes each of there costumes has their respective number somewhere on their costume.  Prince Septimus (Mark Strong) on the left here includes his number VII embroidered in rows on his waistcoat whilst also including his number on each of his buttons.  

His brother here to the right, Prince Tertius (Mark Heap) as the third brother has his symbol III as a more simple decoration around the edges of his coat.  The colours on his costume show that  he is more of a showy prince and prefers being in the castle, unlike Prince Septimus who is more adventurous and unkind.  

http://img1.mxstatic.com/wallpapers/5adc72a1f7bfbf1cc503aaaeaf1f1c7d_large.jpeg

These costumes above are the costumes that Yvaine and Tristan spend the majority of the film wearing.  In an article with the costume designer she says that they "used blue because we felt that if Yvaine was faced with a row of dresses, she would be drawn to something the color of the sky".  This costume that Tristan wears is much better fitted and more fantasy based costume than the brown costume of before.  This choice was made to show that he is changing from a simple, clumsy village boy into an adventuring, dashing hero.  

Source - http://www.cinemareview.com/production.asp?prodid=4244

Private Lives - Digital Theatre

http://www.seatchoice.com/private-lives-digital-theatre/

After watching a live production of Private Lives in Bath I then went on to purchase a live production from Digital Theatre.  This version features Anna Chancellor and Toby Stephens as the divorcees Amanda and Elyot with Anna-Louise Plowman and Antony Calfe as Sybil and Victor. 

https://dealj.wordpress.com/2013/06/26/private-lives-gielgud-theatre-26-june-2013/

 This image above is very similar to an image of the production in Bath and so it is easy to see the comparisons between the productions.  One major similarity between the two versions is that Sybil is wearing a skirt/dress in both where as Amanda, who is a much stronger, more modern character, can be seen wearing trousers to highlight their differences.  One thing that I noticed that is different, and I'm unsure whether this was intentional, is that in the Bath production the trousers and skirt of married couple Sybil and Elyot appear to be made of the same material where as in this production above Elyot's colour scheme more closely resembles that of Amanda; which I feel works to show that these two characters are more suited to each other.  

http://www.digitaltheatre.com/production/details/noel-coward-private-lives/play

Similarly in this image both the characters are wearing dark colours showing the connection between them that occurs during this scene in the play.  On the other hand in the image below, of a scene that is between the two images above, Amanda and Elyot are in contrasting black and white colours as I feel that it represents the separation and differences that the characters are feeling in this scene.  

https://www.tumblr.com/search/sollocks

Private Lives - Theatre Royal, Bath

http://www.atgtickets.com/shows/private-lives/theatre-royal-glasgow/

www.theatreroayl.org.uk

Written in 1930 by witty, flamboyant playwright Noël Coward, Private Lives follows the story of Elyot, Tom Chambers, and Amanda, Laura Rogers, divorcees on their honeymoons with their new parters in France.  Their love for each soon resurfaces as they embark on a scandalous affair with each other, despite their new partners. 

This promotional image to the left shows the main couple, Elyot and Amanda, wearing formal wear in the style of the period.  Although Amanda is not seen wearing this actual dress in the play Elyot does wear an evening, formal suit much like this one.  

http://www.atgtickets.com/shows/private-lives/theatre-royal-glasgow/

The image above, from the final scene in the play, features all four characters sitting in their new couplings.  Although it is difficult to see in this image, Amanda is wearing a pair of trousers which, despite it becoming more common during the 1920s and 1930s, was still considered uncommon and unladylike.  This adds to her unconventional characteristics and highlights the fact that she does not care what society thinks of her where as Sybil, played by Charlotte  Ritchie on the far right, who is much younger and more conscious of what people will think is seen wearing a longer skirt.

http://stagetalkmagazine.com/?p=11217

This image wonderfully sums up the feel and atmosphere of most of the play, with the gay, carefree feeling that the leading couple act heightening the witty comments of the dialogue.  I feel that this blue pyjama suit worn by Amanda stands out in the subtler, brown shades of the apartment and naturally draws the audiences eye towards her.  The dressing gown worn here by Elyot is synonymous with the decade and also with Noël Coward.

The Bath Architecture

In around 60 AD the Romans built the well-known Baths and temple in the middle of the valley and over time people began to  move here until it reached it popularity height in the Georgian era.  

Built between 1754 and 1768 The Circus, meaning ring or circle in Latin, is a great example of the Georgian architecture of Bath.  The Circle was built in three equal sections that looked out onto one of the roads in meaning that from any direction the dramatic visual effect can be seen.  The circus was designed by John Wood the Elder in a Palladian style and it is often considered to be one of his masterpieces.  

The Royal Crescent was designed by John Wood the Elder's son, John Wood the Younger and built between 1767 and 1774.  The Crescent consisted originally of 30 town houses and has been the home to many famous people.  In front of the houses is a large green that included a ha-ha, a large dip in the ground designed to be invisible from the town houses.  

The Bodyguard - 1992

https://en.wikipedia.org/wiki/The_Bodyguard_(1992_film)

After watching the musical at the Sunderland Empire me and a friend decided to watch the original film.  Made in 1992 the film starred Kevin Costner and Whitney Houston.

http://www.movpins.com/dHQwMTAzODU1/the-bodyguard-(1992)/still-3924662784

This image taken from the film shows a contrast between the two sister characters in the film.  The pop star sister played by Whitney Houston is more outgoing and extravagant with a large decoration all down the front.  The cut of the dress allows more skin to be seen than her sisters outfit and suggests she is more alluring and tempting in the public eye.  This is a big contrast to her sister who is often in the background and more conservative than her sister.  She works for her sister and therefore her appearance is much more professional and work appropriate.  

https://www.liveauctioneers.com/item/12137255_bodyguard-screen-used-queen-of-the-night-costume

This costume, the iconic costume as seen on the films poster, was created by Chris Gilman and it was inspired by the Maschinenmensch or machine-human in the 1927 Fritz Lang film Metropolis.  This costume was designed in the Art Deco style and has the appearance of a suit of armour which is fitting of the scene in which it is worn.  It is in this scene that the Bodyguard is seen rescuing Rachel Marron from a large crown of fans.  

https://www.tumblr.com/search/au:%20the%20bodyguard

This costume from the film also has Art Deco influences within its design.  The style of this dress reflects the earlier necklines and styles of her earlier costumes and shows a uniformity throughout the film.  Many of the costumes that she is seen wearing were in dark colours similar to that of the bodyguard to show the connection between the two characters.  

The Bodyguard

http://www.atgtickets.com/shows/the-bodyguard/sunderland-empire/

On the 9th of March 2016 a group of the first year costume students and I decided to go and see The Bodyguard at the Sunderland Empire.  As none of us had either seen the film, the musical or indeed knew the story, we all went in unprepared but open minded.  A simple premise of the musical is that a former bodyguard is hired by a famous pop star's agent to protect her against threatening fans with all the songs becoming iconic with the original films actress; Whitney Houston.

http://www.thebodyguardmusical.com/gallery/photos/

http://www.thebodyguardmusical.com/gallery/photos/

The musical starts with an incredibly spectacular song performance in the costume seen above.  The thing that I find most inspiring in the design of this costume in the fact the fanned back section is in fact part of the set and not the costume; however the positioning of both set and character create the illusion of a much grander and stunning costume that draws the audiences eye to her only then does she move and show that its a section of the set.

http://www.thebodyguardmusical.com/gallery/photos/

Throughout the whole play I found that this costume above is my favourite. I think that this is because of the elegant silhouette and clean lines that create a simple costume and yet it stands out against the dark backgrounds of the sets.  The asymmetrical neckline and gentle gathering on the bust and sleeve is echoed at the waist with the gathering leading into a simple 'flower', of the same fabric, placed on the hip.  I feel that this costume stood out form me because it stands out against all the other costumes that this character wears as they are more glitzy, revealing and party-like compared to this toned down, formal Oscar gown.  This image below of the same gown has been altered for use in posters and advertisements and so the gowns colour has been changed to a much stronger yellow that stands out against the black background.  I believe that this was done in order to link the colour more closely with the other costumes she wears in the musical as well as representing an Oscar; the whole musical is leading up to the Oscars awards evening.

http://www.thebodyguardmusical.com/gallery/photos/

source - http://www.thebodyguardmusical.com/home.php