Rachel Lacey – Costume 2 by inspiredaub

Day of Dance Icons

Costume Supervisor’s Bible

Choreographers: Nicole Rumbold, Bethany

Baldock, Frankie McCormack, Amelia Bond

Costume Designer: Phoebe Morrits

Costume Supervisor: Rachel Lacey

BA (Hons) Costume COS603 Major Project Rachel Lacey

Dancers Pictures

Nicole Rumbold

Bethany Baldock

Frankie McCormack

Amelia Bond

Bryony

Duffield

Ayesha

Sheik Mada

Jemma Fitzpatrick

Kitty De Boer

Schedules

1 s t F i t t i n g

2 n d F i t t i n g

Tech Week Schedule

Monday 11th of March

Tuesday 12th of March

Production Schedule

e d n e s d a y 1 3 t h o f M a r c h

Tech Week Notes

Mood Boards

Phoebe Morrits Mood Board

1780s Mood board

1800-30s Mood Board

1850-60s

Mood Board

1900s Mood Board

Costume Design

As the Day of Dance icons group underwent several changes in theme, there were no costume designs available. As a result, the designer Phoebe Morrits and I had to collaborate and utilise existing garments from the AUB costume store. We styled them on mannequins that matched the dancers' sizes.

I used the measurements of the dancers to get an idea of what could be used. I found corsets that were mainly inspired by the 18th and 19th centuries, which helped me to decide which periods to focus my research on. I made sure to choose at least one corset per dancer and assigned them by pinning their names on them, however, it was challenging to find options for each of them due to the significant variation in sizes.

Frankie 19th century inspired corset

Kitty 18th century inspired corset

Ayesha 18th century inspired corset

Jemma 19th century inspired corset

Amelia 19th century inspired corset

Amelia 20th century inspired corset

Costume Design

Nicole 18th century inspired corset

Nicole 19th century inspired corset

Bethany 19th century inspired corset

Bethany 18th century inspired corset

Bryony 19th century inspired corset

Bryony 20th century inspired corset

Spare 19th century inspired corset

Costume Design

After selecting the corsets for each dancer, I had a clearer idea of the historical periods to use as a basis for the rest of the costume. I conducted research on the 18th and 19th centuries and used that knowledge to create the remaining parts of the costume. My initial plan was to keep each costume true to the period of the corset, but due to budget constraints, I used only garments from the costume store. As a result, the costumes had to be a combination of 18th and 19th century styles.

Initially, I visited the AUB costume store on Elliot Road to explore various options for undergarments that could be used to create a period feel, merging modern and historical aspects into the costume.

I focused on looking at a variation of historical undergarments as Phoebe wanted the dancers to be in corsets. I looked at bustles shown in figure 1, pocket hoops shown in figure 2 and a pannier shown in figure 3 as the corsets I had picked out for the dancers were from the 17th, 18th and 19th centuries.

While browsing the costume store, I came across boxes of colourful tutu petticoats and crinoline frills. I was intrigued by the crinoline frills as they created a similar look to a bustle but in a modern twist. Then I noticed that the netted petticoats complemented the netted crinoline frills.

Although the lobster bustles, panniers and pocket loops were historically accurate, I felt the crin frills and tutu petticoats still showed historical aspects and looked aesthetic as well as being more practical for a dance piece.

Fig. 2. Image of pocket loops

Fig. 3. Image of a pannier

Fig. 5. Image of crin frills

Fig. 1. Image of a lobster bustle

Fig. 4. Image of tutu petticoat

Styling on the Stand

Phoebe then created mood boards of her ideas using the costumes I pulled for the dancers. I used Phoebe’s mood boards as an inspiration to then style costumes on the stand, using the items I pulled from the costume store.

I had to play around with different styles of shirts as plain white shirts looked too similar to a school shirt, so I played around with different types of shirts of different colours, textures and materials so they were more interesting to look at.

After styling the first year's costumes on the stand, I shifted my focus towards the costumes for the second years. I started working on a bluethemed costume that looked innocent and then Phoebe joined me with the remaining costumes for the second years. We followed the color schemes that she had initially suggested on the mood boards.

I began the process by pulling some white women’s shirts from the costume store, and styling them on mannequins with the first years dancer’s corsets. To choose the colour scheme of the dancers I used Phoebe’s ideas of celebrities, and chose coloured skirts which suited the colours of the pop stars on her mood board. I liked how shirts under corsets allow the corsets to be worn as an outfit rather than just an undergarment.

I found the styling on the stand very helpful in visualising the costumes for our project, as there were no specific designs to work with. The designer and I split the workload by focusing on our strengths. I used my research to design the historical aspect of the costumes, such as the corsets, stays, petticoats, and crin frills. Phoebe, on the other hand, focused on contemporary costume design, such as accessories and modern clothing pieces.

Fig. 6. Image of the my initial styling on the stand

Fig. 7. Image of the my initial styling on the stand

Fig. 8. Image of the my initial styling on the stand

Fig. 10. Image of the my initial styling on the stand

Research

Historical Undergarment Research

Stays 18th Century

In the 18th century, stays were an essential part of women's wear, playing a crucial role in transforming a woman's figure to follow the ever-changing silhouette. Traditionally stays were made by men and considered a male profession “…because the Work is too hard for Women, it requires more strength than they are capable of, to raise Walls of Defence about a Lady’s Shape.” (Robert Campbell, The London Tradesman 1747).

Stays were made using various twilled materials or sturdy canvas which were stiffened using a paste. The shaped areas were sewn together and boning was inserted using whalebone, cane or cord to provide structure within the bodice. If there was no front lacing on the stay, certain styles specifically regency would have a wooden busk which would be inserted at the centre front.

The lacing for stays varied depending on the style of the stay. In the 18th century, there were different types of lacing such as front, back and side. Back lacing was the most common method used for stays, as shown in Figure 12. Front and back lacing together would be used to provide extra control of form, as shown in Figure 11. Side lacing would be used for pregnant women as it allowed more movement and could be adjusted to size.

18th Century Jumps

Stays which only laced a the front were called ‘jumps’. These were a practical type of stay due to them having less boning, and having front lacing. These were very popular between women of lower class, as they could be put on without hte assistance of a maid. They would also be easier to make due to the lack of boning, which was very expenive to buy.

V&A 1770s Half-Boned Stay

Figure 12 shows an image of a half-boned stay from the 1770s, which is on display at the V&A museum. This stay is not just functional but is also a decorative piece made of materials like buckram and silk damask, and lined with linen. The stay has different types of boning, such as horizontal boning placed under the neckline at the breastline and on the seamlines of the eight sections. It also has a high back to ensure good posture for the wearer. This was not a common feature and resulted in a less intense shaping effect on the wearer's body. Usual late 18th century full-boned stays would have continuous boning, which resulted in controlling the contour of the body better.

Fig 11 Image recreation of an 18th century side lacing maternity stay

Fig. 13. Image of an early 18th century quilted jump

Fig. 12. Image of an 18th century half-boned stay at the V&A

Historical Undergarment Research

Stays were primarily worn by women, although there were some exceptions such as dandies and army officers in the 19th century.

Chertsey Museum

Pair of Half Boned Stays 1785-88

At Chertsey Museum, I saw a brown twill weave cotton stay which is lined with neutral cotton and boned with whalebone, which was the most common type of boning of that period. Unlike typical stays from that time period, this specific one has spacing between the bones giving it the name half-boned stay.

Whalebone, also known as baleen, is a filter system found in the mouths of baleen whales. In order for it be used for stays/corset boning it would be boiled making it malleable, and would then be cut into shaping of boning. Over time the boning would eventually mould to the shape of the wearer due to the heat from being worn underneath the layers of clothing, which would then be comfier to wear. Higher-class women could afford to get thier ‘broken in’ whalebone stays altered to avoid buying another pair.

Figure 17 is an image of a Stay from the 1790s, which I saw at the Crown to Couture Exhibition held at Kensington Palace. This is a fully boned garment with a low neckline, which was in line with the fashion trends of that period. The lining is decorated, and the top fabric is pale green with bound edges. The sleeves are adorned with bows, which add a decorative element to the lacing. The bodice has tabs at the hem, which mold around the waistline to create a slimming effect and emphasise the hips of the wearer. The stay has lacing at the centre back.

During the late 18th century, women desired a ‘cone shape’ figure. They wore stays to create a flatter bust by pushing it up due to the low, open neckline. This would create a smooth line towards the torso, emphasising a slimmer figure and waist. However, later in the 18th century, stays became controversial due to medical professionals discussing them as dangerous body modifications.

Fig. 15. Pair of Half Boned Stays 178588 in Chertsey Museum

Fig. 16. Pair of Half Boned Stays 1785-88 in Chertsey Museum

Fig 17 Image of 18th Century Stay

1790s Stay seen at the Crown to Couture Exhibition at Kensington Palace

Historical Undergarment Research

Early 19th Century Corset

During the early 19th century, women started to prefer a more natural-looking figure and heavily boned stays went out of fashion. Slim tubelike silhouettes became popular, but not all women could achieve this due to different body types. To create a more streamlined figure, corsets were designed to sit lower and cover the stomach. However, the corsets had gores, which are triangular sections of material sewn into the fabric, to emphasise the breasts as well as the hips, allowing a comforted aspect to the corset. In the 1820s the waistline changed by shifting lower, more towards the natural waistline. Light boning was popular, with a wooden busk in the centre front.

1820s

V&A Corset

The corset shown in figure 18 is from the 1820s and is currently in the possession of the V&A museum. It is a six-panel corset crafted from two layers of cotton sateen, with a linen lining. The corset features quilting, which was added occasionally for both practical reinforcement and aesthetic appeal.

from the V&A

Y&N

Corset Advert

1864 V&A Corset

Jean-Julien Josselin, a French corsetier, began creating corsets in the 1830s that had a split busk. This innovation made it easier for women to put on and take off corsets without requiring assistance.

Figure 19 depicts an image of an 1864 corset from the V&A, which is made of blue silk, lined with cotton twill, and adorned with lace. The corset's back has metal eyelets and is laced with black lacing. The front of the corset has a metal split busk that fastens with metal hooks. This particular corset has more boning at the front than at the sides and back. Below the waist, the corset has curved boning that accentuates the hip's shape, as emphasised skirts came back into fashion.

Y&N was a brand that sold corsets in department stores during the 19th century. Figure 21 shows an advert for one of the corsets they sold. They used women wearing glasses to advertise their corsets, which was a bold move at that time. This was because it was not common to see women wearing glasses in advertisements. It was rumoured that Y&N used such adverts because corsets were becoming controversial due to medical studies. By featuring women wearing glasses, who were considered intelligent, the company tried to convey the message that intelligent women wear their corsets, and thus avoid any controversial allegations.

Figure 20 is an image of a late 19th century corset that I saw at Chertsey Museum. The corset in the image is a steel spoon busk corset which was quite popular during that time. It was made with a combination of whalebone and steel boning, and the boning channels are visible and made in contrast fabric compared to the rest of the corset. The corset features slanted seams throughout, which allows the wearer's body to be cinched in more to create an ideal hourglass figure. Unlike corsets/stays from previous periods, this corset also covers the stomach. This change was made to the silhouette to allow for more cinching around the stomach area and make the wearer appear slimmer.

Fig 21 Image of an Y&N Corset Advert

Chertsey Museum Brown Sateen Corset 1885-95, made by Y&N

Fig 20 19th Century Corset from Chertsey Museum

Historical Undergarment Research

Figure 22 is an image of some 1750s dolls undergarments I saw at the V&A. This image includes a dolls cap, shirt, chemise and petticoat all made from linen. Although these are dolls clothes, they show the fashion trends from the 1750s.

The Chemise in this image is decorative, with lace around the neck and cuffs. Upperclass women would wear decorative chemises. However, not all chemises needed to be elaborate as they were undergarments that were never intended to be seen. However, this is a chemise for a doll so it’s not completely accurate in showing womenswear trends.

Fig. 22. 18th Century Dolls Undergarment s from the V&A

from the 1750s. The petticoat features a drawstring waist, and its main skirt fabric is quilted. During the 18th century, some petticoats were quilted to provide warmth to the wearer.

Figure 23 shows an image of a cage crinoline from the V&A. The cage crinoline came into fashion in the mid 19th century, as skirts began to get more volume. Originally women would wear layers of petticoats to create volume under their skirts, as crinolines weren’t hugely approved, however they eventually came into fashion as they were more practical than wearing layers of petticoats.

Figure 24 displays an image of a decorative petticoat illustration. This is a full-length petticoat made of blue silk satin which is shown in figure 25 from the 1885-1900s. The petticoat is lined with cotton. The pleating on the petticoat is mainly towards the back, which would create an S-shape following the Victorian silhouette.

In the 1830s, flannel petticoats became fashionable due to medical professionals' advice. Flannel ensured warmth for women, and scarlet flannel was particularly popular. Figure 26 depicts an illustration of a petticoat from the 1890s, which is a red flannel (fabric shown in figure 27) and canvas mid-calf petticoat. There are more pleats at the back due to the silhouette of this period being S-shaped.

24. 1885-1900 Century Petticoat illustration

I got the idea to use different coloured petticoats for the Day of Dance costumes after seeing these two petticoats. Initially, I considered using a petticoat similar to the blue one in figure 25, but it was difficult for the dancers to move in. However, I found netted coloured petticoats that were shorter and lighter in weight, which allowed for better movement.

Fig.

Fig. 23. 1860-65 Cage Crinoline from the V&A

Fig. 27. 1890s Century Petticoat

Fig. 25. 1885-1900 Century Petticoat

Fig. 26. 1890s Century Petticoat illustration

Historical Undergarment Research

Bustles

Bustles weren’t around for a huge period of time. They were created to enhance the s-shaped silhouette during the mid/late victorian period. Bustles came into fashion towards the late 1860s to 1875, and fell out of fashion but came back in fashion in 1883 till 1890.

The First Bustle Silhouette

At the beginning of the 1870s the silhouette changed dramatically from cage crinoline supported skirts to draping skirts which gathered mainly at the lower back of the wearer and would be secured by sewn in tapes and buttons. Crinolines would still be worn when bustles started to come into fashion but would be much smaller in volume compared to the previous decade. By the mid 1870s movement became more difficult due to skirts becoming narrower, and more of a slim fit with volume only being on the lower back. There were a range of different types of bustles.

Figure 29 is an image of a ruffle horsehair bustle from 1870-75. This horsehair bustle has similar ruffles to the crin frill Ayesha wore in Day of Dance. The effect of the ruffles creates volume within the skirt.

Figure 28 is an image of a waterfall bustle which has sections that go around the wearer’s body and are secure with a tie which would tie around the waist. This bustle has more structure due to the loops which would be sewn as channels.

Second Bustle Silhouette

Bustles fell out of fashion after 1875 due to the silhouette changing to a slimmer shape, however, bustles made a return in 1883.

Figure 30 is an image of bustle from 1883, in 1883 the bustle gained steel strips which would be sewn into channels of the bustle into a curve, which would emphasise the wearers shaping more than before, creating a right angle from the back of their body. Cushioned horsehair bustles were still popular, wearers would wear different styles of bustles according to the amount of emphasis they desired. In 1884 the phantom bustle was invented which allowed for easier wear as they would collapse allowing it to be easier for the wearer to move around and sit down.

By the late 1880s, bustles began to fall out of fashion, and the s-shaped silhouette calmed down so women would wear a small amount of padding inside their skirt to give a slight lift to the lower back of their body, and the most voluminous area moved to the sleeve area.

I chose to use modern crin frills as they had a similarity to horsehair bustles, but had an aesthetic appeal to them, and were also shorter in length enabling better movement for the dancers.

Fig. 29. Image of 1870s Bustle

Fig. 28. Image of 1875s Bustle

Fig. 30. Image of 1883s Bustle

Historical Undergarment Research

1830s Undergarments V&A

Figure 31 shows an image of a mannequin I saw at the V&A which is styled in early 19th century undergarments. I found this mannequin very helpful

(In order of dressing) The chemise is an 1830s chemise, which would be worn under the corset to protect the wearer’s skin. This particular chemise has a low neckline and short sleeves. For the Day of Dance event, the dancers didn't wear chemises. However, they all wore shirts under their corsets. These shirts acted like chemises but also had an aesthetic aspect to them.

During the 1830s, chemises were knee-length due to being worn under all other layers of clothing. They were commonly made of white linen and cotton. Cotton and linen are both breathable and lightweight materials, which made them easy to use.

Figure 31 displays a cotton petticoat from the 1820-30s, featuring straps. In that period, petticoats were worn over bloomers or draws and were pleated in the same style as the top skirt. The petticoat visible in Figure 31 has loose pleating at the waistline, which was the fashion of that era, suiting a more natural shape. In previous periods with more voluminous skirts, petticoats would be heavily pleated to impact the volume of the top skirt.Cotton was a popular material for creating simple or basic petticoats due to its ease of use and ability to be pleated. Prior to the rise of crinoline cages in the 19th century, women would wear several layers of petticoats to achieve a desired shape under their skirts.

Historically Dressing:

Figure 31 also features a corset that dates back to the 1830s, with loose boning and a wooden busk at its centre. This particular corset exemplifies the natural fit of corsets from the early 19th century, complete with triangular gores that expand the spacing for the wearer's breasts. This particular corset is very similar to the one Bethany wore for Day of Dance.

The final undergarment shown in figure 31 is an 1825-30 sleeve support. Sleeve supports were worn under the sleeves of bodices in order to enhance their shape. The size and shape of these supports varied depending on the style of the sleeve, as women's wear underwent various changes. In Figure 31, for example, the sleeve support is round and plump, specifically designed to support the legof-mutton sleeve, which is shown on the other arm of the mannequin.

I attempted to include an aesthetic type of sleeve support within the costumes, however it was difficult to do due to all the shirts having modern sleeves.

The mannequin in figure 31 helped me understand the historical accuracy and order of dressing undergarments. I used the mannequin in figure 31 in the design process to further understand the order of the costume pieces.The dancers wore shirts that acted as chemises under their corsets. They also wore bloomers under their petticoats, but they tucked their shirts into their bloomers, which historically would sit under the chemise. The petticoats were worn under the corset to make it the focal point of the costume. However, the dancers who wore bustles placed them on top of the corset.

Historically bustles would be worn with a petticoat, however, aesthetically I chose for the bustles to be worn with bloomers due to the modern aspect of the costume.

Fig. 31. 19th Century Undergarments from the V&A

Historical Undergarment Research

Drawers

Fig. 33. Queen Victorias 1860 Drawers from V&A Underwear Fashion in Detail

Drawers were a type of 19th century undergarment. Today, the equivalent undergarment would be knickers. They became popular in women's fashion in the 19th century would be made out of cotton or linen and would be very loose fitting.

Figure 32 is an illustration of open crotched drawers from the mid-19th century. These undergarments were worn under multiple layers of clothing, and their design allowed easy access for the wearer to use the toilet. Throughout the 19th century, the style of drawers changed. Originally, they were short and plain to remain hidden underneath clothing layers. However, in the 1820s, longer and decorative drawers became fashionable. These longer drawers were adorned with lace and would extend below the hem of the wearer's dress. However, this trend was soon replaced, and drawers became shorter again.

Figures 33 and 34 are images of Queen Victoria's linen drawers dating back to the 1860s. These drawers were designed with voluminous legs to accommodate the chemise worn underneath. During certain periods, chemises were longer in length, necessitating a larger leg volume in the drawers.

Figure 1 shows the drawers with an embroidery of’ Queen Victoria's initials. The embroidery helped launderers identify the owner's clothing as they would be washing clothes for multiple people.

Bloomers

Bloomers eventually overtook drawers in popularity. The term ‘bloomers’ is usually used to describe any form of general period pant, however bloomers didn’t come into fashion until the 1850s.

Fig. 32. 19th Century drawers illustration from V&A Underwear Fashion in Detail

Fig. 34. Queen Victorias 1860 Drawers from V&A Underwear Fashion in Detail

Historical Undergarment Research

Bloomers

In 1851 America, a woman called Elizabeth Smith Miller who originally wore bloomers and inspired her cousin; Elizabeth Cady Stanton and friend; Amelia Jenks Bloomer to wear them. Amelia Jenks Bloomer ran a magazine called ‘The Lily” and wrote about bloomers in them which quickly gained attention and the name ‘bloomers’. Women who wore would gain a lot of negative attention as they were viewed as a political form of garment.

35.

Figure 35 is a picture of the traditional Turkish şalvars, which were a type of unisex trouser. The trouser would gather at the waist and balloon out towards below the knee, which inspired the shaping of bloomers.

Eventually bloomers were worn as hidden under garments in the late 19th century. They were similar to drawers, but had the same shaping as bloomers.

Visible bloomers had a short comeback in the 1890s. They were worn by women who rode bicycles. Figure 38 is an image of a women in the cycling attire. Boomers outraged people once again due to their trouser like appearance and eventually fell out of fashion due to women being ridiculed.

Fig. 37. Image of Miss Woolgarin 1850s https://tatter. org/thehistory-ofbloomers/

Fig. 36. Image of Amelia Jenks Bloomer in the 1850s

The bloomers displayed in Figure 36 on Amelia Jenks Bloomer were originally ankle-length. They would gather at the waist and balloon around the legs, and gather on the ankle. These were worn with a shortened type of skirt which would sit just below the knee.

Bloomers would attract a lot of attention on the streets of London. They were a symbolism for women’s equality and practically in womenswear.

Fig. 38. Image of women in 19th Century one in a cycling outfit

Fig.

Image of men in 19th Century şalvars

Modern Research Six the Musical

Six the Musical was a big inspiration for the concept of the costumes for Day of Dance as the costume design for Six creatively collaborate 16th century fashion and pop culture icons. Gabriella Slade, the costume designer who creatively uses symbolism within each characters costume to represent aspects of the queens lives.

Catherine of Aragon at the V&A

Figure 39 is an image of Catherine of Aragon’s costume which I saw displayed a the V&A. Each of the queens costumes tell the story of their life based on portraits of them. This specific costume links to a wedding dress and has gold studs all over it representing Catherine of Aragon’s high status.

Six the Musical Costumes

Figure 40 is an image of all the queens in costume together on stage. Due to Day of Dance Icons being based on pop icons and Six the Musical costumes being based on pop icons such as; Beyonce, Avril Lavigne, Adele, Nicki Minaj, Arianna Grande, Britney Spears and Alicia Keys, It was helpful to look at the shapes of the costumes and how the period clothing has been adapted to modern pop culture as the colour themes used for the design of the costumes in Day of Dance were based on different celebrities such as Beyonce, Britney Spears and Rhianna.

The accessories aspect of the Six costumes had an influence on the design of the Day of Dance costumes, especially the tights as they were fishnet.

Fig. 39. Image of Catherine of Aragon’s costume displayed a the V&A

Fig. 40. Image of all the queens costumes in Six the Musical

Modern Research: Pop Stars

Britney Spears:

Britney Spears has a huge influence on fashion during the early 2000s. When picking out costume pieces for the dancers whose movements were inspired by Britney I focused on using colours from iconic images of Britney Spears in the late 90s to early 2000s.

Figure 41 is an image of Britney from the 2000s Grammy’s, this particular image helped influence the netted petticoats of the costumes, by making me think about using a different material instead of just using cotton. The two tones of pink used in the outfit inspired the colours of Bryony (pale pink petticoat) and Kitty’s (peach petticoat and pale pink skirt) costumes for Day of Dance. The sleeves on the dress also influenced the glove choice of Jemma as they were flingerless and tied around the middle figure.

Figure 42 is an image of Britney Spears in 1999 at a concert singing …Baby One More Time this was at the beginning of her career. The combination of hot pink with just white allows the pink to be the focus point of the outfit, this inspired the idea to use colour within the outfits of the dancers as originally they were going to just be black and white.

42.

Figure 43 is an image of Britney Spears which was taken by paparazzi in 2003. This casual look of Britney in a blue Juicy Couture matching tracksuit still has an influence on current fashion trends. I was inspired by this image to include blue/baby blue as part of the colour scheme for the dancers who danced to Britney (Nicole’s Blue petticoat and blue striped shirt).

Figure 44 is an image of Britney Spears in 2002 on the red carpet for On the Cross Roads. She’s wearing a pale pink dress over baby blue skinny jeans with a matching pale pink truckers hat and boots. The colour influence for Nicole, Kitty and Bryony’s costumes were all inspired by early 2000s Britney Spears outfits.

Fig. 41. Image of Britney Spears at the 2000s Grammys

Fig.

Image of Britney Spears in 1999 at a Concert

Fig. 43. Image of Britney Spears in 2003 caught by paparazzi

Fig. 44. Image of Britney Spears at On the Cross Roads Red Carpet

Modern Research: Pop Stars

Rihanna:

Rihanna’s style has varied throughout her whole career. The looks she’s worn have pushed the boundaries of fashion to express her individuality. She created her own brand Fenty in 2019, which collaborates with top designers and is part of the parent company Moët Hennessy Louis Vuitton.

Figure 45 is an image of Rihanna at the 2009 American Music Awards wearing a black and white origami dress with lace laser cut detail above the hem of the dress. The black and white colours of the outfit inspired the colour scheme of Jemma’s costume. The fishtail skirt has a similar shaping as the pleats in the crin frill which partly inspired me to give Jemma and Bethany crin frills as their section of the dance was inspired by Rihanna. The laser cut floral effect of the dress and how it looked against the leg inspired the black and white floral fishnet tights which all the dancers wore in Day of Dance Icons.

Fig. 46. Image of Rihanna at the 2006 Fashion Rocks Concert

Fig. 47. Image of Rihanna at the 2010 Europe Music Awards

Fig. 45. Image of Rihanna at the 2009 American Music Awards

Fig. 48. Image of Rihanna at the 2019 London Fashion Awards

Figure 46 is an image of Rihanna at the 2006 Fashion Rocks Concert in a Zac Posen gown with a fishtail skirt. The silver gown was originally the influence for the colour scheme of Bethany’s costume and inspired the silver glove aspect of the costume, however, the blue trim on the crin frill and bloomers was an aesthetic decision due to the colour combination.

Figure 47 is an image of Rihanna at the 2010 Europe Music Awards. This outfit consists of a white corseted mini dress and a multicoloured flower overskirt with a front opening. The shaping of the flowered overskirt was the second inspiration for the use of crin frills as it has the same shaping but falls lower. This specific image looks most like the crin frill which Ayesha wore as the frills were more swirled and created a more flowered effect.

Modern Research: Pop Stars

Beyoncé:

Beyoncé has a bold sense of style like Rihanna she also pushes the boundaries of fashion. Her styles range from streetwear to full glamour, for Day of Dance I focused on Beyoncé’s influence on glamour fashion and styling.

Figure 49 is an image of Beyoncé at her 2023 Renaissance tour. This look includes a glittery red burgundy draped mini dress, paired with matching thigh-high boots and high gloves. The colouring of this look influenced the main colour choice for Frankie’s costume for Day of Dance, due to the deep red/ burgundy similar to the burgundy of Frankie’s blouse.

In alot of the pop star looks the stars are wearing gloves in a variation of materials and lengths. Bethany, Ayesha, Amelia, Jemma and Bryony all had gloves as part of their costume, and they all varied in material and length.

Figure 50 is an image of Beyoncé at the 2016 Country Music Awards. The accessories of this look stuck out to me due to the layered pearl necklaces and combination of gold diamante. The accessories for Day of Dance were heavily influenced by this image due to all of the dancer having either a pearl necklace or bracelet.

49. Image of Beyoncé at her 2023 Renaissance tour

Fig. 50. Image of Beyoncé at the 2016 Country Music Awards

Fig. 51. Image of Beyoncé at the 2005 Oscars

Fig. 52. Image of Beyoncé at the 2013 Super Bowl

Figure 51 is an image of Beyoncé singing at the 2005 Oscars. In this image, she’s wearing a black ball gown paired with a long pair of black gloves and an extravagant silver necklace which drapes around her neck and falls below her breast line. The necklace has a unique hang and shape to it which I replicated on a much smaller scale by attaching a button which had a fringe dangle to the collar of Amelia’s blouse.

Figure 52 is an image of Beyoncé at the 2013 Super Bowl. This outfit is a full black leather look which consists of a bodysuit with elbow-high gloves, and black thigh-high boots with nude fishnets underneath. I used black as the main colour in Amelia and Ayesha’s costumes as a lot of the outfits Beyoncé wears mainly have black tones in them.

Fig.

Budget

Estimated Budget

Budget Breakdown

Hire Forms

Suppliers

Suppliers List

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BooHoo customerservices@boohoocom

Arts University Bournemouth Costume Store aubcostumehire@aubacuk

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https://wwwamazoncouk/s? rh=n%3A83450031%2Cp 4%3ARadsocken&ref=bl sl s ap w eb 83450031

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Gillet Road

Talbot Village Poole

Dorset

BH12 5BF

Sustainability Assesment

Dancer Breakdown

Dancer: Nicole Rumbold

Measurement Sheet

Dancer Full Body Images

Fitting Photos

Fitting Notes

Costume Breakdown

Full Body Images

Nicole Rumbold

First Fitting Notes

Costume

Pieces:

18th century corset

Blue and white pin stripe short sleeve blouse

Blue tutu petticoat

Bloomers

Gold Gloves

Second Fitting Notes

Cost Breakdown

Costume Breakdown

Dancer: Bethany Baldock

Measurement Sheet

Dancer Full Body Images

Fitting Photos

Fitting Notes

Costume Breakdown

Full Body Images

Bethany Baldock

Design Fitting

Costume Pieces:

18th century corset

White short sleeve blouse

Black cycling shorts

Blue trim crin frill

Bloomers

Second Fitting Notes

Cost Breakdown

Costume Breakdown

Dancer: Frankie McCormack

Measurement Sheet

Dancer Full Body Images

Fitting Photos

Fitting Notes

Costume Breakdown

Full Body Images

Frankie McCormack

First Fitting Notes

Costume

Pieces:

19th century corset

Burgundy sheer long sleeve blouse

Black bow tie

White trim crin frill

Bloomers

Second Fitting Notes

Second Fitting

Costume Breakdown

Dancer: Amelia Bond

Measurement Sheet

Dancer Full Body Images

Fitting Photos

Fitting Notes

Costume Breakdown

Amelia Bond

Full Body Images

Design Fitting

First Fitting Notes

Costume Pieces:

20th century under bust corset

Second Fitting Notes

Second Fitting

I had originally planned to alter the sleeves of the shirt to make them into short sleeves as they were a little tight when the dancer lifted her arms. Also, there was a stain on one of the sleeves. However, instead of altering them, I decided to add elastic to the cuff of the sleeve. This allowed more movement for the sleeve to travel up the arm, and eventually, I was able to remove the stain from the shirt.

Costume Breakdown

Costume Breakdown Cost Breakdown

Dancer: Bryony Duffield

Measurement Sheet

Dancer Full Body Images

Fitting Photos

Fitting Notes

Costume Breakdown

Bryony Duffield

Full Body Images

Design Fitting

Costume Pieces: 19th century corset

White long sleeve blouse

Black cycling shorts

Pink netted petticoat

First Fitting Notes

Costume

Pieces:

19th century corset

White long sleeve blouse

Bloomers

Pink netted petticoat

Second Fitting Notes

Second Fitting

Costume Breakdown

Dancer: Ayesha Sheik Mada

Measurement Sheet

Dancer Full Body Images

Fitting Photos

Fitting Notes

Costume Breakdown

Ayesha Sheik Mada Full Body Images

Design Fitting

Costume Pieces: 18th century corset

Blue long sleeve blouse

Black cycling shorts

Black crin frill

Second Fitting Notes

Second Fitting

Cost Breakdown

Costume Breakdown

Dancer: Jemma Fitzpatrick

Measurement Sheet

Dancer Full Body Images

Fitting Photos

Fitting Notes

Costume Breakdown

Jemma Fitzpatrick

Full Body Images

Design Fitting

First Fitting Notes

Costume

Pieces:

19th century corset

White short sleeve blouse

Black bow tie

Bloomers

White netted petticoat

Black glove

Burgudy sports bra

Second Fitting Notes

Second Fitting

Costume Breakdown

Dancer: Kitty De Boer

Measurement Sheet

Dancer Full Body Images

Fitting Photos

Fitting Notes

Costume Breakdown

Kitty De Boer

Full Body Images

Design Fitting

Costume Pieces:

18th century corset

Pink sheer long sleeve blouse

Black cycling shorts

Pink netted petticoat

First Fitting Notes

Second Fitting Notes

Second Fitting

Costume Breakdown

Running Wardrobe

Dresser Headshots

Here is your dressing team!

Come to any of the people shown below for any costume help, needs and queries!

CharlieTolleyHe/Him

ElsieHowardShe/Her

AmeliaBavinShe/Her

Dressers Checklist Nicole Rumbold

Dressers Checklist Bethany Baldock

Dressers Checklist

Dressers Checklis

Dressers Checklist

Dressers Checklist Ayesha

Dressers Checklist

Dresser Schedule

Laundry List

Production Photos

1st Dress Rehearsal

2nd Dress Rehearsal

3rd Dress Rehearsal

Final Images

Reference List

Angela Friedman (2023) A (brief) history of lingerie, Angela Friedman. Available at: https://angelafriedman.com/blogs/news/a-brief-history-of-lingerie (Accessed: 16 March 2024).

(No date a) Beyoncé looked like a straight up goddess during her performance at the CMAS - HelloGigglesHelloGiggles. Available at: https://hellogiggles.com/beyonce-looked-like-straight-goddess-performance-cmas/ (Accessed: 16 March 2024).

Boyle, L. (2022) Corsets and drawers: A look at regency underwear - Jane Austen articles and blog, JaneAusten.co.uk. Available at: https://janeausten.co.uk/blogs/womens-regency-fashion-articles/corsets-and-drawers-a-look-at-regencyunderwear (Accessed: 16 March 2024)

Briese, N. (2023) Rihanna’s best outfits: Her most iconic looks yet, Peoplemag. Available at: https://people.com/style/rihanna-best-fashion-moments/ (Accessed: 16 March 2024).

No date b) Britney Spears and Juicy Couture have finally been reunited. Available at: https://www.cosmopolitan.com/uk/fashion/celebrity/news/a44028/britney-spears-game-juicy-couture-comeback/ (Accessed: 16 March 2024).

Campbell, R. and Gardner, T. (1747) The London tradesman. London: Printed by T. Gardner, at Cowley’s-Head in the Strand.

Corsets, crinolines and bustles: Fashionable victorian underwear · V&A (no date) Victoria and Albert Museum. Available at: https://www.vam.ac.uk/articles/corsets-crinolines-and-bustles-fashionable-victorian-underwear (Accessed: 16 March 2024).

Davoli, S. et al. (2023) The best britney spears style moments of all time, FASHION Magazine. Available at: https://fashionmagazine.com/style/celebrity-style/britney-spears-best-style-moments/ (Accessed: 16 March 2024).

Edwardian lingerie 1900-1910s underwear (no date) Vintage Dancer. Available at: https://vintagedancer.com/1900s/edwardian-lingerie-1900-1910s/ (Accessed: 16 March 2024).

Evans, G. (2011) Fashion in Focus, 1600-2009: Treasures from the Olive Matthews Collection. Surrey: Chertsey Museum.

Jamieson, N. (2023) Beyoncé’s best looks of all time - from her Destiny’s Child Days to the renaissance tour, Woman and Home Magazine. Available at: https://www.womanandhome.com/life/news-entertainment/beyonces-best-looks-of-alltime/ (Accessed: 16 March 2024).

Lambert, T. (2023) A history of underwear, Local Histories. Available at: https://localhistories.org/a-history-ofunderwear/ (Accessed: 16 March 2024).

Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Prinzivalli, L. (2016) Britney Spears’ best performance outfits, ranked, Glamour. Available at: https://www.glamour.com/gallery/britney-spears-best-performance-outfits-ranked (Accessed: 16 March 2024).

Smith, H. (2024) Six the musical costumes: A detailed look at each queen’s costume, West End World. Available at: https://theatrequeen.co.uk/six-the-musical-costumes/ (Accessed: 16 April 2024).

Steele, V. (2007a) The corset. A cultural history. New Haven, CT: Yale University Press.

Steele, V. (2007b) The corset. A cultural history. New Haven, CT: Yale University Press.

Tobin, S. and Einsiedel, A. von (2001) Inside out: A brief history of underwear. London: National Trust.

Undergarments (2017) An Agreeable Tyrant. Available at: https://agreeabletyrant.dar.org/gallery/1780s/undergarments/ (Accessed: 16 March 2024).

Bibliography

Ada Lovelace (2024) Encyclopædia Britannica. Available at: https://www.britannica.com/biography/Ada-Lovelace (Accessed: 16 March 2024).

Admin (2023) Bustles fashion history - victorian bustle era 1870s and 1880s, Fashion. Available at: https://fashionera.com/fashion-history/victorian/bustles (Accessed: 16 March 2024).

Andrea Penrose (2019) Six women who helped define the regency era-and our conceptions of modernity, CrimeReads. Available at: https://crimereads.com/regency-women/ (Accessed: 16 March 2024).

Angela Friedman (2023) A (brief) history of lingerie, Angela Friedman. Available at: https://angelafriedman.com/blogs/news/a-brief-history-of-lingerie (Accessed: 16 March 2024).

Bloomers (2017) Fashion History Timeline. Available at: https://fashionhistory.fitnyc.edu/bloomers/ (Accessed: 16 March 2024).

Bloomers and knickers and drawers, oh my! (no date) CultureNL Museums. Available at: https://www.culturenlmuseums.co.uk/blog/pants-pants-pants-knickers-knickers-knickers/ (Accessed: 16 March 2024).

Briese, N. (2023) Rihanna’s best outfits: Her most iconic looks yet, Peoplemag. Available at: https://people.com/style/rihanna-best-fashion-moments/ (Accessed: 16 March 2024).

Bustle: American (2009) The Metropolitan Museum of Art. Available at: https://www.metmuseum.org/art/collection/search/105040 (Accessed: 16 March 2024).

Campbell, R. and Gardner, T. (1747) The London tradesman. London: Printed by T. Gardner, at Cowley’s-Head in the Strand.

Bibliography

Donna Hatch (2023) Regency underwear - did they or did they not?, Donna Hatch. Available at: https://donnahatch.com/the-great-regency-underwear-debate/ (Accessed: 16 March 2024).

Edwardian lingerie 1900-1910s underwear (no date) Vintage Dancer. Available at: https://vintagedancer.com/1900s/edwardian-lingerie-1900-1910s/ (Accessed: 16 March 2024).

Evans, G. (2011) Fashion in Focus, 1600-2009: Treasures from the Olive Matthews Collection. Surrey: Chertsey Museum.

FIDM Museum (2021) Undergarment Ensemble, circa 1900, FIDM Museum. Available at: https://fidmmuseum.org/2010/03/undergarment-ensemble-circa-1900.html (Accessed: 16 March 2024).

Filson, C. (2019) Edwardian lingerie - what women wore in 1900’s, Glamour Daze. Available at: https://glamourdaze.com/2013/09/what-lingerie-did-women-wear-in-1909.html (Accessed: 16 March 2024).

Getting dressed in the 18th century: National Museums Liverpool (2017) YouTube. Available at: https://youtu.be/UpnwWP3fOSA?si=vVTtfN7HksOs3hm6 (Accessed: 16 March 2024).

Gunn, L.I. (2018) 18th century provencal undergarments, Decor To Adore. Available at: https://decortoadore.net/2018/10/18th-century-provencal-undergarments.html (Accessed: 16 March 2024).

Home (2023) The Underpinnings Museum. Available at: https://underpinningsmuseum.com/ (Accessed: 16 March 2024).

Lambert, T. (2023) A history of underwear, Local Histories. Available at: https://localhistories.org/a-history-ofunderwear/ (Accessed: 16 March 2024).

Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Mary Anning: The unsung hero of fossil discovery (no date) Natural History Museum. Available at: https://www.nhm.ac.uk/discover/mary-anning-unsung-hero.html (Accessed: 16 March 2024).

Panniers (2017) Fashion History Timeline. Available at: https://fashionhistory.fitnyc.edu/panniers/ (Accessed: 16 March 2024).

Six: How the musical became a worldwide phenomenon (2023) Musicals Magazine. Available at: https://www.musicalsmagazine.com/features/article/six-how-the-musical-became-a-worldwide-phenomenon (Accessed: 16 March 2024).

Smith, H. (2024) Six the musical costumes: A detailed look at each queen’s costume, West End World. Available at: https://theatrequeen.co.uk/six-the-musical-costumes/ (Accessed: 16 April 2024).

Bibliography

Steele, V. (2007a) The corset. A cultural history. New Haven, CT: Yale University Press.

Steele, V. (2007b) The corset. A cultural history. New Haven, CT: Yale University Press.

Tobin, S. and Einsiedel, A. von (2001) Inside out: A brief history of underwear. London: National Trust.

The Dreamstress (2018) A quick guide to corset & stay styles from 1750 to 1850, The Dreamstress. Available at: https://thedreamstress.com/2017/04/a-quick-guide-to-corset-stay-styles-from-1750-to-1850/ (Accessed: 16 March 2024).

The history of bloomers (no date) Tatter. Available at: https://tatter.org/the-history-of-bloomers/ (Accessed: 16 March 2024).

Undergarments (2017) An Agreeable Tyrant. Available at: https://agreeabletyrant.dar.org/gallery/1780s/undergarments/ (Accessed: 16 March 2024).

Wright, C. (2019) ‘six’ creators reveal which modern-day pop star influenced each of Henry VIII’s wives in the musical, Showbiz Cheat Sheet. Available at: https://www.cheatsheet.com/entertainment/six-the-musical-which-modern-day-popstars-are-the-queens-inspired-by.html/ (Accessed: 16 March 2024).

List of Figures

Figure. 1. Image was taken by myself of a lobster bustle

Figure. 2. Image was taken by myself of pocket loops

Figure. 3. Image was taken by myself of a pannier

Figure. 4. Image was taken by myself of tutu petticoats

Figure. 5. Image was taken by myself of crin frills

Figure. 6. Image was taken by myself of styling on the stand

Figure. 7. Image was taken by myself of styling on the stand

Figure. 8. Image was taken by myself of styling on the stand

Figure. 9. Image was taken by myself of styling on the stand

Figure. 10. Image was taken by myself of styling on the stand

Figure. 11. Chelsea (no date) 18th century maternity plans, 18th Century Maternity Plans. Available at: https://asartorialstatement.blogspot.com/2017/02/18th-century-maternity-plans.html (Accessed: 16 March 2024).

Figure. 12. Corsets, crinolines and bustles: Fashionable victorian underwear · V&A (no date) Victoria and Albert Museum. Available at: https://www.vam.ac.uk/articles/corsets-crinolines-and-bustles-fashionable-victorianunderwear (Accessed: 16 March 2024).

Figure. 13. Rare quilted jumpsearly 18th c (no date) Rare Quilted Jumps Early 18th c | English & European Dress | Meg Andrews - Antique Dress and Textiles. Available at: https://www.meg-andrews.com/item-details/Silk-QuiltedJumps/9032 (Accessed: 16 March 2024).

Figure. 14. 18th century children’s stays (2020) The Hyland House Museum. Available at: https://hylandhouse.org/learn-our-story/museum-collection-objects-of-interest/18th-century-stays/18th-centurychildrens-stays/ (Accessed: 16 March 2024).

Figure. 15. Evans, G. (2011) Fashion in Focus, 1600-2009: Treasures from the Olive Matthews Collection. Surrey: Chertsey Museum.

Figure. 16. Evans, G. (2011) Fashion in Focus, 1600-2009: Treasures from the Olive Matthews Collection. Surrey: Chertsey Museum.

Figure. 17. Image was taken by myself at Kensington Palace

Figure. 18. Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Figure. 19. Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

List of Figures

Figure. 20. Evans, G. (2011) Fashion in Focus, 1600-2009: Treasures from the Olive Matthews Collection. Surrey: Chertsey Museum.

Figure. 21. Y & N Patent Diagonal seam corsets (no date) History World - Advert Museum - Y & N Patent Diagonal Seam Corsets. Available at: https://www.historyworld.co.uk/advert.php?id=355&offset=1525&sort=0&l1=&l2= (Accessed: 16 March 2024).

Figure. 22. Image was taken by myself at the V&A

Figure. 23. Image was taken by myself at the V&A

Figure. 24. Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Figure. 25. Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Figure. 26. Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Figure. 27. Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Figure. 28. Corsets, crinolines and bustles: Fashionable victorian underwear · V&A (no date) Victoria and Albert Museum. Available at: https://www.vam.ac.uk/articles/corsets-crinolines-and-bustles-fashionable-victorianunderwear (Accessed: 16 March 2024).

Figure. 29. Corsets, crinolines and bustles: Fashionable victorian underwear · V&A (no date) Victoria and Albert Museum. Available at: https://www.vam.ac.uk/articles/corsets-crinolines-and-bustles-fashionable-victorianunderwear (Accessed: 16 March 2024).

Figure. 30. Bustle: British (no date) The Metropolitan Museum of Art. Available at: https://www.metmuseum.org/art/collection/search/85339 (Accessed: 16 March 2024).

Figure. 31. Image was taken by myself at the V&A

Figure. 32. Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Figure. 33. Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Figure. 34. Lynn, E. (2010) Underwear fashion in detail. London: V & A Publishing.

Figure. 35. Turkish salvar (2024) Wikipedia. Available at: https://en.wikipedia.org/wiki/Turkish_salvar (Accessed: 16 March 2024).

Figure. 36. The history of bloomers (no date) Tatter. Available at: https://tatter.org/the-history-of-bloomers/ (Accessed: 16 March 2024).

Figure. 37. The history of bloomers (no date) Tatter. Available at: https://tatter.org/the-history-of-bloomers/ (Accessed: 16 March 2024).

List of Figures

Figure. 38. Bloomers: The National Controversy of the 1890s (2024) Recollections Blog. Available at: https://recollections.biz/blog/bloomers-the-national-controversy-of-the-1890s/ (Accessed: 16 March 2024).

Figure. 39. Image was taken by myself at the V&A

Figure. 40. Six: How the musical became a worldwide phenomenon (2023) Musicals Magazine. Available at: https://www.musicalsmagazine.com/features/article/six-how-the-musical-became-a-worldwide-phenomenon (Accessed: 16 March 2024).

Figure. 41. Prinzivalli, L. (2016) Britney Spears’ best performance outfits, ranked, Glamour. Available at: https://www.glamour.com/gallery/britney-spears-best-performance-outfits-ranked (Accessed: 16 March 2024).

Figure. 42. Davoli, S. et al. (2023) The best britney spears style moments of all time, FASHION Magazine. Available at: https://fashionmagazine.com/style/celebrity-style/britney-spears-best-style-moments/ (Accessed: 16 March 2024).

Figure. 43. (No date) Britney Spears and Juicy Couture have finally been reunited. Available at: https://www.cosmopolitan.com/uk/fashion/celebrity/news/a44028/britney-spears-game-juicy-couture-comeback/ (Accessed: 16 March 2024).

Figure. 44. Davoli, S. et al. (2023) The best britney spears style moments of all time, FASHION Magazine. Available at: https://fashionmagazine.com/style/celebrity-style/britney-spears-best-style-moments/ (Accessed: 16 March 2024).

Figure. 45. Briese, N. (2023) Rihanna’s best outfits: Her most iconic looks yet, Peoplemag. Available at: https://people.com/style/rihanna-best-fashion-moments/ (Accessed: 16 March 2024).

Figure. 46. Briese, N. (2023) Rihanna’s best outfits: Her most iconic looks yet, Peoplemag. Available at: https://people.com/style/rihanna-best-fashion-moments/ (Accessed: 16 March 2024).

Figure. 47. Briese, N. (2023) Rihanna’s best outfits: Her most iconic looks yet, Peoplemag. Available at: https://people.com/style/rihanna-best-fashion-moments/ (Accessed: 16 March 2024).

Figure. 48. Briese, N. (2023) Rihanna’s best outfits: Her most iconic looks yet, Peoplemag. Available at: https://people.com/style/rihanna-best-fashion-moments/ (Accessed: 16 March 2024).

Figure. 49. Jamieson, N. (2023) Beyoncé’s best looks of all time - from her Destiny’s Child Days to the renaissance tour, Woman and Home Magazine. Available at: https://www.womanandhome.com/life/newsentertainment/beyonces-best-looks-of-all-time/ (Accessed: 16 March 2024).

Figure. 50. (No date a) Beyoncé looked like a straight up goddess during her performance at the CMASHelloGigglesHelloGiggles. Available at: https://hellogiggles.com/beyonce-looked-like-straight-goddessperformance-cmas/ (Accessed: 16 March 2024).

List of Figures

Figure. 51. Jamieson, N. (2023) Beyoncé’s best looks of all time - from her Destiny’s Child Days to the renaissance tour, Woman and Home Magazine. Available at: https://www.womanandhome.com/life/newsentertainment/beyonces-best-looks-of-all-time/ (Accessed: 16 March 2024).

Figure. 52. Jamieson, N. (2023) Beyoncé’s best looks of all time - from her Destiny’s Child Days to the renaissance tour, Woman and Home Magazine. Available at: https://www.womanandhome.com/life/newsentertainment/beyonces-best-looks-of-all-time/ (Accessed: 16 March 2024).