Week 3 Review

This week has been an horrific week!!!! Paid a visit to the doctors on Monday morning and they confirmed Tonsilitus..GREAT!! (or not) Luckily I managed to cut all my Calico pieces for my toile last Friday so when I'm feeling well enough it shouldn't take me too long to put it all together. However I'm supposed to be starting my work placement at the Exeter Northcott Theatre tomorrow morning and it's looking very unlikely that I'll be there for 9am. Have contacted the wardrobe supervisor warning her of my current situation/condition and she has very nicely said to make my way when I'm feeling 100% again. She's advised I have a weeks rest and make my way up there for next Monday so the next few days are going to have to be played by ear but I'm keeping everything crossed that I can wake up in the morning and feel right as rain again.
I also missed out on the Alice In Wonderland Parade on Tuesday. I'm wearing one of the costumes for the end of year show so I was totally gutted that I couldn't participate in that this week. On the upside though, I have all my work with me (I'm now at home in Cornwall as my Mum thought it was best for me to come home - and of course Mum's know best) so I can use my sewing machine here and whizz up my toile so it's all ready for my first fitting when I return to uni after Easter. The only thing I've learnt from this week is that Tonsilitus is highly inconvenient and I'm not going to get this week back to catch up :( So any moment where I feel even the slightest bit better will be spent doing as much work as I can in order to get back on track.

SDP Timetable

Self Directed Project Schedule

• Weekend
• POP
• Easter


Day/Date Start Time Finish Time Learning and Teaching Staff
Tues 09/03/10 09:30 11:00 Re-focus and learning agreements meeting AK, GC
Weds 10/03/10 09:30 16:30 Men’s 18th Century Research
Thurs 11/03/10 13:30 14:30 Kick Start Tutorial/Write Learning Agreement GC
Fri 12/03/10 10:00 12:00 First General Meeting with Chris Brown
Sat 13/03/10 Continue with general historical research/Blog
Sun 14/03/10 Continue with general historical research/Blog

Mon 15/03/10 13:30 17:00 Write unit schedule/continue with research
Tues 16/03/10 09:30 16:30 Tutorial/Begin Drafting Basic Blocks GC
Weds 17/03/10 09:30 16:30 Basic Blocks/Historical Pattern Research
Thurs 18/03/10 09:30 16:30 Historical Pattern Adapting
Fri 19/03/10 09:30 16:30 Historical Pattern Adapting
Sat 20/03/10 Continue with patterns/research/blog
Sun 21/03/10 Continue with patterns/research/blog

Mon 22/03/10 09:30
13:30 13:30
15:30 Historical Pattern Adapting/Cut Calico
POP – Carnival, street performance & dance
WH
Tues 23/03/10 09:00
09:30
13:30 13:30
10:00
18:00
Cut Calico/Begin Toile Construction
Hand in Learning Agreement
Concepts In Context – Costume Parade
AK, GC
Weds 24/03/10 13:30 16:30 Toile Construction
Thurs 25/03/10 10:00 16:00 Toile Construction
Fri 26/03 – Sun 11/04/10 EASTER BREAK

Mon 12/04/10 09:30 16:30 Toile Construction
Tues 13/04/10 09:30 16:00 Toile Construction/Research/Tutorial GC
Weds 14/04/10 Day Off
Thurs 15/04/10 09:30 16:00 Toile/Research/Blog
Fri 16/04/10 10:00 16:00 Toile/Research/Blog
Sat 17/04/10 10:00 16:00 Meeting With Kelly/Finishing Toile
Sun 18/04/10 Day Off/Fitting Preparation

Mon 19/04/10 09:30
15:30 15:30
16:00 Toile Fitting/Collect fabric samples from archive
POP - Tutorial GC
WH
Tues 20/04/10 09:30 16:30 Tutorial/H.E.Box Trip – Fabric Sourcing GC
Weds 21/04/10 10:00 16:00 Pattern/Toile Alterations
Thurs 22/04/10 10:00 16:00 Pattern/Toile Alterations
Fri 23/04/10 10:00 16:00 Cut Top Fabric/Lining
Sat 24/04/10 11:00 15:00 Work on top fabric/Blog
Sun 25/04/10 11:00 15:00 Work on top fabric/Blog

Mon 26/04/10 09:30
11:30 16:30
12:30 Costume Construction
POP - Tutorial
WH
Tues 27/04/10 09:30 16:30 Costume Construction/Blog
Weds 28/04/10 09:30 16:30 Costume Construction/Blog
Thurs 29/04/10 09:30 16:30 Costume Construction/Blog
Fri 30/04/10 09:30 16:30 Costume Construction/Blog
Sat 01/05/10 10:00 16:00 Costume Construction/Blog
Sun 02/05/10 10:00 16:00 Costume Construction/Blog

Mon 03/05/10 09:30
11:30 16:30
12.30 Costume Construction/Blog
POP - Tutorial
WH
Tues 04/05/10 09:30 16:30 Costume Construction/Blog
Weds 05/05/10 09:30 16:30 Costume Construction/Blog
Thurs 06/05/10 09:30 16:30 FINAL FITTING/ Costume Work GC
Fri 07/05/10 09:30 15:00 Costume Alterations
Sat 08/05/ – Sun 09/05/10 Return Home For Weekend

Mon 10/05/10 09:30
09:30 16:30
10:00 Costume Work: Linings, Finishings & Fastenings
POP Hand In
WH
Tues 11/05/10 09:30 16:30 Costume Work: Linings, Finishings & Fastenings
Weds 12/05/10 09:30 16:30 Costume Work: Linings, Finishings & Fastenings
Thurs 13/05/10 09:30 16:30 Costume Work: Linings, Finishings & Fastenings
Fri 14/05/10 09:30 16:30 Costume Work: Linings, Finishings & Fastenings
Sat 15/05/10 09:00 17:00 General Finishing Work: Costume & Blog
Sun 16/05/10 09:00 17:00 General Finishing Work: Costume & Blog

Mon 17/05/10 09:30 10:30 HAND IN AK, GC

Week 2 Review

So this week has been yet another learning curve. Even though I've drafted similar patterns before, especially in the most recent unit, the patterns were much smaller and I had to consider that they were male patterns to fit a female. This time however I'm having to draft for a much larger individual and so I've often looked at the patterns this week and thought something isn't quite right. I've felt a lot more confident with historically adapting the patterns, practice is obviously helping me understand pattern drafting and I've become faster at producing them. Another thing this week which has taught me a lot is the fact I've had to draft my patterns alongside Kelly who is creating Eddie's costume. Her patterns are much much smaller but we've had to work together to make sure they are identical and in proportion with one another. This is something I have really enjoyed doing this week. I've had to look at identical patterns on both ends of the scale and work professionally with a course mate. We have learnt from eachother and as a result managed to draft the patterns successfully and be ahead of schedule. On Friday we were ready to trace patterns and cut out in Calico.

SDP Learning Agreement

NAME: Jenna Goldsmith
COURSE: BA (Hons) Costume with Performance Design
UNIT TITLE: Self Directed Project
REF. NO./LEVEL: CSS518
WEIGHTING: 2.0
DURATION: 9 Weeks
HOURS OF STUDY: 300 Hours
Unit Leader: Adele Keeley




DESCRIPTION:


For this study unit I will be working to produce a new 18th Century costume for the Wimborne Town Crier. I’ve been eager to produce something that is significant to a local town community and heritage and so I’m very proud and excited to have embarked on this.
Previous units such as Defining Practice and Concepts in Context have involved particular aspects of tailoring which have inspired me to further this skill and seriously consider it as my future specialism. This project will allow me to practice these skills to an even higher level and challenge me to achieve the best of my ability. The current costume is approximately six years old and still in good condition, however, the client is requesting a new one and so it is now up to me to research thoroughly into the 18th century and work with combined ideas from both the client and myself as the maker to inform my interpretation. The project will be funded by the Arts University College at Bournemouth using a flexible budget. The Town Crier is a very important and respected individual for Wimborne and also cries for the AUCB’s graduation ceremonies. This means I will have to carefully consider the image and what will be most appropriate from a practicality and aesthetics point of view – The costume must be just as important and appreciated as the Town Crier himself and reflect the correct personality.
I will carry out this project by following a clearly constructed time plan which means it will be organised around me, the client, and other projects I’ll be working on alongside - What I plan to do will be feasible in the time I have. For assessment purposes I will produce and deliver a 3-piece costume consisting of a pair of breeches, a waistcoat and a frock coat. The entire ensemble will be constructed based upon relevant research and the requirements of the client.





Aims:

A1 To provide opportunities for self-initiated, autonomous learning
and develop the ability to plan time and work independently

A2 To provide opportunity to study the contextual development of costume and performance design

A3 To further develop the creative, intellectual and practical applications of research and contextualisation within a self initiated environment

A4 To propose, develop and evaluate professional aspirations through professional development planning

Learning Outcomes:
On completion of this unit you will be able to:

LO1 Identify and define the context for the development of your own work towards professional aspirations

LO2 Demonstrate an understanding of the development of costume and performance design

LO3 Have developed the creative, intellectual and practical applications of research and contextualisation

LO4 Consolidate and demonstrate professional aspirations and planning through your Progress File




Assessment Requirements:

A 3-piece costume (frock coat, waistcoat and breeches), an internet blog, and a patterns/research file, under pinned by personal development planning (in your blog journal) and a final written evaluation (750 words) evidenced in your Progress File 100%

Each assessment requirement must be passed at a minimum grade of 40% to successfully complete the unit.





Assessment Criteria (specific criteria related to the learning outcomes and linked to the statement of generic assessment criteria matrix):

1. Evidence of knowledge of contextual and theoretical issues – The level to which you have considered the context of your project and evidenced that to your body of work (LO1, LO2)

2. Evidence of understanding through synthesis and development – The application and extend to which research has informed decision-making and project development together with the appropriate management of time (LO2, LO3, LO4)

3. Evidence of evaluation and reflection – The extent to which you have reflected on the progress of your project and used it to inform personal development planning (LO4)

4. Evidence of realisation through the communication of ideas - The presentation of your work and the level to which specialist knowledge has been applied, communicated and evidenced (LO3, LO4)

Reference Material

This will vary according to the needs of the individual project. You will define Reference Material through personal investigation and consultation with staff and list it in your Learning Agreement.

Further Useful Findings

Frock Coat: Coats are generally made of a good close and regular weave wool. They can be with or without a collar and cuffs and either single or double breasted. Coats are not for "dress" - all classes wore coats, from the upper class to slaves. The difference would be the quality of construction and material. Generally made of wool or linen. Coats of the 1750's tended to be full with large cuff, while those of the 1770's were more fitted with smaller features.

Jacket / Sleeved Waistcoat: A short coat of wool or linen with sleeves ending in either a buttoned cuff or a slit. Mostly a working class piece of clothing.




Breeches: Breeches can be made of wool, linen or leather. Breaches of the 1770's had a "fall front" or a flap in the front, which buttons near the waistline, covered by the waistcoat. An earlier style was the "fly front", which buttoned up in the middle of the front and would have been hidden by the longer waistcoats of the 1750 - 60's. The legs end about one or two inches below the knee and close with five horn, wooden, or white metal buttons or four buttons and either a buckle or drawstring. Breeches should be well fitted, rather than tight in the legs and waist with an excess in the seat. Leather breeches were very popular in New Jersey; made of buckskin by the working classes for durability.When picking a style, either fall or fly front, make sure that your breeches, waistcoat, and coat are of the same period.




Waistcoats: Mid-century waistcoats were cut mid-thigh, but by the 1770's they would get shorter, long enough to cover the waistband buttons and shirt completely. They were made of materials such as silk or a lightweight linen or wool which would be either solid, striped or patterned. Regardless of style, a waistcoat should be long enough to cover the front buttons of one's breeches.

Helpful Research References

The pattern above is a Norah Waugh pattern 1720's. I think this is the cut I will use for the frock coat - after running it by Chris.

Week 1 Review

This week has been a good initial start to the project. I've managed to collect a lot of relevant research to get me started confidentally. I've revisited the early 18th century and now understand exactly what sort of thing I will be creating for my client. I've had my first meeting with Chris Brown which was highly successful and devised my schedule for the next 8 weeks or so. Knowing what my client wants/needs/requires from this project, I'm feeling fairly confident about being organised and sticking to a strict schedule.If there's one thing I've learned from previous projects, it's that I'm not a very good example of successful time management. This week has already opened my eyes to the fact this project is not only important to myself and the client but also to the university and the community. I've really got to throw all of my passion and time into this project now. I know I'm a perfectionist when it comes to producing work but I think the next 8 weeks are going to perfect my precision and tailoring skills to a new level..fingers crossed..let's go!

18th Century Military Wear

Chris has informed Kelly and myself that he likes to have a military element to his costumes. Looking at 18th century military images it appears that the detail was quite simple but certain patterns made quite a bold statement. We shall refer to the research we have so far as well as collecting more throughout the project so that the idea is always fresh in our mind. We will consider military designs when looking for our costume decoration and fastenings.

The images below are those of early 18th century military wear, replicas, and modern day military fashion with historical influences that we have come across so far.

Historical Research

I took some general 18th century research to the meeting with Chris yesterday and he really liked the styles from the earlier part of the century, 1720's. The current costume is more mid-century and he'd like a little bit of a change this time.

The earlier part of the century meant the waistcoat was full length, sitting a little higher than the length of the frock coat. The frock coat was made with pleats falling at the side and at the back giving a fuller and more structured silhouette that was very pleasing to the eye and flattering. The pleats lay open to accommodate for a sword and give comfort for riding.
The sleeve cuffs were also very large sitting in the crook of the elbow and hanging away from the sleeve. This is a feature Chris really likes especially as he often needs to use crutches so it will disguise that nicely and we agreed the cuffs would make a bold statement.

The picture above shows a young boy dressed in what is virtually a replica of the adult male ensemble. This is where Kelly and I will have to work together very closely in order to create two costumes that reflect one another to the requirements of our client but also succeed in being historically accurate.

Men's coats were still rather sombre in hue, embroidery being reserved for the decoration of the waistcoat, which was often the most valuable part of the costume, unless the lace ruffles of the shirt were exceptionally fine.

This may be an historical element to the costume, but the issue we have is that we would have to find a patterned fabric that would suit both Chris and Eddie. If the pattern is too big, Eddie will be drowned in the costume and it just won't work. This may mean we will have to consider having a plainer fabric for the waistcoat and apply more detail to the frock coat.

Below is an image of a childs suit, very simply the smaller version of an adults.

The frock coat for this period never fully fastened. This was to show the detail of the waistcoat underneath. The coat may have fastened from the top to a little under half way down and then flared out to reveal the waistcoat.

First Meeting With Chris Brown

Today is currently going very well and very much to plan and I'm generally feeling very positive about the project I am about to embark on.
I have just had my first initial meeting with Chris this morning to find out exactly what it is he wants for his new 18th century costume and what standards he requires from me as the maker.
I asked Chris if I could examine his previous costumes and also his current one in order to get a general idea of his design preferences.

Chris's current costume is mid 18th century but there are a couple of features from that period that are of a slight inconvenience to him such as the full front on the breeches and the short length back to the waistcoat.

Prior to the meeting I collected a small amount of 18th century research to take a long with me in order to discuss with Chris exactly what would be best preferred by him. We looked at specific features and design changes throughout the century and it became pretty clear to the both of us that the earlier part of the century was more appropriate for Chris's desired costume.

We structured a list of specific features wanted by Chris in order for me to begin drafting the patterns straight away (see below).

• Current breeches weren't suitable for all weather conditions - they must be hard wearing and comfortable - suggested fabric - Moleskin.
• Working pockets for both the breeches and the coat.
• More room in breeches for comfort purposes
• Button fastening at CF of breeches - more practical and more suited to the period
• 3-4 pleats at side of coat
• Pleats at back of coat to be similar/same as current costume
• Waistcoat to have a full length back
• Waistcoat to have button fastening at CF - current hook and eye fastening are impractical.
• Colours of fabric should represent the Dorset colours - Red, white & gold
• Decoration/Embellishment to be authentic and classic, highlighting the Dorset colours.

Chris's previous and current costume reflect features of 18th Century military wear. This is a feature he really likes and feels it is very appropriate for his image as Town Crier. Therefore I shall research more into this and he has also suggested I visit the Dorchester Military Museum - this is something I will find very useful and will propose a trip over the next week or so.

On reflection to today's meeting I've learnt how important it is to understand the needs and requirements of a client. I'm very excited to be directing this project but I also appreciate how important Chris and his image of Town Crier are to the Wimborne community. I feel very privileged to have been asked to do this for him and so I feel it is highly necessary for me to pace myself wisely, discuss the costume with Chris on a regular basis and research thoroughly throughout the project.

Chris Brown - Town Crier

Chris Brown is the town crier for Wimborne and has been for many years now. Chris was judged champion in the Ancient and Honourable Guild of Town Criers competition in Trowbridge 2007. The competition is second only to the national championship held every year in which he has come fifth in the past. Chris was delighted to win the major competition and in doing so spread the word that Wimborne is a delightful town to live in and visit. Along with this award he received his first win for best dressed town crier. The costume was made by our course technician Katerina who made the costume approximately 5 years ago and so I will discuss with Katerina about how she went about creating a winning costume in hope that the costume I produce could also receive a winning place for Chris in the near future.

Chris is pictured with his award and winning costume centre right in the photo below.

Chris's current costume reflects the Dorset colours, red, white and gold which is a design feature he likes to maintain for all of his costumes. Katerina managed to achieve this really successfully on his current costume and I'd really like to achieve the same authentic image.

I will arrange to meet with Chris now to discuss the sort of look he would like for his next costume and also see if he has had any problems with costumes in the past so I know what to avoid.

Below are a few general research images of stereotypical town criers. The majority of styles are influenced by 17th and 18th century silhouettes. Most town criers like to reflect the colours of the town they are crying for which sometimes means a clash in fabrics which can often give a "cheesy" image. But then a stereotypical town crier is thought of as "cheesily" dressed which is why I'm not afraid to explore new fabrics that may be brightly coloured with a contrast of authentic decoration to create the historical look.

First Thoughts

So a few weeks ago I was asked if I could make a new 18th century costume for Chris Brown who is the town crier for Wimborne. I felt very privileged to have been asked to do this and so of course I said I would be more than happy to do it. I'm feeling very enthusiastic about it and am now ready to start the project.

Chris visited the studio last November . This was when he announced that he would like a costume student to realise his new costume. He came to the studio wearing his current costume that was made by our technician Katerina a few years ago. The costume is mid 18th century that Chris has worn to every gig/event since it was made. It is still in very good condition and has maintained its historical image after being worn in all weather conditions. Chris said that he would like to keep his current costume as a spare but would like a new one just for a change but made to a similar style. However he also asked if it would be possible to create a replica costume for his 11 year old son Edrin. I was perfectly happy to take on the challenge of creating both costumes however I have now realised that the costume really does need to have a lot of time spent on it, must meet Chris's requirements, and be made to a high standard in order for it to stand out, make a statement and be durable. Town Crier costumes are judged every year and so I would be really proud if Chris could win wearing a costume I'd created. And so this led me to decide that I'd like to focus entirely on Chris's costume and ask a coursemate to work with me and produce a replica costume for Edrin.

Kelly will now be working alongside me and making the costume for Edrin (Eddie). We will work together for the entire project; researching, drafting our patterns, meeting and discussing with Chris, assisting each other for fittings and purchasing fabrics etc.

I have spoken with Chris, and both Kelly and myself will be meeting with him on the 12th to discuss design ideas/features, take measurements for both him and Eddie, and show him some general research to get a feel for the sort of look he wants over all.

I'll be working with Kelly during this week to produce a well organised schedule and to collect a significant amount of research, ready to take to our meeting with Chris at the end of the week.