Caitlin Mulhall – BA (Hons) Costume – The Ballad of Maria Marten assistant supervisor's Bible

The Ballad of Maria Marten

By Caitlin Mulhall

Costume Assistant Supervisor Bible

Student no. 2104194

Contents Page

Contact sheet p.g.3-5

Cast list p.g.6

Script breakdown p.g.710

Costume Plot p.g.11-13

Research p.g.14-57

- Red barn murder p.g.15

- Production History p.g.16

- 1820s women’s fashion (higher class) p.g.17-20

- 1820s women’s fashion (lower class) p.g.21-24

- 1820s men’s fashion (Higher class) p.g.25-27

- 1820s men’s fashion (lower class) p.g.2830

- V&A trip p.g.31-33

- National Gallery and National Portrait gallery trip p.g.3436

- AUB Archive p.g.37

Characters p.g.38-135

- Cheat sheet p.g.39

Maria p.g.40-47

- Design p.g.41

- Full length images p.g.42

- Measurement Sheet p.g.43

- First Fitting/notes p.g.44

- Preassessment/notes p.g. p.g.45

- Costume Breakdown p.g. 46-47

Lucy Baalham p.g. 48-67

- Design p.g. 49

- Full length images

p.g. 50

- Measurement Sheet

p.g. 51

- First Fitting/notes

p.g. 52-53

- Second fitting/notes

p.g. 54-56

- Preassessment/notes

p.g. 57-59

- Costume Breakdown

p.g. 60-67

Pheobe Stowe p.g. 68-86

- Design p.g. 69

- Full length images

p.g. 70

- Measurement Sheet

p.g. 71

- First Fitting/notes p.g. 72-73

- Second fitting/notes p.g. 74-75

- Preassessment/notes

p.g. 76-78

- Costume Breakdown

p.g. 79-86

Theresa Havers p.g. 87106

- Design p.g.88

- Full length images

p.g.89

- Measurement Sheet

p.g.90

- First Fitting/notes p.g.91-92

- Second fitting/notes p.g.93-95

- Preassessment/notes p.g.96-98

- Costume Breakdown p.g. 99-106

Peter Mathew p.g. 107119

- Design p.g.108

- Full length images p.g.109

- Measurement Sheet p.g.110

- First Fitting/notes p.g.111

- Second fitting/notes p.g.112-113

- Preassessment/notes p.g.114-115

- Costume Breakdown p.g.116-119

Miss Pettigrew p.g. 120134

- Design p.g.121

- Full length images p.g.122

- Measurement Sheet p.g.123

- First Fitting/notes p.g.124

- Second fitting/notes p.g.125-126

- Preassessment/notes p.g.127-128

- Costume Breakdown p.g.129-134

Photos from the show p.g.135

Schedules p.g.136-143

Alterations p.g.144-149

Bibliology p.g.150-152

References p.g. 153-154

Figure list p.g.150-165

Cast List

Abigail Jean (she/her)

Lucy Baalham

Zara Kasiningsih (she/they)

Maria Marten

Christina Paz (she/her)

Maria Marten

Kate Maryon (she/her)

Phoebe Stowe

Megan Howlett (she/her)

Sarah Stowe

Leyla Kathleen (she/her)

Theresa Havers

Isaac Redgrave (he/they)

Peter Mathews

Amber Grace Jackson (she/her)

Lady Cooke

Matthew Cook (he/him)

Thomas Corder

Nicole Elizabeth (she/her)

Ann Marten

Elsie Cairns (she/they)

Mrs Woodstock

Lily Barbara (she/her)

Miss Anvil

Sophie Shields (she/her) Miss Pettigrew

Script Breakdown

Costume Plot

Research

The Red Barn Murder

Maria was born in 1801 to Thomas Marten, a mole catcher in Polstead. Maria was considered an attractive woman (Taylor, 2023). Maria had a secret relationship and a child with Thomas Corder, son of a middleclass tenant farmer. The baby sadly died a few weeks after birth. Thomas Corder accidentally drowned in Polstead pond. Maria then had a relationship and a child with Peter Mayhew, and because he was a part of the landowning class in Polstead they couldn’t be together. He paid five pounds every 3 months for the child (Bury St Edmunds, 2024). After Thomas drowned, his brother William Corder took charge of the farm. William Corder had a poor reputation, e.g. selling other people’s goods and being a ladies’ man, this gave him the nickname ‘Foxy’ (Taylor, 2023). Maria became pregnant with William’s child. The baby was born but died weeks later (Bury St Edmunds, 2024).

In May 1827, William persuaded Maria to meet him at the Red Barn, as they had planned to elope to Ipswich. She disguised herself in men’s clothing but when she met William at the barn he killed and buried her there. He later left the town. He kept in touch with Maria’s family saying she was in good health, made excuses why she didn’t write and that they were living on the Isle of Wight in fear of her arrest charge on the charge of bastardy (Taylor, 2023).

One year after Maria’s disappearance, her stepmother, Ann dreamt that Maria had been murdered and was buried in the barn. Maria’s father dug inside the barn and found some skeletal remains. These were identified as Maria, by her clothing, hair, missing tooth and a green handkerchief belonging to William Corder. She had been strangled, shot and stabbed. (Taylor, 2023)

William was found and arrested. He had married and was living in London. He was charged with nine different murder charges. William’s defence was she took her own life and he had to cover up the body. Jury’s verdict was guilty, and he was executed a week later. His skin was used as a cover for a book about his actions.

Polstead became an attraction with people taking souvenirs of the Red Barn and chips of Maria gravestone (Taylor 2023).

Fig 1 – Maria Marten

Fig 3 – William Corder

Fig 2 – Red barn

Production history

Written by Beth Flintoff.

The Ballad of Maria Marten is based on a real-life murder in 1827, known as the ‘Red Barn murder’. The play is written with a modern take on the story. There is a big emphasis on female friendship with her loved ones. The main perspective is dead Maria recalling her life leading up to her murder and the aftermath. It doesn’t show the murderer or her death. Historically the stories and songs about this murder were always about William Corder.

First performed in July 2018 by the Eastern Angles. Originally it was played by an all-female cast. A lot of the costume changes were made on stage with the help of the other actors. The most impactful or noticeable one is when the girls ‘unmurder’ Maria at the beginning, (Flintoff, 2021).

Beth Flintoff (2021) describes the story in her introduction as an ‘un-murdering’. When researching this story, she discovered the barn had burned down, which led her ask, ‘what if the women that loved Maria were not afraid, subdued or anxious, but were instead very, very angry’. The way she wrote the play was influenced by her meeting with a group of women who experienced domestic violence or abuse. She did not want to focus on the violence so decided to cut William out, but instead made it about love and friendship.

Fig 4

Fig 5 Fig 6

Fig 4- The ‘un-murder’ of Maria.

Fig 5- Peter and Maria.

Fig 6- Maria at the beginning of the play.

Fig 7: Picture from the Eastern Angles production of Maria Marten.

Fig 8: Cherry Fair

1820s Women’s Fashion (Higher Class)

The 1820s silhouette transitions from the Regency to the Romanticism era in 1825. It is still a high waistline from the Regency era but it is at a lower placement, lying above the natural waistline (Franklin, 2020).

Fig 9: Matching lavender Regency spencer and dress.

Dresses – After 1825 the waistline dropped to just above the natural waist. The shape of the skirt was straight but after 1825 it gradually became triangular, gathering mainly at the back. Sometimes the front was slightly pointed. The dresses are ankle-length, with the bottom being highly decorative (Waugh, 1968).

The skirt gathering was concentrated at the back unlike the front which was smooth.

Day dresses were made in cottons, silk, satin, and muslin.

Colours – still white, but more brighter colours were introduced (Waugh, 1968).

Fig 10: Dress back view

Fig 11: Matching pink spencer and dress.

Middle fig 12: White dress with red embellishments.

Right fig 13: Blue walking dress.

Left

Sleeves – usually short or long sleeve with gigot style at the head. Some dresses had the historical inspired ‘Maria Medici’ or ‘Marie’ sleeve (figure 14 on the left), bands around the arm. Another popular style was a short sleeve with a transparent long sleeve on top (Franklin, 2020).

Shoes - Half-boots were acceptable for morning/walking wear. Made from leather, cotton jean (V&A 2003). Pumps were for evening wear mainly, made from satin/silk and had fabric decorations. Both shoes lace up or lace around the ankle (Cunnington, 1938).

19:

Pelisse (carriage dress) is an outer coat, made like a dress but has an open front, (or there was a pelisse-robe which is a dress inspired by the coat). Worn over a dress, it continued the empire style waistline, high neck and floor length. Made from silk, cotton, wool and came in a range of colours like pink, brown, red. The military decoration is inspired by the Hussar regiments with fur trims and braiding (Libes, 2020). It is fastened down the whole centre front with hooks and eyes or bows (Cunnington, 1938).

Left Figure 15: Brown Pelisse.

Right Fig 16: Pink Pelisse.

17:

Spencers were still worn. The jacket hemline matches the waistline of the dress. Again, it has the hussar/military inspired braiding. Coming in a range of colours, varying from bright e.g., red and blue to darker tones (Franklin, 2020).

18 | Page

Figure

Blue half boots.

Figure 20: White half boots.

Figure 21: White pumps with blue pompoms.

Figure

Military inspired blue spencer.

Figure 18: Dark green Spencer.

Hats – bonnets, mob caps were the most popular choices for hats. The hat had to go with the hair, a wide tall brim would reveal the curly fringe but the crown would cover the bun (V&A, 2007). They could be made from, satin, cotton, velvet, crepe, silk and muslin, and usually matching in colour with the dress or coat. Decorated with flowers, lace, feathers ribbons, bows and pearls. Mob caps are worn by married or mature women (Waugh, 1968).

Jewellery – women would wear necklaces, brooches, earrings, bracelets and hair pieces. Usually made with gold or silver and decorated with pearls, semi-precious stones (like turquoises, topaz and amethyst) (Waugh, 1968).

Fig 24: Amethyst and gold necklace.

Fig 25: Pearl necklace.

Fig 26: Lapis Lazuli and gold hair comb.

Fig 27: Sliver flower brooch.

Fastenings - hooks and eyes, fabric covered buttons or mother of pearl.

Popular colours - pink, violet, olive green, blue, bright colours, yellow, scarlet, red.

Fabrics – silks, muslins, cambric, satin, tulle, cotton, challis, cashmere, merino for day wear. (Waugh, 1968 and Cunnington, 1938).

Gloves were an essential accessory for women, if a woman did not wear gloves she was considered undressed. Made from leather, kid leather, silk, in colours like blue, black, pink, yellow, white and ivory. Sometimes embroidered with flower and leaf designs. (V&A, 2008)

Fig 28: White embroidered glove.

Fig 29: Yellow kid leather glove.

Fig 22: Blue Bonnet.

Fig 23: Lace mob cap.

Stays were worn over the shifts, creating the overall shape of the garment; they were lighter to wear as there was less boning. Short stays ended at the bust and was made from cotton twill, and long stays were to the hips smoothing the waist, again made from cotton and had a busk in the centre line at the front (Davidson, 2019).

Fig 31: 1820s corset.

For underwear, women would wear shifts or a smock (long tunic to the knees usually made from linen or cotton and a matching neckline to the dress), a chemisette (covered the neckline), (Davidson, 2019).

Fig 30: Chemise.

Chemisette and Fichu - made from white muslin, lace, cambric, tulle and lawn.

Chemisette has a square collar with a tie and a fichu is a triangle shaped fabric, both are used to fill in the open front. They also wore ruffs, falling collar (Vandyke), pelerine fichu (Cunnington, 1938).

Fig 32: Tucker and ruff.

Fig 33: Chemisette.

Petticoats were worn as they shaped the skirt and kept the wearer warm, made from cotton, lawn or linen. Held up by a bodice or straps attached at the waist (Samantha Bullet, 2021).

Fig 34: Petticoat.

Drawers came into fashion in 1805, were either joined at the crotch or just two legs on a waistband (Bennett, 2021).

Fig 35: Drawers.

Stockings – made from cotton, silk or wool in a variety of colours and patterns but white was the popular choice. Worn above the knee and tied with ribbons or tape (V&A, 2009 and Waugh, 1968).

Fig 36: Stockings

1820’s Women’s Fashion (Lower Class)

Bedgowns – have long sleeves, the length goes to the hips and is tied using a tie or apron around the waist. Younger women would tie it higher to achieve the fashionable silhouette. Made from cotton, and coming in plain and a variety of patterns like check or floral (Hazzard, 2024).

Working class/poor women didn’t own a lot of clothing, they would have one or two complete outfits, a working outfit and (if they could afford one) a ‘Sunday best’ outfit. The working one would be practical for working on farms, fields, but still follows the fashionable silhouette and ‘Sunday best’ would be their finest, most up to date garment (Farmery, 2019). Clothing from past decades would be passed down from the rich to the staff/poor, and they would alter them to reflect the new fashions and silhouettes.

Their skirts would be a few inches shorter (Karolina Zebrowska, 2020).

Open robe - was popular with country women. It is a fitted bodice like the bodices in Robe à l'Anglaise and Robe la Polonaise. It has elbow length sleeves, paired with a second long petticoat, either hitched at the back like robe polonaise or not (Hazzard 2024). The second petticoat would be fastened on the side to access the pocket (Samantha Bullat, 2021).

Short gown is an easy to wear and practical garment for working, (also worn by the higher class as an informal garment). It is a simple constructed garment, elbow length sleeves and the gown length can go from below the bust to hip. Paired with a skirt/ coloured second petticoat (Samantha Bullat, 2021).

Figure 43: Short gown.

Figure 37: Women’s working-class fashion.

Left Fig 40: Robe à l'Anglaise.

Middle Fig 41: Robe à la Polonaise.

Right Fig 42: Working class version of the Robe à la Polonaise.

Left Fig 38: White bed gown.

Right Fig 39: Bed gown with apron and shawl.

Dress – In the style of empire line silhouette. It would close at the front lining first and then the dress would close with a drawstring in the neckline and waistline. It’s allowed to be adjusted without having to buy new clothes. Paired with a neckerchief and apron (Samantha Bullat, 2021). It would be in either plain or printed cotton and variety colours, and less embellishment than the higher class (they could afford to keep the white clothes clean) (Hazzard, 2024).

Left figure 44: Striped blue dress.

Middle figure 45: Purple dress.

Right figure 46: Cream flower pattern dress.

Girls/Young women – same style of dress as the adults but the hems would be shorter, about calf to ankle length and then would drop just above floor when she is in her teen years, (Franklin, 2020). Fig 47: Girl’s brown dress.

Left figure 48: White apron.

Middle figure 49: Blue check apron.

Right figure 50: Blue sacking apron.

Aprons were an essential for day wear, and when working. Made from cotton or linen and it came in many colours and prints. It was tied high waisted to give the illusion of a Regency silhouette (Samantha Bullat, 2021).

Another type of apron was a sacking apron, used for jobs that was dirty like collecting vegetables. It is a long apron styled by hitching the hem into the waistband to create a pocket/bag, (Richmond, 2013).

Some working-class girls had a one-piece dress with an apron or pinafore on top (Richmond 2013).

Accessories – neckerchief was worn in the day, to cover the neckline from the sun or the cold weather (Samantha Bullat, 2021).

Could be tied around the shoulder or tucked into the neckline. It is triangular in shape and made from plain/floral/check/colourful muslin or cotton. Some neckerchiefs had embroidery (Hazzard, 2024).

Close up of Fig 47: Plain white neckerchief.

Fig 51: Check neckerchief.

Shawls - these would be made from wool, coming in colours like red, blue, black and white with a variety of patterns. They would style them either criss-cross or slightly overlapping, then tucked into the apron (Richmond, 2013). Fig 52: Yellow shawl tucked into apron.

Fig 50: Yellow shawl tied at the front. Close up of Fig 49: White shawl crisscross at the front.

Hats - women would wear a bonnet or mob cap (Richmond, 2013). Straw or black silk bonnets were a popular choice. They were tied with ribbons under the neck and depending on if they had money to spare, they could decorate it. Mob caps are made from cotton and more likely to be worn by older/married women (Hazzard, 2024). Fig 42: Black bonnet.

Fig 54: Straw bonnet.

Fig 55: Lace bonnet.

For outer wear women would wear shawls, borrow their father’s/brothers/husbands’ overcoat and cloaks. In 1820s a scarlet red cloak was a popular choice for women, but also it came in many colours (Hazzard, 2024).

37: Scarlet red

Shoes – women would wear half boots, or ankle height shoes. They would be made from leather and tied with laces. (Hazzard, 2024). Fig 56: Black ankle shoes.

Fig 57: Light brown half boots.

Fig

cloak. Fig 53: Shawl paired with arm warmers and an overcoat.

Undergarments – women would wear a shift/chemise, stays, petticoat and stockings underneath outerwear, (Richmond, 2013). Most of the undergarments would be made from linen or cotton as they would be washed the most.

Shifts are a loose shapeless garment with short sleeves and drawstring in the neckline, (to adjust) they are worn first to protect the skin and keep the outerwear clean. (Hazzard, 2024).

Women would either wear short stays or Regency corset or 1780s stays. Worn over the shift. It is made from either leather, canvas or linen with tape for the boning channels (Samantha Bullat, 2021).

Left fig 59: Regency corset.

Middle fig 60: Short stays.

Right fig 61: 1780s stays.

Petticoats were made from the same fabric as the dress or from old gowns. To match the high waistline, petticoats length started from the bust to above skirt length. Held up with straps or an attached sleeveless bodice (Samantha Bullat, 2021). Pockets were attached on a tape, tied around the high waistline (Hazzard, 2024).

Stockings - made from wool or cotton and came in many colours. Tied above the knee with tape or ribbons (Samantha Bullat, 2021).

63: Stockings.

Fig 58: Shift.

Fig 62: Petticoat.

Fig

1820s Men’s Fashion (Higher Class)

Like women’s fashions, men’s fashion transitioned due to the Romanticism influence in this decade it was fashionable to have a broad chest and toned legs (this was achieved through padding) and also followed the women’s nipped waistline, puff sleeves (Franklin, 2020). The elements of everyday were coat, shirt, waistcoat, trousers or pantaloons and shoes.

Dress coat – is a formal tailcoat with a straight cut along the waist, and tails at the back. It had a longer body shape and stiff collar unlike previous decades. Worn as single or double breasted. However, it was fashionable to have it a smaller size, to reveal the waistcoat, shirt and cravat (Waugh, 1964).

64 – Dress coat.

There were a few coats men could wear, but this depended on how formal the event/situation was. All coats were usually in dark colours like blue, green, claret, brown and black, and made from wool, broadcloth and kerseymere. For facings velvet and silk was used (Waugh, 1964). In this decade they would have gigot sleeves in coats, following the women’s puff sleeves in dresses (Edwards, 2020).

Morning coat –from the previous decade of riding coats. It is also a formal tailcoat but the front slopes into the tails at the back (Waugh, 1964).

65: Morning coat.

Frockcoat – is an informal coat. This came into fashion in 1811 and was like a greatcoat but with a fitted body and full square skirts to the knee (Franklin, 2020). Worn as single or double breasted (Waugh, 1964).

Fig 66: Frock coat.

Fig

Fig

Like coats there were a few options for leg wear. Trousers and pantaloons were most likely to be worn rather than breeches. They would be in a lighter colour than the coats; colours like white, cream, light grey, fawn, tan and made in corduroy jersey-weave, linen, buckskin, merino, cashmere, kersey meres, cotton drill and linen (Waugh, 1964). All had braces to hold them up.

Trousers – originally were informal day and evening wear until 1825 when they became general wear. Like pantaloons in length, but they were looser in style. The popular type of trousers is the Cossack style which is full trousers, gathered or pleated into the waistband and taped into the ankles (Waugh, 1964 and Franklin, 2020). The fastening was fall-fronts, which is a flap at the front, fastened with buttons.

Fig 67: Trousers.

Pantaloons – Replaced breeches as formal evening wear (Franklin, 2020). Pantaloons were fitted quite tightly, almost like modernday tights. They went to calf length but after 1817 they dropped to ankle length; this had a button fasten side slit with an instep strap under the foot (Waugh, 1964). A fall-front fastening. Some evening pantaloons would be made from silk crepe (Edwards, 2020).

Fig 68: Pantaloons.

Breeches – was considered as daywear until 1830s, then worn by unfashionable gentlemen, and also for sports/country wear. It had a fall-front fastening (Waugh, 1964). The length was to the knee, fastened with buttons, buckles, or ties (Edward, 2020).

Fig 69: Breeches.

Waistcoat – Worn all the time and was usually the most decorative garment in a man’s outfit (Franklin, 2020). Either single or double breasted, collars were either a stand, rolled or absent and the waistline was cut straight (following the coat). To achieve ‘Pigeon Chest’ silhouette two or more waistcoats were worn at the same time. Made from rich materials, plain or patterned (Waugh, 1964).

Fig 70: Red waistcoat.

Fig 71: Green silk waistcoat.

Underwear – Men would wear in order shirts, drawers and stockings.

Shirts - It was a square shape shirt (Edward, 2020). Usually a tall collar (going to the chin), attached to the shirt and starched to keep shape. In 1820s a separate collar came into fashion (Waugh, 1964). The front panel either had pleated or tucked panels for daywear and in eveningwear it was frilled. Made from white cotton or linen so it was made to be washable (Franklin, 2020). Fig 72: Shirt.

Drawers - worn under legwear. It had a waistband with button fastener, knee length with ties. Made from white linen, cotton and flannel (V&A, 2009).

Fig 73: Drawers.

Stockings – Some men would pad their stockings to achieve the toned look (Franklin, 2020). It was knee length. Made from silk, cotton and came in a variety of colours (V&A, 2009).

Fig 74: Stockings.

Neckwear - Stocks were a stiffened shaped band with a buckle/tie or hook and eye back fastener (Edward, 2020). Made from either horsehair or buck ram and covered with linen, velvet, satin or silk. Came in white or black. Usually fully covering the neck. A trend started by King George IV and military uniforms (Waugh, 1964).

Fig 75: Stock.

Cravat - was another popular neckwear choice. It is either a large triangle or square shape which is folded and wrapped, tied around the neck. Made from muslin, lawn, silk and satin. Formal colours were white and black but it could also come in other colours or patterns. There are different ways to tie a cravat, see Fig 76 (Waugh, 1964).

Accessories - At the waist seals and fobs were attached to a watch chain. Top hat was the main headwear (Franklin, 2020).

77: Fob seal.

Fig 78: Top hat.

Fig

1820s Men’s Fashion (Working/Middle Class)

The working class didn’t own a lot of clothing, they would have one or two complete outfits; a working outfit and Sunday best outfit. The country people did follow the fashions but durability and practicality were the priorities, (Farmery, 2019). All men would have the same elements in clothing but had small differences due to their role and job. For example, a hat, coat, shirt, waistcoat, breeches, stockings and shoes. Old clothing would be altered to reflect the new fashions and silhouettes. This would be past down from the rich to the staff/poor (Edwards, 2020).

Coats – Lower class men wore the same style coat but in a plainer cheaper fabric (Shedd, 2021). They would wear the tailcoat or a frockcoat, made from wool or cotton (De Marley, 2022).

Imitating the styles of the wealthy, but would have signs of wear, some men trimmed down their tails to make manual work easier (Edwards, 2020). Fig 80: Tailcoat.

Some middle-class men and merchants preferred the frockcoat, as it was suitable for most occasions, more comfortable and affordable to wear than dress coats. The length of the coat depended on their age and occupation (De Marley, 2022). Brown, blue and black were popular colours.

Smock - a practical garment, used mainly by rural working-class men (e.g. shepherds). It would be worn over their shirts and trousers to protect their clothing (Cunnington and Lucas, 2024). It is a long sleeve linen garment, with a cape like collar and decorative smocking (Shedd, 2021). Worn with trousers or breeches with gaiters. Came in white, grey, blue and red (Richmond, 2013).

Fig 83: Farmer’s smock.

Fig 84: Surrey/Sussex smock design.

Fig 81: Engraving of man’s working-class tailcoat.

Fig 82: Frock coat – depending on age and profession.

Fig 79: Men’s merchant class fashion.

Depending on the age and job the person had, they would either wear trousers or breeches (De Marley, 2022). Both had the fall-front flap fastening, and made from heavy cotton, corduroy, uncut velveteen, mole skin or linen. Some breeches were made from leather because of the durable quality (Farmery, 2019).

Breeches – older men preferred wearing or some jobs required breeches. Breeches went to the knee (Lansdell, 2020).

Fig 86: Breeches.

Trousers were associated with the lower classes at the beginning of the 19th century. Many sailors wore these for protection and for more movement (Edwards, 2020). In the mid-1810s trousers replaced breeches in general wear. They were ankle length but some men would style it folded up, like breeches (Lansdell, 2020).

Fig 85: Trousers.

Waistcoat – same style as the higher class and is the most decorative garment in a men’s wardrobe, depending on what they could afford. For middle class, colourful waistcoats were only for social calls or to wear at home. Made from cotton, wool or linen (Edwards, 2020). Colourful printed cotton became the popular choice for waistcoats (Farmery, 2019).

Fig 87: Black waistcoat.

Fig 88: Red striped waistcoat.

Accessories – were not just decorative but had a functional purpose. Neckties and handkerchiefs were worn around the neck for warmth in the colder months (Edwards, 2020). Depending on the person could afford, neckties/handkerchiefs were made from silk, satin, muslin or starched velvet and coming in plain or colourful patterns. Merchants and middle class would have worn cravats (Farmery, 2019).

Fig 89: Red patterned necktie. Fig 83: Yellow patterned necktie.

Hats – a top hat for middle class (De Marley, 2022). A ‘John Bull’ top hat (shallow curved brim), top hat or ‘Billy Cock’ hat were a popular choice with lower/working class (Edwards, 2020).

Shoes – Working class and middle class could have boots or buckled shoes. Both shoes and boots are made from leather (Farmery, 2019).

Left fig 95: Black buckled shoes.

Right fig 96: Brown boots.

Underwear – same as the higher class, they would wear (in order) shirts, drawers and stockings. All undergarments are made from linen or muslin so for ease of washing (Farmery, 2019). After the mid-1820s shirts were made from cotton, (Shedd, 2021).

Top left fig 92: Shirt.

Top right fig 93: Drawers.

Right fig 94: Stockings.

Fig 81: ‘John Bull’ top hat.

Fig 90: Top hat.

Fig 91: ‘Billy Cock’ hat.

Fig 97 - This is a Robe a la Francaise. Although it is from a different period and from a higher class, from research, the working class would wear a handed down 18th century bodice (Hazzard, 2024).

These V&A dresses are from the Regency era, having the iconic empire waistline and figures 102/103 has the romantism waistline.

Fig 98: Lavender Spencer and dress.

Fig 99: Black and red patterned dress.

Fig 100: Day dress.

Fig 101: Evening dress.

Fig 102: Pink striped evening dress.

Fig 103: Mourning dress.

Fig 98

Fig 99

Fig 100

Fig 101

Fig 103

Fig 102

Fig 104: This petticoat from the 1820s, has a bodice and skirt attached together. The under-sleeve puff is from the 1830s.

105: ‘St Michael's Mount, Cornwall’ painting by J.M.W. Turner showing working class fashion, in a town dependant on sea trade.

Fig 106: ‘Bulls Fighting, with a View of Donatt's Castle, Glamorganshire’ painting by James Ward showing the short gown and skirt/petticoat that lower/working class women wore.

Figures 107 and 108: ‘A Cornfield’ painting by Peter De Wint. This shows working/lower class fashion for both men and women. The women are wearing mob caps and hats, and how they wear their shawls. For the men showing their waistcoat and shirt.

Fig

Fig 109: This is a 1850s painting called ‘The Good Harvest of 1854’ by Charles Allston Collins. Although it’s a few decades later but it shows children’s aprons style and the colours used.

Fig 110: ‘Head of a Lady’ by John Wood. This is a painting from the 1820s showing the fashionable classical hairstyle.

Figures 111 and 112: These are fashion plates from the 1820s for women and men. They show the silhouette and the higherclass fashion that they would have worn.

Fig 113: ‘The Resting Horseman’ by Louis Le Nain in 1640s. Although this painting is from the 1640s shows a woman’s short gown with an apron and fichu.

Fig 114: ‘Seed Time’ by John Frederick Herring (Sr.) This painting shows a farmer’s smock. This is worn in the fields to protect their clothing.

National Gallery/National Portrait Gallery

Fig 115: This is Princess Charlotte (by George Dawe, 1817); she was going to be the Queen of England but died in childbirth. Her dress is very decorative and luxurious. She has the iconic Regency dress and the classical hairstyle.

Fig 116: This is Mary English, (1818) she was an adventurer. She is wearing a turban, this was another popular choice in headpieces because of the influence from other countries, due to the wars.

Fig 117: Portrait of the Countess Vilain XIIII and her daughter, by JacquesLouis David (1816) Showing the Regency fashion and the higher class using luxurious fabrics.

Figure 118: Munnoo and William Hickey by William Thomas (1819) fashion for tailcoats, waistcoats and pantaloons. Also, how outfits were styled and the colour combinations.

Fig 119: Portrait of LouisAuguste Schwiter by Eugène Delacroix (1826-1830). In this painting, he is wearing an allblack outfit - with, frockcoat, waistcoat, and pantaloons. It depicts the shirts high collar.

Displaying the different ways men tied their cravats.

Left fig 120: John Constable. Middle fig 121: John Thelwall.

Right fig 122: John Polidori.

Showing working class boys’ fashion, they are wearing colours not just brown.

Depicting a working-class family.

Fig 125: The Hay Wain by John Constable (1821). This shows farmers work attire.

Fig 123: The Cornfield by John Constable (1826).

Fig 124: The Market Cart by Thomas Gainsborough (1786).

AUB Archive – Men’s Shirt

Figure 126 and 127: Regency men’s shirt. Handmade from linen. We can see the square cut of the shirt.

Figure 132: A gathered cuff, again a Dorset button to fasten it.

Figure 128: hand embroidered the date of creation.

Figure 129, 130: the collar has two buttons, probably to fasten it. The buttons are Dorset buttons.

Figure 131: the gathered ruffled front has no buttons or fastenings.

Characters

Cheat Sheet

Maria

Played by Zara Morgan

• Design

• Pictures

• Measurement sheet

• All Fitting pictures and notes

• Pre-assessments pictures and notes

• Costume Breakdown

Design

Full length Images

Front Back Side

Measurement Sheet

First Fitting

Fitting notes:

• Potentially could add blood but need to check with Jen - could be the only smock in store.

• Need to roll sleeves.

• Change neck scarf – make handkerchief (make square and fold into a triangle) – talk to Dora.

• Take up hem to avoid it looking too much like a nightgown/dress.

• Longer socks? Dirty legs? Bigger?

• Bralette okay

• Need to find Shoes - Zara will need insoles for brown boots.

Front Back Side

Front Back Side

Pre-assessment notes:

Pre -assessment

Front Back Side

• Earrings – the pearl drop isn’t right, need to take off.

• Trousers adjusted to the pictured length, tuck in one side of the (right) of the nightgown.

• Trousers - mismatch good, uneven length.

• Nightgown too long, needs to be shorter or hemmed. Roll the sleeve up (on the right). – Nightgown will be hemmed and uneven (as pinned).

• No chemise with the costume.

• Blood to be added onto the necktie and smock.

Costume Breakdown

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Zara Morgan

Character Maria Marten (Narrator)

Show Dates 14th-16th March

Costume Item Buy/Make /Hire/Store

Earring

Handkerchief

Bralette

Smock

& Price Image

Trousers AUB Costume store N/A

Socks AUB Costume store N/A

Boots AUB Costume store N/A

Lucy Baalham

Played by Abigail King

• Design

• Pictures

• Measurement sheet

• All Fitting pictures and notes

• Pre-assessments pictures and notes

• Costume Breakdown

Design

Full length images

Measurement Sheet

First Fitting

Fitting notes:

• Petticoat/corset/chemise is okay.

• She will wear the tatty brown shoes – check right inside heel.

• Petticoat - take bum pad out.

Fitting notes

cont’d:

• Brown Skirt - Sort out the caught pleats.

• Redo skirt hem.

• She will have both white and khaki apron.

• Potentially apron change for when she is a housemaid.

• Headscarf - Smaller triangle in faded yellow or beige.

• Transition in clothing from being a child into an adult. Ideas - sew brown button and loop onto brown skirt to make hem shorter.

• Need to play around with the ideas.

Second Fitting

Fitting notes:

Ensemble

• Knock back the colour with dirt or tea stain the white tights.

Fitting notes:

Brown Skirt

• Re sew the loose hook and bar on the skirt.

• There are still pleats caught in the waistband, so redo the pleats again.

• Do the hem on a mannequin with petticoat underneathCan be roughly hemmed or tacked for preassessment but waistband needs to be fixed.

Waistcoat

• Lapels need be tacked down as pinned.

Aprons

• Lucy will have the grey/dirty child apron and the green apron.

• Green apron waistband needs to be halved.

• Green apron needs to be re-pleated where pinned.

• Add darts where pinned.

• Remove pocket.

Cherry Fair apron

• Need to square off the side hem.

• White apron waistband needs to be matched to the skirt waistband.

Pre -assessment

Pre-assessment Notes:

• Ensemble – corset and petticoat. Chemise

• Sleeves still have pins in them – need to tack them.

Pre-assessment Notes:

• Child – Pinafore apron, and main outfit. Headscarf

• Remove the headscarf when she is a child, and just wear it as an adult.

Pre-assessment notes:

• Main outfit – Brown waistcoat, brown skirt and apron.

Main outfit – Adult apron

• Redo pleats (4 pleats in total – double pleats on both sides) – with 4 inches between at the front, so it is narrowed by a couple of inches at the side. The next pleats should be alongside the first pleats – as pinned (went over with Sarah, pinned on the apron).

• Abi wearing white apron for when Lucy is a housemaid and in her being fired scene, then after she’s fired, she changed into the khaki/beige one.

Pre-assessment Notes: Cherry Fair apron

• Will wear the green/white flower crown with white ribbon.

• The ‘Austrian knot’ style apron.

• Green and white flower crown.

Pre-assessment notes: For the last scene

• She will wear the green and brown shawl.

• Look for a separate 18th century pocket for this costume –for tinderbox.

Costume Breakdown (Ensemble)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Abigail King

Character Lucy Baalham

Costume/Scenes Ensemble (In scenes act1 scene 1, Act2 scene1)

Show Dates 14th-16th March

Costume Item Buy/Make /Hire/Store

Chemise

Corset

Supplier & Price Image

Costume Breakdown (Main Child)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Abigail King

Character Lucy Baalham

Costume/Scenes Act 1 Scene 2-5

Show Dates 14th-16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble

(refer to ensemble costume breakdown)

Waistcoat

Skirt AUB Costume Store N/A

Child Apron AUB Costume Store N/A

Costume Breakdown (Main Adult)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Abigail King

Character Lucy Baalham

Scenes Majority of the play (white apron for Act 2)

Show Dates 14th-16th March 2024

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Headscarf

Waistcoat

Skirt AUB Costume Store N/A

Adult Apron AUB Costume Store N/A

Housemaid Apron AUB Costume Store N/A

Costume Breakdown (Night)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Abigail King

Character Lucy Baalham

Scenes Final scene

Show Dates 14th-16th March 2024

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Main Outfit

(refer to main outfit costume breakdown)

Scarf

Pouch

Costume Breakdown (Cherry Fair)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Abigail

Character Lucy Baalham

Costume/Scenes Cherry Fair (Act 1 scene 15)

Show Dates 14th-16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble

(refer to ensemble costume breakdown)

Flower crown Buy Shein

All the flower crown total (£39.90)

Cherry Fair Apron Make White Silesia

All the fabric for the aprons total (£56)

Phoebe Stowe

Played by Kate Maryon

• Design

• Pictures

• Measurement sheet

• All Fitting pictures and notes

• Pre-assessments pictures and notes

• Costume Breakdown

Design

Full length images

Front Side Back

Measurement Sheet

First Fitting

Fitting Notes:

Ensemble #1

• Fix hole in the side of bloomers.

• Need white tights on.

Fitting notes:

Ensemble #2

• Need white tights on

• Add bar to petticoat.

Fitting notes:

Ensemble #3

• Need white tights on

• Tack the cinch flat on the back of the waistcoat.

Fitting notes:

Main outfit

• Remove poppers from dress.

• Iron out old hemline.

Second Fitting

Fitting notes:

Ensemble

Fitting notes:

Main Outfit dress

• Need to redress as chemise is pointy.

• Knock back the colour or tea stain the white tights.

• Dress is good.

• Needs a new chemise.

• Child apron – need to dye a blue colour.

Fitting notes: Main Outfit

• Take the wristbands in.

• Added a black shawl – need look at other shawls.

• Need to check research on how to dress the shawls.

Fitting notes: Cherry Fair

• White apron side edges need to be straightened off as pinned.

• Waistband needs to be sewn as pinned.

• Red Cherry Fair handkerchiefs kept in waistband.

Pre -assessment

Pre-assessment notes:

Ensemble

• Is fine.

• Corset and drawers for ensemble.

Pre-assessment notes: Child apron

• Blue apron.

• Need to dirty the apron.

• Trim down arm warmers seam allowance.

• Add dress shields to Kate’s dress.

Pre-assessment notes:

Main adult outfit

• Beige dress, brown apron, blue arm warmers and tartan shawl.

• Cut shawl down to reduce the bulk and then add poppers to the shawl and the apron to hold in place.

Pre-assessment notes:

Cherry Fair

• Flower and leaf design apron, with blue flower crown.

• Apron was fitted to the Regency dress, as it didn’t sit right, so need to adjust waistband and straps. Adjust apron length (just been folded up)

• Petticoat could also be taken in as pinned.

Pre-assessment notes:

Night Scenes

• Wearing blue and gold long tartan cape for nighttime scenes.

Costume Breakdown (Ensemble)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Kate Maryon

Character Pheobe Stowe

Scenes Act 1 scene 1, Act 2 scene 1

Show Dates 14th-16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Chemise AUB Costume Store N/A

Corset AUB Costume Store N/A

Bloomers AUB Costume Store N/A

Costume Breakdown (Main Child)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Kate Maryon

Character Pheobe Stowe

Scenes Act 1 scene 2-5

Show Dates 14th-16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble

(refer to ensemble costume breakdown)

Regency Dress

Costume Breakdown (Main Adult)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Kate Maryon

Character Pheobe Stowe

Scene Majority of the play

Show Dates 14th-16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Shawl

Costume Breakdown (Night)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Kate Maryon

Character Pheobe Stowe

Scene Act 1 scene 9, 20. Act 3 scene 5

Show Dates 14th-16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Main Outfit with no shawl or apron (refer to ensemble

Arm

Costume Breakdown (Cherry Fair)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Kate Maryon

Character Pheobe Stowe

Scene Cherry Fair (Act 1 scene 15)

Show Dates 14th-16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble

(refer to ensemble costume breakdown)

Flower crown Buy Shein

All the flower crown total (£39.90)

Cherry apron Make (by Nicole Tak Fun Yeung) White Silesia

All the fabric for the aprons total (£56)

Teresa Havers

By Leyla Akdag

• Design

• Pictures

• Measurement sheet

• All Fitting pictures and notes

• Pre-assessments pictures and notes

• Costume Breakdown

Design

Full length images

Front Side Back

Measurement Sheet

First Fitting

Fitting notes:

Underwear

Fitting notes:

Main Outfit

• Fix hook and bar on petticoat.

• Need white/off white/cream/beige stockings.

• Shayla’s boots are okay.

• Petticoat length okay.

• Nice texture skirt.

• Darn hole in bottom of skirt.

• No to this apron.

Fitting Notes:

• Pink Apron is good.

• Needs a bodice – perhaps a higher neckline bodice.

• Using the stone wide knit shawl.

• Need arm warmers - Look at leg warmers – maybe a brown knit.

• Dye child apron purple.

• When playing children: potentially have 5 mock caps - check we have got them or make for CPD.

Front Back Side

Second Fitting

Front

Fitting notes:

Ensemble

• Breeches – at the centre back take in 8cm (following old markings). Grade it out to the bottom as bottom is too full.

• Change breech laces to white.

• Add 7mm elastic to blouse cuffs. Measure Leyla’s bicep measurement to make sure elastic is not too tight.

• Knock back the colour or tea stain the white tights.

Back Side

Fitting notes:

Main Outfit

• Pink dress is okay.

• Arm warmers need to be taken in as pinned.

Fitting notes: Child Outfit

• Purple apron is okay.

Fitting notes: Main Outfit

• Shawl needs to be crossed over and tight for dressing.

• Apron need to be taken up at the hem.

• Apron waistband needs to be halved.

Fitting notes: Cherry Fair

• White apron waistband needs to be sewn together as pinned.

• White apron side hem needs to be squared off.

Pre -assessment

Pre-assessment notes:

Ensemble

• Ensemble is okay.

• Chemise, corset and breeches.

Pre-assessment notes:

Child Outfit

• Petticoat, dress, purple apron for child.

• Apron is okay.

• Dress is okay.

• Arm warmers seam allowance need to trim down.

Pre-assessment notes:

Main Adult outfit

• Shawl is okay.

Pre-assessment notes: Cherry Fair

• Apron fits okay.

• Apron needs dirt added and take it up where pinned.

• Need to paint a design on apron.

• Wearing purple flower crown and ensemble costume.

Pre-assessment notes: Night scenes

• Wearing the green cape with the tie dye circles.

Costume Breakdown (Ensemble)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Leyla Akdag

Character Theresa Havers

Scene Act 1 scene 1, Act 2 scene 1

Show Dates 14th - 16th March

Costume Item Buy/Make /Hire/Store

Chemise

Corset

Breeches

Costume Breakdown (Main Child)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Leyla Akdag

Character Theresa Havers

Scene Act 1 scene 2-5

Show Dates 14th - 16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Costume Breakdown (Main Adult)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Leyla Akdag

Character Theresa Havers

Scene Majority of the play.

Show Dates 14th - 16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Dress Hire

Costume Breakdown (Night)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Leyla Akdag

Character Theresa Havers

Scene Act 3 scene 5

Show Dates 14th - 16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Main Outfit without apron (refer to main outfit costume breakdown)

Cape

Costume Breakdown (Cherry Fair)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Leyla Akdag

Character Theresa Havers

Scene Cherry Fair (Act 1 scene 15)

Show Dates 14th - 16th March

Costume Item Buy/Make /Hire/Store

Ensemble (refer to ensemble costume breakdown)

Supplier & Price Image

Flower crowns Buy Shein

All the flower crown total (£39.90)

Cherry Fair

Apron Make (by Nicole Tak Fun Yeung) White Silesia

All the fabric for the aprons total (£56)

Peter Mathew

Played by Archie Redgrave

• Design

• Pictures

• Measurement sheet

• All Fitting pictures and notes

• Pre-assessments pictures and notes

• Costume Breakdown

Design

Full length images

Front Side Back

Measurement Sheet

First Fitting

Fitting notes: Main Outfit

• Men’s black buckle shoe is good – needs polishing.

• Need black socks.

• Add buttons holes and buttons on the inside of the waistcoat.

• Extend the waistcoat cinch on the right-hand size through the buckle.

Fitting notes: Main Outfit Trousers

• Take elastic off the hem and take down the hem as far as it will go.

• Take ‘Austrian knot’ braid off.

• Make or get a cravat in blue.

Second Fitting

Fitting notes:

Ensemble

Fitting notes: Main Outfit

• Men’s black and brown riding boots are okay.

• Men’s shirt and cream trousers is good.

• Wears a cream waistcoat (see main outfit).

• Find another black top hat.

• Use measurement of brown top hat for the new black top hat.

Fitting notes: Main Outfit

• Cravat knot needs to be tight.

• Cravat fabric is too bulky needs to be a cotton lawn or turn the linen cravat into a stock.

Pre -assessment

Pre-assessment notes: Ensemble

• Will be wearing boots, are in cobblers currently.

Pre-assessment notes:

Main Outfit

• Navy velvet needed for Archie’s collar and lapels to be added to tie in with Amber’s sibling costume.

Pre-assessment notes: Cherry Fair

• No cravat or top hat.

• Will have blue tailcoat on for the scene.

Costume Breakdown (Ensemble)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Archie Redgrave

Character Peter Mathews

Scene Act Scene 1, Act 2 scene 1, Act 3 Scene

Show Dates 14-16th March

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Vest

Darcy men’s Shirt AUB

Waistcoat AUB Costume Store N/A

Regency Trousers AUB Costume Store N/A

Black with brown edged Boots AUB Costume Store N/A

Costume Breakdown (Main Outfit)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Archie Redgrave

Character Peter Mathews

Scene Majority of Act 1

Show Dates 14-16th March

Costume Item

Ensemble

Costume Breakdown (Cherry Fair)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Archie Redgrave

Character Peter Mathews

Scene Cherry Fair (Act 1 scene 15)

Show dates 14-16th March 2024

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Main outfit (refer to main outfit costume breakdown)

Red tie

Miss Pettigrew

Played by Sophie Shields

• Design

• Pictures

• Measurement sheet

• All Fitting pictures and notes

• Pre-assessments pictures and notes

• Costume Breakdown

Design

Full length images

Front Side Back

Measurement Sheet

1st Fitting

Fitting Notes

Underwear

• Need to find dress and shoes.

• Corset – check Avery’s one.

• Petticoat and chemise are okay.

Second Fitting

Fitting notes:

Ensemble

• Beige corset, shirt and petticoat.

• Re-attach loose hook and bar where marked.

• Repair pleat on the petticoat.

• Add more fastenings to the placket.

Fitting notes: Main outfit.

• Chemise is seen - it needs to be evenly dressed.

• Find and add a fichu, gloves (either look at Day of Dance or buy some) and jewellery.

• The dress might be shorter at the back but has been herringboned down.

• Knock back the colour or tea stain the white tights.

• Find another dress.

Fitting notes:

Main outfit cond.

• Change the gold gloves –another colour and length.

• Change fichu – find or make an aesthetically pleasing fichu.

Pre -assessment

Pre-assessment notes:

Ensemble

• Change the chemise to a vest-top.

• Petticoat and shirt okay.

Pre-assessment notes:

Cherry fair

• Wears orange and yellow flower crown and ensemble costume.

• Needs a painted apron.

Pre-assessment notes:

Main outfit/Polstead

• Add fastenings onto Regency dress.

• Regency dress needs a green ribbon with gold braid on the waistband.

• Need higher heeled shoes with dress.

• Dress paired with a 3-tiered pearl necklace and pearl bracelet. Band of pearls will be added in the hair.

Front Back Side

Costume Breakdown (Ensemble)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Sophie Shields

Character Miss Pettigrew

Scene Majority of the play

Show Dates 14-16th March 2024

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Vest AUB

Corset

Men’s Shirt AUB Costume Store N/A

AUB Costume Store N/A

Darcy

Petticoat

Costume Breakdown (Polstead)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Sophie Sheilds

Character Miss Pettigrew

Scene Polstead (Act 1 scene 13)

Show Dates 14-16th March 2024

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Green Regency dress with green and gold decoration

AUB Costume Store N/A

Pearl Bracelet AUB Costume Store N/A

Costume Breakdown (Cherry Fair)

Production The Ballad of Maria Marten

Designer Caitie Williams

Supervisor Rosie Maddox

Actor Sophie Sheilds

Character Miss Pettigrew

Scene Cherry Fair (Act 1 scene 15)

Show Dates 14-16th March 2024

Costume Item Buy/Make /Hire/Store Supplier & Price Image

Ensemble (refer to ensemble costume breakdown)

Flower

Crown Buy

Apron

Make (by Nicole Tak Fun Yeung)

Shein

All the flower crown total (£39.90)

White Silesia

All the fabric for the aprons total (£56)

Photos from the show

Photo credit: Bill Bradshaw.

Schedules

• 2nd Fitting schedule

• CPD List

• Tech/rehearsal schedules

2nd Fitting Schedule

CPD List

I was in charge of CPD. After every fitting I would make a list of what needed to be done. I would also keep track who completed the work, so we could credit them.

This is a small section of my CPD list.

Tech Week Schedule - Tuesday

Author: John Camble

Tech Week Schedule - Wednesday

Author: John Camble

Tech Week Schedule – Thursday

Author: John Camble

Tech Week Schedule - Friday

Author: John Camble

Tech Week Schedule - Saturday

Author: John Camble

Alterations/Additions I completed

Alterations – Pink jacket Green Dress

I herringboned the sleeves hems, and whip stitch the gap closed.

Fig 133-135: Pink jacket.

Fig 136: On stage.

I added the green ribbon and gold trimming to the waist. I tried to find a ribbon and trim that was similar to the trim on the sleeve. Also, I added the same way up as the sleeve. I machined the trim on to the ribbon first and then hand stitched it in place.

Fig 137-139: Green dress.

Fig 140: on stage.

Darning the skirt

This was a new skill. I mixed two threads together as the dress had many colours in it. If I had to do it again, I would have done it diagonally like the fabric.

Fig 141: Darning.

Adding military chevrons to the dress

After the 1st fitting the designer wanted a military inspired braiding on the dress. So, I looked at paintings with spencer jackets from the Regency era to create a design. The dress before

Fig 144: Creating and placing the tape and then hand stitching it

146: I got some CPD people to do the buttons.

Fig

Fig 145: Black braiding, I hand stitched it on.

Fig 17

142 Fig 143

Fig 147: on stage.

Blooding the smock and nightgown

To avoid putting blood on the smock, we created blood patches and then sew them on. We dyed patch fabric to match the smock and then used puff binder. We then painted blood using red and brown acrylic paint.

Maria nightgown – we bought the nightgown. We bloodied and dirtied the gown. This is after she gives birth on her own. The director wanted blood but was unsure if he wanted it be quite brutal and realistic. So, we add little bit of blood for the dress run. The director wanted more, we did and added blood in the crotch area.

Fig 148-150: Blooded smock.

Fig 151: On stage.

Fig 152-155: Blooded and dirtied down nightgown.

Fig 156: On stage.

Painting the Aprons

For Cherry Fair apron – the designer drew the designs on the apron. I painted some of them using red mixed with purple acrylic paint.

Dye Room – (Cravat & Arm warmers)

For the cravat – it was already a yellow colour, but the designer wanted a bit darker and gold-like. So, I did some samples with coffee, and yellow dyes. The one on the far right, it was too dark, so I put it in for a short amount of time and it created the middle was the perfect colour. Unfortunately, we didn’t use this in the production because of the fabric.

Fig 157: Dye room samples.

For the arm warmers – the two characters have a specific colour scheme. We bought leg warmers. I did samples for both colours before dyeing them. I dyed both of them in procion, but it wasn’t catching colour as well, (because it is acrylic wool) so I did disperse dye, unfortunately it stretched and distorted the fabric, I later took them in. I had to darken some of them afterwards. The designer was happy with the result. Fig 158-161: Dye room samples.

Dye Room – (Aprons)

All the Hazzard club characters have a specific colour scheme assigned to them, so as a team we dyed the aprons. These specific colour schemes helped the audience to recognise the characters after changes in age and situations. The designer wanted some of them to have toned down colours, so we put them in for less time. The blue apron had some patches so the next day, I when back and redyed it, I learnt to keep stirring the apron regularly, preventing patches. Fig 162-166: Aprons.

Fig 167 – showing the aprons in action.

Bibliography

Alexander, W (2010). Picturesque representations of the dress and manners of the English. [e-book]. London: Howlett and Brimmer. Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up [Accessed date: 15/02/2024].

Bennett, A. (2021). A Quick Guide to Our Regency Stays. [online].

Available at: https://redthreaded.com/en-gb/blogs/redthreaded/a-quick-guide-to-our-regency-stays. [Accessed date: 02/11/2024].

Bury St Edmunds, (2024). Murder In The Red Barn - What Happened?. [online]. Available at: https://visit-burystedmunds.co.uk/blog/red-barn-murder. [Accessed date: 16/02/2024].

Cunnington, P and Lucas, C (2024) Occupational Costume in England: From the Eleventh Century To 1914; Colour Frontispiece, 64 Plates and Over 300 Drawings. [e-book]. Available from: https://archive.org/details/occupationalcost0000phil_t6y8/page/n9/mode/2up2up [Accessed date: 15/02/2024].

Davidson, H. (2019). Dress in the age of Jane Austen. New Haven and London: Yale University Press.

De Marley, D. (2022.) Working dress: a history of occupational clothing. [e-book]. New York: Holmes & Meier. Available from: https://archive.org/details/workingdresshist0000dema/page/84/mode/2up. [Accessed date: 15/02/2024].

Drama Online. (2024). The Ballad of Maria Marten. [online]. Available at: https://www.dramaonlinelibrary.com/playtext-overview?docid=do-9781784606619&tocid=do9781784606619-div-00000004.

[Accessed date: 20/03/2024].

Eastern Angles. (2024). The Ballad of Maria Marten. [online].

Available at: https://easternangles.co.uk/archive/the-ballad-of-maria-marten. [Accessed date: 20/03/2024].

Edwards, L. (2017). How to Read a Dress: A Guide to Changing Fashion from the 16th to the 20th Century. [e-book]. Bloomsbury Publishing Plc, London. Available from: ProQuest Ebook Central https://ebookcentral.proquest.com/lib/aib/detail.action?docID=4746229 [Accessed date: 23/04/2024].

Edwards, L. (2020). How to Read a Suit: A Guide to Changing Men's Fashion From the 17th to 20th Century. 1st ed. London: Bloomsbury Visual Arts. Available from: https://www.bloomsburycollections.com/monograph?docid=b9781350071193.

[Accessed date: 04/02/2024].

Farmery, D. (2019). Dress Of The Working Classes. [online].

Available at: https://johnstoncollection.org/DRESS-OF-THE-WORKING-CLASSES~68701. [Accessed date: 05/03/2024].

Flintoff, B. (2021). The Ballad of Maria Marten. London: Nick Hern Books.

Franklin, H., 2020. 1820-1829. [online].

Available at: https://fashionhistory.fitnyc.edu/1820-1829. [Accessed date: 01/02/2024].

Friendship, E. (2018). Making Working Women's Costume: Patterns for Clothes from the Mid-15th to Mid-20th Centuries, The Crowood Press, London. Available from: ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/aib/detail.action?docID=5286754. [Accessed date: 17/04/2024].

Hazzard, K. (2024). Working Women’s Clothes, 1810-1820. [online].

Available at: https://www.95th-rifles.co.uk/civilian-clothing/working-women-clothes-1810-1820/. [Accessed date: 17/02/2024].

Karolina Żebrowska. (2020). Ok, But What Did Poor People Wear? Youtube. [online]. Available from: https://www.youtube.com/watch?v=hQ_ZD0dp9bw. [Accessed date: 15/02/2024].

Lansdell, A. (2020). Occupational costume and working clothes, 1776-1976. [e-book]. Aylesbury : Shire Publications.

Available from: https://archive.org/details/occupationalcost0000lans/page/30/mode/2up. [Accessed date: 15/02/2024].

Libes, K. (2020). Pelisse. [online].

Available at: https://fashionhistory.fitnyc.edu/pelisse/. [Accessed date: 20/02/2024].

Perrot, P. (2021) Fashioning the bourgeoisie: a history of clothing in the nineteenth century. [e-book]. Princeton, N.J.: Princeton University Press. Available from: https://archive.org/details/fashioningbourge0000perr/page/272/mode/2up2up. [Accessed date: 15/02/2024].

Richmond, V. (2013). Clothing the Poor in Nineteenth-Century England. [e-book]. Cambridge University Press, New York. Available from: ProQuest Ebook Central https://ebookcentral.proquest.com/lib/aib/detail.action?docID=1543587 [Accessed date: 15/02/2024].

Samantha Bullat. (2021). Regency Working Class Women's Clothing. Youtube. [online]. Available from: https://www.youtube.com/watch?v=tQwOilhVnmc [Accessed date: 15/02/2024].

Savage, W., 2018. Georgian Agricultural Labour: “Men as Machines”. [online]. Available at: https://penandpension.com/2018/06/13/georgian-agricultural-labour-men-and-machines/. [Accessed date: 11/03/2024].

Shedd, R. (2021) The Writer’s Guide to 1750-1800 Men’s Fashion. [online]. Available at: https://rebeccashedd.com/2021/04/23/the-writers-guide-to-1750-1800-mens-fashion/ [Accessed date: 11/03/2024].

Speccoll. (2020). Maria Marten and the Murder at the Red Barn. [online].

Available at: https://special-collections.wp.st-andrews.ac.uk/2020/04/15/maria-marten-and-the-murder-at-the-redbarn/.

[Accessed date: 15/02/2024].

Student. (2017). Robe À La Française. [online].

Available at: https://fashionhistory.fitnyc.edu/robe-a-la-francaise/ [Accessed date: 27/03/2023].

Taylor, R. (2023). Murder in the Red Barn - Maria Marten's Tragic Love Story. [online].

Available at: https://owlcation.com/humanities/Murder-in-the-Red-Barn. [Accessed date: 01/02/2024].

The Museum Of English Rural Life. (2024). Smocks, Smocking, Smocked. [online].

Available at: https://merl.reading.ac.uk/explore/onlineexhibitions/smocks/#:~:text=For%20centuries%20smocks%20were%20worn,%2C%20and%20'Sunday%20best'. [Accessed date: 17/03/2023].

V&A. (2007). Pair of Boots [online].

Available at: https://collections.vam.ac.uk/item/O75922/pair-of-boots-unknown/. [Accessed date: 14/03/2024].

V&A. (2007) Bonnet. [online].

Available at: https://collections.vam.ac.uk/item/O135244/bonnet-unknown/. [Accessed date: 14/03/2024].

V&A. (2008) Gloves [online].

Available at: https://collections.vam.ac.uk/item/O178856/pair-of-gloves-unknown/ [Accessed date: 14/03/2024].

V&A. (2009). Drawers (Underpants). [online].

Available at: https://collections.vam.ac.uk/item/O236205/drawers-underpants-unknown/. [Accessed date: 24/03/2024].

V&A. (2009). Pair of Stockings. [online].

Available at: https://collections.vam.ac.uk/item/O353067/pair-of-stockings/. [Accessed date: 15/03/2024].

Waugh, N. (1964). The Cut of Men's Clothes 1600-1900. London: Faber.

Waugh, N. (1968). The Cut of Women's Clothes 1600-1930.. London: Faber..

World4, (2021). The usual dress of the farmers’ servants in the southern parts of England. [online]. Available at: https://world4.eu/farmers-servants/. [Accessed date: 28/02/2024].

Worth, R. (2018). Clothing and Landscape in Victorian England: Working-class Dress and Rural Life. [e-book]. London: New York: I.B. Available from: http://dx.doi.org/10.5040/9781350985759. [Accessed date: 20/03/2024].

Wyver, K. (2020). The Ballad of Maria Marten review. [online].

Available at: https://www.theguardian.com/stage/2020/feb/14/the-ballad-of-maria-marten-review-red-barn-murder. [Accessed date: 20/03/2024].

References

Bennett, A. (2021). A Quick Guide to Our Regency Stays. [online].

Available at: https://redthreaded.com/en-gb/blogs/redthreaded/a-quick-guide-to-our-regency-stays. [Accessed date: 02/11/2024].

Bury St Edmunds. (2024). Murder In The Red Barn - What Happened?. [online]. Available at: https://visit-burystedmunds.co.uk/blog/red-barn-murder. [Accessed date: 16/02/2024].

Cunnington, C (1938). English women's clothing in the nineteenth century - a comprehensive guide with 1,117 illustrations. London: Faber& Faber

Cunnington, P and Lucas, C (2024) Occupational Costume in England: From the Eleventh Century To 1914; Colour Frontispiece, 64 Plates and Over 300 Drawings. [e-book]. Available from: https://archive.org/details/occupationalcost0000phil_t6y8/page/n9/mode/2up2up [Accessed date: 15/02/2024].

Davidson, H. (2019). Dress in the age of Jane Austen. New Haven and London: Yale University Press.

De Marley, D. (2022.) Working dress: a history of occupational clothing. [e-book]. New York: Holmes & Meier. Available from: https://archive.org/details/workingdresshist0000dema/page/84/mode/2up. [Accessed date: 15/02/2024].

Edwards, L. (2020). How to Read a Suit: A Guide to Changing Men's Fashion From the 17th to 20th Century. 1st ed. London: Bloomsbury Visual Arts. Available from: https://www.bloomsburycollections.com/monograph?docid=b9781350071193. [Accessed date: 04/02/2024].

Farmery, D. (2019). Dress Of The Working Classes. [online]. Available at: https://johnstoncollection.org/DRESS-OF-THE-WORKING-CLASSES~68701. [Accessed date: 05/03/2024].

Flintoff, B. (2021). The Ballad of Maria Marten. London: Nick Hern Books. Franklin, H., 2020. 1820-1829. [online].

Available at: https://fashionhistory.fitnyc.edu/1820-1829. [Accessed date: 01/02/2024].

Hazzard, K. (2024). Working Women’s Clothes, 1810-1820. [online].

Available at: https://www.95th-rifles.co.uk/civilian-clothing/working-women-clothes-1810-1820/. [Accessed date: 17/02/2024].

Karolina Żebrowska. (2020). Ok, But What Did Poor People Wear? Youtube. [online]. Available from: https://www.youtube.com/watch?v=hQ_ZD0dp9bw. [Accessed date: 15/02/2024].

Lansdell, A. (2020). Occupational costume and working clothes, 1776-1976. [e-book]. Aylesbury: Shire Publications. Available from: https://archive.org/details/occupationalcost0000lans/page/30/mode/2up. [Accessed date: 15/02/2024].

Libes, K. (2020). Pelisse. [online].

Available at: https://fashionhistory.fitnyc.edu/pelisse/. [Accessed date: 20/02/2024].

Richmond, V. (2013). Clothing the Poor in Nineteenth-Century England. [e-book]. Cambridge University Press, New York. Available from: ProQuest Ebook Central https://ebookcentral.proquest.com/lib/aib/detail.action?docID=1543587. [Accessed date: 15/02/2024].

Samantha Bullat. (2021). Regency Working Class Women's Clothing. Youtube. [online]. Available from: https://www.youtube.com/watch?v=tQwOilhVnmc. [Accessed date: 15/02/2024].

Shedd, R. (2021) The Writer’s Guide to 1750-1800 Men’s Fashion [online].

Available at: https://rebeccashedd.com/2021/04/23/the-writers-guide-to-1750-1800-mens-fashion/. [Accessed date: 11/03/2024].

Taylor, R. (2023). Murder in the Red Barn - Maria Marten's Tragic Love Story. [online].

Available at: https://owlcation.com/humanities/Murder-in-the-Red-Barn. [Accessed date: 01/02/2024].

The Museum Of English Rural Life. (2024). Smocks, Smocking, Smocked. [online].

Available at: https://merl.reading.ac.uk/explore/onlineexhibitions/smocks/#:~:text=For%20centuries%20smocks%20were%20worn,%2C%20and%20'Sunday%20best'. [Accessed date: 17/03/2023].

V&A. (2007). Pair of Boots [online].

Available at: https://collections.vam.ac.uk/item/O75922/pair-of-boots-unknown/ [Accessed date: 14/03/2024].

V&A. (2007). Bonnet. [online].

Available at: https://collections.vam.ac.uk/item/O135244/bonnet-unknown/. [Accessed date: 14/03/2024].

V&A. (2008). Gloves. [online].

Available at: https://collections.vam.ac.uk/item/O178856/pair-of-gloves-unknown/ [Accessed date: 14/03/2024].

V&A. (2009). Drawers (Underpants). [online].

Available at: https://collections.vam.ac.uk/item/O236205/drawers-underpants-unknown/. [Accessed date: 24/03/2024].

V&A. (2009). Pair of Stockings. [online].

Available at: https://collections.vam.ac.uk/item/O353067/pair-of-stockings/. [Accessed date: 15/03/2024].

Waugh, N. (1964). The Cut of Men's Clothes 1600-1900. London: Faber.

Waugh, N. (1968). The Cut of Women's Clothes 1600-1930.. London: Faber..

Figure List

Figure 1: Maria Marten. Taylor, R. (2024). Maria Marten. [online image]. Available from: https://owlcation.com/humanities/Murder-in-theRed-Barn. [Accessed date: 15/03/2024].

Figure 2: Red Barn. Dunning, B. (2018). Red Barn at Polstead. [online image]. Available from: https://skeptoid.com/episodes/4606. [Accessed date: 15/03/2024].

Figure 3: William Corder. Speccoll. (2020). William Corder, Maria and child. [online image]. Available from: https://special-collections.wp.standrews.ac.uk/2020/04/15/maria-marten-and-the-murder-at-the-red-barn/. [Accessed date: 15/03/2024].

Figure 4: The ‘un-murder’ of Maria. Bartholomew, T. (2021). No title. [online image]. Available from: https://www.bigissuenorth.com/centrestage/2021/09/song-of-experience/. [Accessed date: 22/03/2024].

Figure 5: Peter and Maria. Chambers, H. (2020). No title. [online image]. Available from: https://www.halchambers.com/ballad-of-mariamarten.

[Accessed date: 22/03/2024].

Figure 6: Maria at the beginning of the play. Bartholomew, T. (2020). Eastern Angles & Matthew Linley Creative Projects in association with the Stephen Joseph Theatre present The Ballad of Maria Marten. [online image]. Available from: https://www.stokesentinel.co.uk/whatson/whats-on-news/review-ballad-maria-marten-new-3892723. [Accessed date: 15/03/2024].

Figure 7: Picture from the Eastern Angles production of Maria Marten. Bartholomew, T. (2020). A story of female friendship … we never meet the man who killed Maria in 1827. [online image]. Available from: https://www.theguardian.com/stage/2020/feb/14/the-ballad-of-maria-marten-review-redbarn-murder.

[Accessed date: 22/03/2024].

Figure 8: Cherry Fair. Theatre Royal Winchester. (2021). The Ballard of Maria Marten. [online image]. Available from: https://www.theatreroyalwinchester.co.uk/whats-on/ballad-maria-marten. [Accessed date: 22/03/2024].

Figure 9: Matching lavender Regency spencer and dress. V&A. (2005). Dress. [online image]. Available from: https://collections.vam.ac.uk/item/O117406/dress-unknown/. [Accessed date: 12/02/2024].

Figure 10: Dress back view. V&A. (2007). Evening Dress. [online image]. Available from: https://collections.vam.ac.uk/item/O136990/eveningdress-unknown/.

[Accessed date: 12/02/2024].

Figure 11: Matching pink spencer and dress. V&A. (1999). Dress. [online image]. Available from: https://collections.vam.ac.uk/item/O13830/dress-and-spencerunknown/dress-unknown/. [Accessed date: 12/02/2024].

Figure 12: White dress with red embellishments. V&A. (2009). Fashion Plate. [online image]. Available from: https://collections.vam.ac.uk/item/O576799/fashionplate-unknown/. [Accessed date: 15/02/2024]

Figure 13: Blue walking dress. Ackermann, R. (1820). Fashion Plate: Walking dress, [online image]. Available from: https://fashionhistory.fitnyc.edu/1820-1829/. [Accessed date: 15/02/2024].

Figure 14: Maria Medici Sleeve. V&A. (1999). Dress. [online image]. Available from: https://collections.vam.ac.uk/item/O15540/dress-unknown/. [Accessed date: 15/02/2024].

Figure 15: Brown Pelisse. V&A. (2009). Pelisse. [online image]. Available from: https://collections.vam.ac.uk/item/O362796/pelisse-unknown/. [Accessed date: 15/02/2024].

Figure 16: Pink Pelisse. V&A. (2009). Walking Dress. [online image]. Available from: https://collections.vam.ac.uk/item/O594412/walkingdress-fashion-plate-rudolf-ackermann/. [Accessed date: 15/02/2024].

Figure 17: Military inspired blue spencer.

Hodges, C.H. (1821). Portret van Alida Gerbade. [online image] Available from: https://www.lakenhal.nl/en/collection/s-601. [Accessed date: 15/02/2024].

Figure 18: Dark green spencer.

V&A. (1999). Jacket. [online image]. Available from: https://collections.vam.ac.uk/item/O13827/jacket-unknown/. [Accessed date: 15/02/2024].

Figure 19: Blue Half boots.

V&A. (2003). Pair of Boots. [online image]. Available from: https://collections.vam.ac.uk/item/O75922/pair-ofwomens-unknown/pair-of-boots-unknown/. [Accessed date: 15/03/2024].

Figure 20: White half boots.

V&A. (2009). Pair of Boots. [online image]. Available from: https://collections.vam.ac.uk/item/O356372/pair-ofboots-unknown/. [Accessed date: 15/03/2024].

Figure 21: White pumps with blue pompoms.

V&A. (2008). Pair of Shoes. [online image]. Available from: https://collections.vam.ac.uk/item/O170934/pair-ofshoes-paul-hase/. [Accessed date: 15/03/2024].

156 | Page

Figure 22: Blue bonnet.

V&A. (2007). Bonnet. [online image]. Available from: https://collections.vam.ac.uk/item/O135244/bonnet-unknown/. [Accessed date: 15/03/2024]

Figure 23: Lace mob cap.

V&A. (2009). Cap. [online image]. Available from: https://collections.vam.ac.uk/item/O353237/cap-unknown/. [Accessed date: 26/03/2024].

Figure 24: Amethyst and gold necklace.

V&A. (2005). Necklace. [online image]. Available from: https://collections.vam.ac.uk/item/O115160/necklaceunknown/. [Accessed date: 26/03/2024].

Figure 25: Pearl necklace.

V&A. (2005). Necklace. [online image]. Available from: [https://collections.vam.ac.uk/item/O115263/necklaceunknown/. [Accessed date: 26/03/2024].

Figure 26: Lapis Lazuli and gold hair comb.

V&A. (2008). Comb. [online image]. Available from: https://collections.vam.ac.uk/item/O156667/comb-reallaboratorio/. [Accessed date: 26/03/2024].

Figure 27: Silver flower brooch.

V&A. (2005). Jewel. [online image]. Available from: https://collections.vam.ac.uk/item/O114428/jewel-unknown/. [Accessed date: 26/03/2024].

Figure 28: White embroidered glove.

V&A. (2008). Pair of Gloves. [online image]. Available from: https://collections.vam.ac.uk/item/O178856/pair-ofgloves-unknown/. [Accessed date: 26/03/2024].

Figure 29: Yellow kid leather glove. V&A. (2007). Glove. [online image]. Available from: https://collections.vam.ac.uk/item/O141547/glove-unknown/. [Accessed date: 27/03/2024].

Figure 30: Chemise.

V&A. (2009). Chemise. [online image]. Available from: https://collections.vam.ac.uk/item/O360765/chemise/. [Accessed date: 28/03/2024].

Figure 31: 1820s corset.

V&A. (2007). Corset. [online image]. Available from: https://collections.vam.ac.uk/item/O138890/corset-unknown/. [Accessed date: 28/03/2024].

Figure 32: Tucker and ruff. V&A. (2009). Fashion Plate. [online image]. Available from: https://collections.vam.ac.uk/item/O576913/fashionplate-unknown/. [Accessed date: 22/03/2024].

Figure 33: Chemisette.

V&A. (2009). Chemisette. [online image]. Available from: https://collections.vam.ac.uk/item/O354567/chemisette/. [Accessed date: 28/03/2024].

Figure 34: Petticoat.

V&A. (2009). Petticoat. [online image]. Available from: https://collections.vam.ac.uk/item/O354431/petticoatunknown/.

[Accessed date: 28/03/2024].

Figure 35: Drawers.

V&A. (2003). Corset. [online image]. Available from: https://collections.vam.ac.uk/item/O74459/corset-unknown/. [Accessed date: 28/03/2024].

Figure 36: Stockings.

V&A. (2009). Pair of Stockings. [online image]. Available from: https://collections.vam.ac.uk/item/O353067/pair-ofstockings/.

[Accessed date: 28/03/2024].

Figure 37: Women’s working-class fashion. Alexander, W. (2010). Picturesque representations of the dress and manners of the English. [online image]. Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up. P.g. 84.

[Accessed date: 15/02/2024].

Figure 38: White bed gown. Brunias, A. (1780). West Indian Women of Color, with a Child and Black Servant. [online image]. Available from: https://collections.britishart.yale.edu/catalog/tms:593.

[Accessed date: 17/03/2024].

Figure 39: Bed gown with apron and shawl. Alexander, W. (2010). Picturesque representations of the dress and manners of the English. [online image]. Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up. P.g. 52. [Accessed date: 17/03/2024]

Figure 40: Robe à l'anglaise. MET. (1973). Robe à l'anglaise. [online image]. Available from: https://www.metmuseum.org/art/collection/search/159540.

[Accessed date: 17/02/2024].

Figure 41: Robe à la polonaise. MET. (1976). Robe à anglaise. [online image]. Available from: https://www.metmuseum.org/art/collection/search/84611

[Accessed date: 17/02/2024].

Figure 42: Working class version of the Robe à la polonaise. Alexander, W. (2010). Picturesque representations of the dress and manners of the English. [online image] Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up P.g. 96.

[Accessed date: 17/02/2024].

Figure 43: Short gown. The British Museum. (1810). Scotch washing. [online image]. Available from: https://www.britishmuseum.org/collection/object/P_1872-1012-5070.

[Accessed date: 17/02/2024].

158 | Page

Figure 44: Striped blue dress. Hazzard, K. (2024). Working Women’s Clothes, 1810-1820. [online image]. Available from: https://www.95thrifles.co.uk/civilian-clothing/working-women-clothes-18101820/#:~:text=Necklines%20became%20squarer%20and%20adjusted,still%20much%20preferred%20for%20undercl othes.

[Accessed date: 19/03/2024].

Figure 45: Purple dress.

The British Museum. (1810). Scotch washing. [online image]. Available from: https://www.britishmuseum.org/collection/object/P_1872-1012-5070.

[Accessed date: 19/03/2024].

Figure 46: Cream flower pattern dress. Hazzard, K. (2024). Working Women’s Clothes, 1810-1820. [online image]. Available from: https://www.95thrifles.co.uk/civilian-clothing/working-women-clothes-18101820/#:~:text=Necklines%20became%20squarer%20and%20adjusted,still%20much%20preferred%20for%20undercl othes.

[Accessed date: 19/03/2024].

Figure 47: Girl’s brown dress. Hazzard, K. (2024). Working Women’s Clothes, 1810-1820. [online image]. Available from: https://www.95thrifles.co.uk/civilian-clothing/working-women-clothes-18101820/#:~:text=Necklines%20became%20squarer%20and%20adjusted,still%20much%20preferred%20for%20undercl othes.

[Accessed date: 19/03/2024].

Figure 48: White apron. Alexander, W. (2010). Picturesque representations of the dress and manners of the English. [online image]. Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up. P.g. 186. [Accessed date: 19/03/2024].

Figure 49: Blue check apron.

Phillps, R. (1804). St James's Place – Cherries. [online image]. Available from: https://commons.wikimedia.org/wiki/Category:Modern_London;_being_the_history_and_present_state_of_the_Bri tish_Metropolis_(1804)_by_Richard_Phillips#/media/File:Phillips(1804)_p585_-_St_James's_Place_-_Cherries.jpg. [Accessed date: 15/03/2024].

Figure 50: Blue sacking apron. Alexander, W. (2010). Picturesque representations of the dress and manners of the English. [online image]. Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up. P.g. 28. [Accessed date: 15/02/2024]

Figure 51: Check neckerchief.

Phillips, R. (1804). Middlesex Hospital - New Potatoes. [online image]. Available from: https://commons.wikimedia.org/wiki/Category:Modern_London;_being_the_history_and_present_state_of_the_Bri tish_Metropolis_(1804)_by_Richard_Phillips#/media/File:Phillips(1804)_p633_-_Middlesex_Hospital__New_Potatoes.jpg.

[Accessed date: 15/03/2024].

Figure 52: Yellow shawl tucked into apron.

Alexander, W. (2010). Picturesque representations of the dress and manners of the English. [online image]. Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up. P.g. 68. [Accessed date: 15/02/2024].

Figure 53: Shawl paired with arm warmers and an overcoat. Hazzard, K. (2024). Working Women’s Clothes, 1810-1820. [online image] Available from: https://www.95thrifles.co.uk/civilian-clothing/working-women-clothes-18101820/#:~:text=Necklines%20became%20squarer%20and%20adjusted,still%20much%20preferred%20for%20undercl othes.

[Accessed date: 15/03/2024].

Figure 54: Straw bonnet.

V&A. (2007). Bonnet. [online image]. Available from: https://collections.vam.ac.uk/item/O139644/bonnet-unknown/. [Accessed date: 15/03/2024]

Figure 55: Lace bonnet.

V&A. (2009). Bonnet. [online image]. Available from: https://collections.vam.ac.uk/item/O351102/bonnet-unknown/. [Accessed date: 15/03/2024].

Figure 56: Black ankle shoes.

V&A. (2007). Pair of Shoes. [online image]. Available from: https://collections.vam.ac.uk/item/O136086/pair-ofshoes-unknown/. [Accessed date: 15/03/2024].

Figure 57: Light brown half boots.

V&A. (2009). Pair of Boots. [online image]. Available from: https://collections.vam.ac.uk/item/O353744/pair-ofboots-unknown/. [Accessed date: 15/03/2024].

Figure 58: Shift.

V&A. (2009). Shift. [online image]. Available from: https://collections.vam.ac.uk/item/O327719/shift-unknown/. [Accessed date: 15/03/2024].

Figure 59: Regency corset.

Hazzard, K. (2024). Corset. [online image]. Available from: https://www.95th-rifles.co.uk/civilian-clothing/workingwomen-clothes-1810-1820/. [Accessed date: 15/03/2024].

Figure 60: Short stays.

V&A. (2007). Stays. [online image]. Available from: https://collections.vam.ac.uk/item/O138889/stays-unknown/. [Accessed date: 15/03/2024].

Figure 61: 1780s stays.

Hazzard, K. (2024). Stays. [online image]. Available from: https://www.95th-rifles.co.uk/civilian-clothing/workingwomen-clothes-1810-1820/. [Accessed date: 15/03/2024].

160 | Page

Figure 62: Petticoat.

V&A. (2009). Petticoat. [online image]. Available from: https://collections.vam.ac.uk/item/O354502/petticoatunknown/. [Accessed date: 15/03/2024].

Figure 63: Stockings.

V&A. (2009). Stockings. [online image.] Available from: https://collections.vam.ac.uk/item/O353105/stocking/. [Accessed date: 15/03/2024].

Figure 64: Dress coat.

V&A. (2003). Trousers. [online image]. Available from: https://collections.vam.ac.uk/item/O75644/trousersunknown/. [Accessed date: 15/03/2024].

Figure 65: Morning coat. Unknown Artist. (1801). Fashion Plate. [online Image]. Available from: https://collections.vam.ac.uk/item/O609715/fashion-plate/. [Accessed date: 20/03/2024].

Figure 66: Frock coat.

V&A. (1999). Frockcoat. [online image]. Available from: https://collections.vam.ac.uk/item/O13925/frock-coatunknown/. [Accessed date: 20/03/2024].

Figure 67: Trousers.

V&A. (1999). Cossack Trouser. [online image]. Available from: https://collections.vam.ac.uk/item/O13948/cossacktrousers-unknown/. [Accessed date: 20/03/2024].

Figure 68: Pantaloons.

V&A. (2003). Pantaloons. [online image]. Available from: https://collections.vam.ac.uk/item/O75642/pantaloonsunknown/. [Accessed date: 20/03/2024].

Figure 6: Breeches.

V&A. (2009). Breeches. [online image]. Available from: https://collections.vam.ac.uk/item/O1139803/breechesunknown/. [Accessed date: 20/03/2024].

Figure 70: Red waistcoat. MET. (1979). Waistcoat. [online image]. Available from: https://www.metmuseum.org/art/collection/search/90935?rpp=20&pg=3&ao=on&ft=waistcoat&pos=51. [Accessed date: 20/03/2024].

Figure 71: Green silk waistcoat. MET. (1960). Vest. [online image]. Available from: https://www.metmuseum.org/art/collection/search/157711. [Accessed date: 20/03/2024].

Figure 72: Shirt.

V&A. (2009). Shirt. [online image]. Available from: https://collections.vam.ac.uk/item/O236189/shirt-unknown/. [Accessed date: 19/03/2024].

Figure 73: Drawers.

V&A. (2009). Drawers (Underpants). [online image]. Available from: https://collections.vam.ac.uk/item/O236205/drawers-underpants-unknown/. [Accessed date: 19/03/2024].

Figure 74: Stockings.

V&A. (2009). Pair of Stockings. [online image]. Available from: https://collections.vam.ac.uk/item/O355250/pair-ofstockings-unknown/. [Accessed date: 19/03/2024].

Figure 75: Stock.

V&A. (2021). Stock. [online image]. Available from: https://collections.vam.ac.uk/item/O1585180/stock-stock/. [Accessed date: 15/03/2024].

Figure 76: Different ways to tie a cravat. Waugh, N. (1964). Different ways of tying a cravet in: The Cut of Men's Clothes 1600-1900. [photograph]. London: Faber. P.g. 120.

Figure 77: Fob seal.

V&A. (2003). Seal. [online image]. Available from: https://collections.vam.ac.uk/item/O74149/seal-unknown/. [Accessed date: 15/03/2024].

Figure 78: Top hat.

V&A. (2007). Top Hat. [online image]. Available from: https://collections.vam.ac.uk/item/O139764/top-hat-w-moorelate/. [Accessed date: 15/03/2024]

Figure 79: Men’s merchant class fashion. Savage, W. (2018). Georgian Agricultural Labour. [online image]. Available from: https://penandpension.com/2018/06/13/georgian-agricultural-labour-men-and-machines/. [Accessed date: 15/03/2024].

Figure 80: Tailcoat.

V&A. (2009). Coat [online image]. Available from: https://collections.vam.ac.uk/item/O366266/coat-unknown/. [Accessed date: 15/03/2024].

Figure 81: Engraving of a blue tailcoat. Edwards, L. (2020). Scavenger [online image]. Available from: https://www.bloomsburycollections.com/monograph?docid=b-9781350071193. [Accessed date: 15/03/2024].

Figure 82: Frock coat depending on age and profession. Perrot, P. (2021). Frock coats: a graduation of ages and occupation. [online image]. Available from: https://archive.org/details/fashioningbourge0000perr/page/114/mode/1up?q=frock+coat. P.g. 114. [Accessed date: 15/03/2024].

162 | Page

Figure 83: Farmer’s smock. Alexander, W. (2010). Farmer’s boy. [online image]. Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up. P.g.16. [Accessed date: 15/02/2024].

Figure 84: Surrey/Sussex smock designs. Lansdell, A. (2020). Typical Surrey and Sussex smock. [online image]. Available from: https://archive.org/details/occupationalcost0000lans/page/14/mode/2up?q=smock. [Accessed date: 15/03/2024].

Figure 85: Trousers.

MET. (1988). Trousers. [online image]. Available from: https://www.metmuseum.org/art/collection/search/80013536?rpp=20&pg=7&ao=on&ft=Trousers&pos=126. [Accessed date: 15/03/2024].

Figure 86: Breeches. MET. (1908). Breeches. [online image]. Available from: https://www.metmuseum.org/art/collection/search/91903. [Accessed date: 15/03/2024].

Figure 87: Black waistcoat. MET. (1976). Waistcoat. [online image]. Available from: https://www.metmuseum.org/art/collection/search/90934. [Accessed date: 15/03/2024].

Figure 88: Red striped waistcoat. Alexander, W. (2010). Sailor. [online image]. Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up. P.g. 80. [Accessed date: 15/02/2024].

Figure 89: Red patterned necktie. Alexander, W. (2010). Drover. [online image]. Available from: https://archive.org/details/picturesquerepre00alex/page/n51/mode/2up. P.g.72. [Accessed date: 20/02/2024].

Figure 90: Top hat.

De Marley, D. (2022). Working dress: a history of occupational clothing. [online image]. Available from: https://archive.org/details/workingdresshist0000dema/page/86/mode/2up. P.g. 86. [Accessed date: 15/03/2024].

Figure 91: ‘Billy cock’ hat. Lansdell, A. (2020). Occupational costume and working clothes, 1776-1976. [online image]. Available from: https://archive.org/details/occupationalcost0000lans/page/4/mode/2up. P.g. 4 [Accessed date: 03/03/2024].

Figure 92: Shirt.

V&A. (2009). Shirt. [online image]. Available from: https://collections.vam.ac.uk/item/O236197/shirt-unknown/. [Accessed date: 04/03/2024].

Figure 93: Drawers.

V&A. (2009). Drawers. (underpants). [online image]. Available from: https://collections.vam.ac.uk/item/O236203/drawers-underpants-unknown/.

163 | Page

[Accessed date: 04/03/2024].

Figure 94: Stockings.

V&A. (2009). Stockings. [online image]. Available from: https://collections.vam.ac.uk/item/O236176/pair-ofstockings-unknown/. [Accessed date: 04/03/2024].

Figure 95: Black bucked shoes. V&A. (2009). Pair of Shoes. [online image]. Available from: https://collections.vam.ac.uk/item/O353473/pair-ofshoes-unknown/. [Accessed date: 22/03/2024].

Figure 96: Brown boots. MET. (1980). Boots. [online image]. Available from: https://www.metmuseum.org/art/collection/search/80031156?rpp=20&pg=16&ft=*&what=Footwear&pos=315. [Accessed date: 22/03/2024].

Figure 97 – 11: V&A Trip.

Mulhall, C. (2024). V&A Trip. [photograph]. In possession of: the author.

Figure 115 - 125: National Gallery and National Portrait Gallery.

Mulhall, C. (2024). National Gallery and National Portrait Gallery trip. [photograph]. In possession of: the author.

Figure 126 - 132: AUB Archive.

Mulhall, C, (2024). AUB archive – 1800s men’s shirt. [photograph]. In possession of: the author.

Figure 133 - 135: Pink jacket.

Mulhall, C. (2024). Pink Jacket. [photograph]. In possession of: the author.

Figure 136,140,147,151.156,167: On Stage.

Bradshaw, B. (2024). Pictures from the AUB production: The Ballard of Maria Marten, 2024.

Figure 137 - 139: Green dress.

Mulhall, C. (2024). Green Dress. [photograph]. In possession of: the author.

Figure 136,140,147,151.156,167: On Stage.

Bradshaw, B. (2024). Pictures from the AUB production: The Ballard of Maria Marten, 2024.

Figure 141: Darning.

Mulhall, C. (2024). Darning. [photograph]. In possession of: the author.

Figure 142: MET (2010) Ensemble. [online image] Available from: https://www.metmuseum.org/art/collection/search/80092939?rpp=20&pg=1&ft=*&deptids=8&when=A.D.%201800 -1900&where=United%20Kingdom&what=Silk%7CEnsembles&pos=14.

[Accessed date: 15/03/2024].

Figure 143: MET. (1975). Spencer. [online image]. Available from: https://www.metmuseum.org/art/collection/search/81767.

[Accessed date: 15/03/2024].

Figure 144 – 146: Blue dress.

Mulhall, C. (2024). Blue Dress. [photograph]. In possession of: the author.

Figure 147: On Stage. Bradshaw, B. (2024). Pictures from the AUB production: The Ballard of Maria Marten, 2024.

Figure 148 – 150: Blooded smock.

Mulhall, C. (2024). Blooded Smock. [photograph]. In possession of: the author.

Figure 151: On Stage.

Bradshaw, B. (2024). Pictures from the AUB production: The Ballard of Maria Marten, 2024.

Figure 152 – 155: Blooded night gown.

Mulhall, C. (2024). Blooded Nightgown. [photograph]. In possession of: the author.

Figure 156: On Stage.

Bradshaw, B. (2024). Pictures from the AUB production: The Ballard of Maria Marten, 2024.

Figure 157 – 161: Dye room samples.

Mulhall, C. (2024). Dye Room Sample. [photograph]. In possession of: the author.

Figure 162 – 166: Aprons.

Mulhall, C. (2024). Aprons. [photograph]. In possession of: the author.

Figure 167: On Stage.

Bradshaw, B. (2024). Pictures from the AUB production: The Ballard of Maria Marten, 2024.