Amelia Bavin – BA (Hons) Costume – Wolves of Willoughby Chase Head of Running Wardrobe Bible

1. Title page

2. Contents page

3. Play backstory

4-21. Fashion history research

22-30. Dressing research

31-33. Script breakdown

34-36. Making

37- 39 Contact sheet

40-42. Cast list

43. Measurement cheat sheet

44-47. Dye room

49. Pre-assessment schedule

50-53. Tech week schedule

54. Dressing schedule

55-56. Elliott road hire forms

57-58. Signing out shoes for rehearsals

60-63. Makeup designs and changes

64-67. Laundry

68. Dressers

69-99. Dresser's checklist

100-102. Costume plot

103. Budget sheet for running wardrobe

104. What to include in dressers belt

105-108. Dressing plots

109. Setting up dressing rooms

110. List of backstage alterations

111-113. Show reports

114-118. Appendix

119. Bibliography

120-121. List of figures

Wolves of Willoughby chase- backstory for myself

• This play is an adaptation of a children's book that was written in 1962 by Joan Aiken and adapted into a play after her death in 2013 by Russ Tunney.

• Although the play is set in the 1830s in England it is set in an alternative version of this history one where King James III is on the throne instead of William IV. This is taken from if James II wasn’t deposed in the glorious revolution in 1688 which meant he was exiled to France, which would have changed the line of accession.

• This means that the adaptions of the costumes for this play can range from being very historical and set in the original Georgian period, to taking influences from all ranges of historical periods.

• When the channel tunnel was first discussed as an idea in 1802 it wasn’t built until 1993 however in this alternative history the building happened much earlier in the 1800s. This led to wolves being able to cross over through the channel tunnel and make their way into England where they would take over the wilderness and cause havoc to the people that lived there.

• The play is meant to be whimsical and fantastical, like we are inside the minds of the two main characters Sylvia and Bonnie, which means that all the adults that are villains are very stereotypically evil, dark clothes, wicked tendencies. The children are the bright hearted hope fighting against the wolves and the adults.

• Bonnie’s mother becomes ill, so her parents leave on a long boat trip, sylvia Bonnie’s cousin comes to keep her company. They bond instantly until Miss Slighcarp comes to take over the house and ruin the girl's lives, eventually sending them away to a workhouse. Lots of adventures happen all while they try to survive the wrath of Miss Slighcarp, Mr Grimshaw and the wolves.

Womenswear in 1830s England

• Gigot sleeves- since the beginning of the 1800s ladies' sleeves were getting larger and larger, the biggest they ever got was in the 1830s. These types of sleeves were known as gigot sleeves or leg of mutton sleeves (they both mean the same thing just in a different language.)

• This style of sleeve was not just voluminous all the way down the arm, like a balloon sleeve instead the volume started at then just below the shoulder and became tighter just underneath the elbow and stayed slim down to the wrist.

• The volume did not start at the shoulder because most of the dresses in this decade had a very wide v neck, which meant the neckline sometimes started where the shoulders were, therefore the sleeves were levelled below this.

• This style of sleeve was so popular because it made the ladies waist look so slim because the sleeves were so out of proportion, the slimming affect was also accentuated by the wider necklines, it was all to make the ladies look smaller.

• The sleeves of this period were cut on the bias which gave the fabric more stretch and movement. The overall inspiration for this period of fashion was the romantic movement therefore everything about a lady's dress was made with a purpose to look romantic and feminine, hence the sleeves being cut on the bias

• The sleeves would not be able to stand up by themselves because of the sheer amount of fabric weighing down so they would be supported by something called a sleeve support. They could either be made from the same materials a bum pad would be like a pillow to go in your sleeves or they can be made more structurally with wire like boning.

Fig 1 1830s gown illustration

Fig 2 Example of gigot sleeves

Fig 3 1830s petticoat and sleeve supports

Womenswear in 1830s England

• Petticoats-

• Women would not just wear their dresses with nothing underneath, there were a lot of undergarments used to create a desirable shape- I will go into more detail on a different page but I wanted to investigate petticoats as they help give volume to a dress.

• There were a few different styles of petticoat in this era, one of them was a corded petticoat which would have been made from horsehair fabric because this would be stiff and give structure, these petticoats made from this fabric are called crinolines.

• Structure would have been given from the cords that were sewn in circles from the hem upwards on the skirt, the cords were made from linen or cotton and could be sewn into the fabric which would cost less money; more specialized corded petticoats would have the cords woven into the fabric directly.

• The corded petticoat gave the top skirts the desired bell shape.

• Simple white petticoats could be worn over the top of the crinoline or corded petticoat to give even more volume, women would wear up to 5 petticoats; the top petticoat would be the most decorative as it could end up being seen when moving around so it might have lace sewn onto the bottom.

Fig 4 1830s petticoat and sleeve supports Fig

Womenswear in 1830s England

• Day dresses-

• Sleeves for day dresses were the long gigot sleeves that went all the way to the wrist, volume at the top slimming further down.

• At the beginning of the decade, the skirts on day dresses usually fell just below the ankle and had a relatively slim bell shape, not slim in the way we think nowadays more straight is the right word.

• As the decade continued the skirts got longer and wider, mirroring the shape of the sleeves. To accommodate for this volume in skirts, they became much more pleated

• The shape of bodices changed a lot throughout this decade, the waistline started very high just above the natural waistline which made the bodices look quite short.

• Around this waistline there would usually either be a sash made from contrasting or the same top fabric, or a large width belt with a big rectangular buckle at the front. This would be if the bodices had a straight waistline and didn’t end in a point.

• From 1835 a popular style of bodice was a wrapped front, this meant that fabric would be pleated at the front and one side would go on top of the other like it was being wrapped around each other.

• Bodices conventionally had wide open necklines, getting more off the shoulder the later into the 1830s it got, the wide necklines typically coincided with a wrapped front bodice.

• Evening dresses- It was popular for sleeves of evening dresses to be short sleeves, contrasting the day dress, they were still puffed with volume though, they were sometimes known as double bouffant sleeves.

• Skirts on evening dresses were more decorative, although they fell at the same length just above the ankle they were usually adorned with trimmings and ornamental fabrics.

• The same goes for sleeves as everything was more extravagant on evening dresses, some sleeves had an overlay of sheer fabrics on top that was longer than the short puff sleeves and went all the way to the wrist.

• The necklines on evening gowns were more rounded and less square than daytime bodices. The neckline could be trimmed with different styles of lace from undeath the bodice, it could also be decorated with different cording over the top.

• Bodices were not straight across a the waistline and were pointed, as this gave a better silhouette of the waistline.

• Bows were a popular style of decoration on long sleeves and skirts, they could be made from the top fabric and trimmed with lace like in the example.

• The style of skirts changed in the later 1830s for some people, they were called open robe skirts. This meant a decorative petticoat, or another dress would be visible underneath the top skirt, it was open at the front like a triangle shape starting at the waist and largening down to the hem.

Fig 6 1830s day dress

Fig 7 1830s dress

Fig 8 1830s evening dress

Womenswear in 1830s England

• Women's fabrics in the 1830s-

• Pelisses- This was a popular piece of clothing for daytime wear, it was a style of jacket that would have been worn over a dress.

• They were worn outside usually when women would be walking, promenading or visiting people.

• Unlike other jackets this was known as a dress robe which meant the shape of the pelisse mimicked the style of the dress that the lady was wearing underneath.

• The style of them was dependent on the wearer, some were very decorative and would have things like cord or piping sewn on them.

• The green example on this page, was quilted, this could have been for warmth as well as stiffening it for the shape.

• They often had large wide collars and were very high waisted.

• They would open and close at the front of the robe gown, and fastened only at the top where the bodice is and not all the way down the skirt which makes it different than a regular coat. It was closed with frog fastenings or buttons.

• Cotton was rising in popularity as a fabric, particularly printed cotton with ranging intricacy in designs.

• This was because of the technological developments within the printing and weaving fabrics, as well as unfortunately the rise in slavery meant the rise in the cotton production all over the country.

• Printed cotton was created using a roller, which meant multiple colour designs could be created relatively easily.

• Cotton was long lasting, strong and was easily washable which was why it was so widespread as it was an accessible fabric.

• As the language of flowers was very popular during this century, while some designs were just decorative others would have metaphorical meanings behind them like different flower motifs to mean specific things.

• For fancy womenswear, clothing was made from silk, it was delicate and impressive looking.

• For shirts, lining and undergarments the fabric that was used was linen as it was cheaper than cotton, lightweight and breathable.

• Wool was used in outerwear like coats, and in menswear trousers.

• They would be made from different fabrics depending on the season and weather, light silks and other fabrics in the summer and thicker fabrics like velvet or wool in the winter some were even fur lined if they were more expensive later in the century.

Fig 10 1830s pelisse

Fig 11 1830s pelisse

Fig 12 1830s fabric

Undergarments in Georgian era

• Because the fashions in the 1830s were so exaggerated on the top half in terms of the large gigot sleeves to offset this oversized nature, the lady's waist were very snatched. This shape was achieved through the layers of undergarments women would wear

• Underneath it all a women would wear a chemise. This was usually made from breathable cotton and was a very boxy shape, most had short cap sleeves as well.

• The purpose of the chemise was to protect the women's skin from the corset she would wear over the top, because it could be very agitating and rub the skin. It also would protect in another way, by soaking up all the sweat meaning it would cause less damage to the over garments. This was because the cotton chemises would be much easier to wash than if they were wearing an elaborate silk gown or such.

• To create the hourglass shape a women would wear a corset over a chemise.

• The metal eyelets were invented in the 1820s which meant that not all corsets had to have hand sewn eyelets anymore, the metal gave them more support and longevity. These eyelets would be placed down the back of the corset so they would be laced up at the back, corsets were done up by someone else not the person that was wearing them meaning they could be tightened lots.

• Not all corsets in this period looked the same because the styles were changing and added even more structure, though most were defined by the looser cup bust support and a wide set apart shoulder straps, and even in this period no straps at all.

• The straps were far apart because lots of the dresses in this period were very wide necked and almost off the shoulder. Therefore, the corset had to mimic this shape, so it wasn’t going to be seen.

• The corsets of this era were intricately boned using whalebone, cording was also used on most of these stays. Cording had a decorative purpose as it can be easily manipulated, but it also gave the corset more support as the cord is sewn in between two layers of fabric and strengthens it.

Fig 14 1830s chemise

1830s women's accessories

• Pelerine- this accessory was a type of cape worn by ladies that was particularly popularised in the 1830s. It was worn over the top of day dresses.

• The cape was very wide to be able to fit over the large gigot sleeves that these dresses had, they were not usually just placed on top of the dresses they had some sort of fastening that would be hooked at the back.

• The pelerines were made from muslins or lace, very delicate and feminine fabrics, some were just one layer, and some had many intricate layers and embroideries on them.

• Pelerines often had collars attached to them as well, historians say that the capes became popular to exaggerate just how large the sleeves of this era were.

• In women's jewelry botanical and other things in nature were prominently featured, this was because for some reason there was a nostalgia for the middle ages and the renaissance, so they took inspiration from this.

• Most jewelry was oversized in this period, big drop earrings, oversized bracelets and broches.

• Gold was one of the most popular metals for jewellery in this period.

• When researching on the v and a collections lots of bracelets like this were coming up, beaded motif bracelets with colourful hand sewn beads, on a velvet backed fabric, they were fastened with a clasp.

• Broches often featured hand painted likenesses of loved ones or artworks.- these were known as cameos a relief carving from precious gems, that were popularised in the later 1800s.

A popular style of jewelry in the 1830s was sentimental jewelry, accessories that had meaning as well as looking pretty. An example of this style, was this from the v and a collection. They were likely earrings from a bridesmaid, they are turquoise which was a popular jewelry colour during this century. the colour also had a significance through the very popular language of the flowers at the time, it meant to represent forget me nots which means true love hence why they would probably be from bridesmaids. The language of the flowers was also present in many other styles of jewelry. Earrings were usually quite large and hung low, this was because of the wide open necklines that the dresses had.

Fig 17 1830s pelerine

Fig 18 1830s locket portrait

Fig 19 1830s beaded bracelet

Menswear in 1830s England

• Tailcoats- the tailcoat was a coat that was adapted from the frock coat out of necessity and stayed because of fashion. Men needed a coat that would be worn while riding horses that wouldn’t get in the way. Soon by the 1830s so much had been cut away at the front that it couldn't really be done up easily, the buttons were their only for fashion purposes.

• The coat was very fitted and accentuates the man's figure, this coat was worn in the daytime as well as evening wear and was a formal coat.

• Evening tailcoats were made from dark colours like black navy and brown.

• The coats lapels and collars were separated and not cut as one which meant the coat lapels were folded out from underneath where the lining would be, so the front was covered with the top fabric.

• Frock coat- the most popular style of coat for during the daytime was the frock coat. Again, it was a coat that highlighted the body shape of the man wearing it underneath, this was done by having a very cinched waist and a flowing outward coat skirt.

• The style of male clothing always mimicked what women were wearing at the time, so the coats always highlighted the waist and accentuated the large shoulders.

• If a frock coat was worn during the evening, then it would be double breasted but if it was a frock coat for the daytime it would be single breasted.

Morning coat- although it did not become popular until the end of the 1800s it was worn by horse riders in the 1830s. At the from to the coat it wasn’t cut away nearly as much as the tailcoat, it was instead tapered at a curve much less dramatically. The tails at the back of the coat were much more rounded as well. All these coats would be made from wool fabric and lined with some sort of silk or cotton fabric.

Fig 21 1830s tailcoat

Fig 22 1830s frock coat

Fig 23 morning coat illustration

Menswear in 1830s England

• Trousers- this was the general fashion that men would wear on their lower half's after breeches were no longer fashionable and seen as quite feminine sometimes. The legs became longer and longer because of the style of coat tails, the trouser legs had to be longer than the coats.

• These trousers would be held up with button braces that would fasten at the front and the back.

• Cream coloured trousers were one of the most popular of colours for daytime wear and darker colours for formal evening wear.

• These style of trousers were quite loose fitting and some had straps that wrapped over the foot.

• The waistband on trousers were very high.

• They were usually made from cotton or wool.

• Breeches- when the 1830s rolled around breeches has started to make their way out of fashion, however some men still wore themmainly those who worked in houses like butlers and other jobs like that. Breeches were very tight on the waistband which meant they were bale to be worn without a belt or braces to hold them up- however they weren’t tight everywhere like around the legs or lower midriff because men had to able to sit down in them. Breeches had a midriff square flap at the front that would open and close with buttons so that men could get in and out of them. The breeches sat just underneath their knees, therefore men would wear stockings underneath the breeches so that their legs were not exposed, they would correspond to the colour of their breeches light coloured they would wear white and darker colours they would wear black.

Fig 24 1830s breeches

Menswear in 1830s England

• Shirts – most shirts were made from a lightweight linen, in a cream or a white colour. White meant that the man had a lot of money because it meant that he could afford to have many shirts, or have a way to keep shirts clean, like he didn’t have to do any manual labor in them.

• In the 1830s the collars on men's shirts were detachable so they were fastened using collar studs. Collars were very high during this period.

• Shirts that were worn for eveningwear usually had a voluminous frill down the front of the shirt that would come out over the top of the waistcoat.

• Waistcoats- because the rest of men's fashion was relatively plain and clean lines the waistcoat was a way to bring some personality to an outfit, this meant they were highly decorative either through the fabrics or embellishments like embroidery

• The collars on waistcoats during the 1830s were shawl collars, this means that it looks like it is apart of the waistcoat itself, it turned over and the collar and the lapel are in one piece like a continuous curve.

• Many waistcoats featured cover buttons in matching fabric to the waistcoat.

• The waistcoats are adjustable at the back, which gives the men shape as their shirts are very loose fitting.

• As the shirt was technically underwear a man would always be wearing a waistcoat otherwise it would be like going out in underwear.

Fig 26 1830s waistcoat

Fig 27 1830s waistcoat Fig 28 1830s waistcoat

Fig 29 1830s men’s shirt

Fig 30 1830s men’s shirt

Beau Brummel- Dandy fashion

• From the early 1800s men's fashion was influenced from a man called Beau Brummel. A British socialite who was close with many member of the royal family especially Prince Regent, hence having such a large span of influence of fashion as society always looked towards the royal court for guidance.

• Before his influence started upper class men's fashion was very extravagant, they looked to what men in France were wearing, bright and very textured fabrics, lot of accessories etc. However, Brummel was all about ‘less is more’. It became known as Dancy fashion. People in history can date this hidden wealth style back to this period, it wasn’t about showing how much money you had therefore shoving as much into your outfit at once it was about being sleek and refined. In fact, an extravagant sense of style became associated with femineity and women's fashion, not something men wanted to strive to be seen as.

, ‘The most stylish man in Regency London, who is considered the father of modern men's fashion’

• This same clean-cut attitude also changed the way men looked after themselves personally as well, he was all for having daily baths to look and smell clean rather than relying on products that would mask this unsanitariness.

• Clothes were very tailored and fitted to the body, clothes that would enhance the figure underneath rather than hide it.

• Coats were made from traditional wool rather than fine silks or velvets; full trousers instead of breech style trousers. Plain solid-coloured waistcoats are shirts underneath.

• One clothing item Brummel was particularly famous for was his cravat, he was very meticulous almost obsessive over how he would tie or style his cravat sometimes spending hours figured out different ways he could tie it. By the 1830s silk fabric was used for cravats instead but this was after Brummel had fled the country to France, though his influence was still felt at this time.

Fig 31 portrait of Beau Brummel

Fig 34 portrait of Beau Brummel

Fig 32 example of dandy fashion

Fig 33 Dandy fashion men

1830s men’s accessories

This is just a brief overview on different men's accessories, as we would need to find the appropriate accessories for each character, finding different options that the designer would approve of.

• Cravats- these were the most common type of neckwear that were worn by men at the time. This accessory was very versatile because it was just a triangle or square but of sometimes starched linen, meaning it could be tied and styled in many ways.

• Sometimes it was just wrapped around the neck tied at the front so that it would balloon out with volume underneath the neck, or sometimes in this period it was tied into a bow.

• (This style of cravat is being recreated by Grace for Mr. Willoughby's costume, a very exaggerated version of a traditional cravat.- we do not need to find any cravats as they are all being made by the makers)

The History of Hat book by Michael Harrison dubs the 19th century as the Top Hatted century, it was dominated by this hat worn by the upper and middle classes. Top hats were made from two different types of fabric, and therefore had different names when people were referring to the tall hat. There was the beaver which was made from beaver fur, and then the silk topper which was made from different animals' wools and silk. Both hats had shiny lustre quality to it.

• Different styles and types of gloves were worn during this period, a different glove for every type of occasion- each glove coming with differ etiquette rules. Leather gloves were the one of the most common for men, they were worn for fashion reasons meaning they came in different styles and colours of leather, however because of the durability of the fabric leather they were used for manual labour and for riding horses.

• The most sought-after style of gloves were called ‘Kid gloves’ made from the skin of young goats hence the name. the fabric was very soft and durable meaning they fit the person who owned them very well. Kid gloves were worn by wealthy classes.

• Walking sticks were a big part of men's fashion, they were made from high quality wood and had different styles and sizes of handles attached to them- some were made from metals or just had ornate style wooder carvings.

• The canes were not only used as a way of support when walking but also sometimes as a weapon, like a replacement for swords, every high-class wealthy man had a cane as an accessory.

Fig 35 cravat example

Fig 36 19th century top hat

Fig 37 1830s gloves

1830’s Shoes

• One of the biggest inventions in shoes at the turn of the century in the 1800s was making shoes that were for the left and the right, before this shoes were made the same making them very uncomfortable; this is evidenced through labels on the inside of surviving shoes.

• Along with creating shoes for specific feet, the industrial revolution also meant that more designs of shoes were able to be made, faster and therefore cheaper.

• Men and women could therefore more easily afford to buy several pairs of shoes, and instead of having to wait for shoes to be handmade for the wearer they were able to purchase shoes more instantaneously at haberdashers.

• The most popular type of shoes in this period were boots, as a result of numerous families moving to the countryside to escape the overpopulation that happened near factories; walking became a very popular past time. Therefore, the dainty silk shoes of the past would no longer be suitable for this type of activity., they needed to be more durable.

• Women within Jane Austen novels were always described to wear lace up boots, women's half boots, this is because they were very adventurous women compared to the rest of society.

Fastenings of shoes

• Boots ranged from being laced up down the front of the shoe, to having buttons down the side.

• The buttons would be fastened using buttonhooks for ease.

• Then an even easier style was invented in 1837 by J. Sparkes Hall, that was an elasticated side boot

Women's shoes

• For everyday indoor use women would wear silk or satin slippers, they were much simpler than the style of men’s shoes and boots.

• They often featured a very pointed toe that women would have to squeeze into making their feet appear slimmer and delicate.

• Some of these flat soled shoes would feature ribbons that were sewn in at the side and would wrap around a lady's leg, kind of like how you would imagine a ballet slipper.

• Unlike men's shoes that were made mainly in black and brown, women's slippers were very colourful because of the fabrics they were made from.

• Although lots of the designs in Wolves feature shoes with this style of buckle, they were not the most popular style of shoe in this era. This was because they were associated with the French revolution.

• However, this particular shoe is from the early 1800s, some men still wore them especially in the royal court of King George IV. This was because military wear became fashionable again after the Napoleonic wars.

• These shoes were made of black leather bound with black silk, with red leather for the lining.

Fig 41 Men’s black leather shoe with buckle

Fig 43 women’s black slipper with rosette

Fig 40 Button up boots

Fig 39 Lace up half boots

Fig 42 ladies silk slippers

Dressing the Georgians exhibition

Just before the term started me and my mum went to an exhibition at the Queens Gallery at Buckingham Palace, it showed portraits and genuine historical clothing from the beginning of the Georgian era all the way to the 1840s. It was a really interesting exhibition especially with the audio guide that came along with it, and I got to learn not just how fashion changed but the reasons behind it, and how the royals changed the shape of fashion.

• There wasn’t much about the breeches at the exhibition apart from the fabric they were made from.

• The fabric was Nankeen, which was a type of cotton that was thicker than regular cotton.

• It had a slight yellow hue to it, so this combined with the thick style of it made it look like a type of brushed leather which made it the perfect fabric for breeches.

• The breeches had buttons and buckles at the bottom of them just below the knees which allowed them to be tightened to the size of the mans leg.

This waistcoat was from 1795, and is usually showcased in the Bath fashion museum. This waistcoat shows the popular style of waistcoat at the turn of the century, it was short which meant the hem ended at a mans natural waistline. It exhibits the new style of front closure style, a double breasted button front, even though it had two rows of buttons one was decorative and one would be functional and could close the waistcoat. The collar was high standing an had a very large lapel at the front that is folded over in the display.

The breeches were also from 1795, and had a button flap front closure, which meant that the breeches could be very fitted and tight to the waist so they wouldn’t need a belt or braces to hold them up.

• I wanted to look into this particular style of wig, like a barristers wig because Mr. Gripe will be wearing one in our production. #

• Wigs were popular with men in this century, those who had money could afford wigs made from real human hair, and slightly cheaper though still expensive wigs would be made from things like horse or goat hair which meant they were quite coarse and rough.

• The hair was baked and covered in flour after it had been styled, the equivalent of modern day hairspray.

• They would be sewn on a mesh like fabric called caul using threads and ribbons

• Wigs were kept in wig bags to protect them.

Fig 44 breeches from the dressing the Georgian exhibition

Fig 45 waistcoat from the dressing the Georgians exhibition

Dressing the Georgians exhibition

After reflecting on what I saw at the exhibition I realised there was a shirt there that was a similar shape to the amazon sourced shirt we chose for all the chorus characters. Obviously there are some differences in the shirts because the one we sourced is not historically accurate, it is more of a pirate shirt but the designer wanted flowy big balloon sleeves and she was not fussed about historical accuracy. Also the shirts would not have eyelets on the shirt opening as this is more of a pirate dress up style.

• What I learnt about this shirt from the exhibition was that this was a shirt that was worn by George III in 1810, he was the King of England from 1760 to 1820 he was known unfortunately as the mad King due to ongoing battles with mental illness. Because of his mental struggles he lived in a palace at Kew gardens away from the rest of royal society.

• Historians knew that this was a shirt that was owned by George because of the embroidery monogram that was sewn in red embroidery thread in the bottom righthand corner, it was his initials with the year that it was made, as well as having a small embroidered crown above this.

• The shirt was made from a lightweight linen fabric, this was because shirts were technically underwear so would be worn underneath a lot of layers; because there was nothing worn underneath this it would have to be a breathable fabric which linen is. Linen is also easily washed which would be useful as this garment would pick up the most sweat from the wearer, white also showed that he had a lot of money because he was the king which showed he could easily keep his clothes clean.

• The collar was very high and would have been stood up by starching the linen to make it stiff.

• In the exhibition it stated that a shirt such of this garment would have been made by a very talented female seamstress because the ruffled pleat down the front is very skilfully made.

Fig 47 George III shirt from exhibition

Fig 48 Shirt we bought for the show

Fig 49 embroidery on George III shirt

Dressing the Georgians exhibition

• This particular painting caught my eye because it is damaged like it has been folded and I found it damaged is the only known painting of all three of the Bronte sisters, painted in 1834

• It was folded because it was owned by Charlottes husband who later married, so he hid it away in a cupboard where it was found by his new husband man years later.

• It was particularly special because it was painted by their only brother, Bramwell Bronte.

• The Bronte sisters were particularly influential during this period as Charlotte wrote Jane Eyre and Emily wrote withering heights, their other sister and brother were also writers and artists but not as successful.

• This was the wedding dress that was worn by Princess Charlotte in 1816. it is one of the best surviving dresses from this century because it belongs to royalty but it is very because delicate and has to be handled with care.

• The wedding dress was made from silk satin fabric, and was silver because it was traditional for European royalty brides to wear this colour.

• The waistline is very European high making the bodice very short just covering the breasts, and the sleeves were short and capped.

• The skirt was a slim bell shape, and it had a delicate embroidered silver cape over the top of it that was much longer than the floor length dress and trailed behind.

• The first was a portrait of Marie Antionette in 1778, I wanted to look more into it because before the period that the show was based on, fashion was greatly influenced by the French court. It was Avant Garde, over the top showing how much wealth they had directly reflected onto their clothing.

• This was reflected by all of French society however Antionette was named ‘Madame deficit’ because of how much more frivolous her spending was when it came to fashion

• The neckline was similar to the style in 1830s bodices, wide large neckline that showed off their neckline and shoulders, but the bodice was much more triangular in shape in this period and very stiffly and heavily boned.

• The skirt was a lot fuller and wider than in the 1830s as they would have worn a hoop skirt underneath.

Fig 50 Portrait of Marie Antionette

Fig 51 Portrait of Princess Charlotte

Fig 52 portraits of Bronte sisters

Fig 53 Wedding dress worn by princess Charlotte

Patterns of fashion research

I wanted to do some research into womenswear in this period through the eyes of makers so I could better understand what sort of things they are going to need when they are making their costumes. I wanted to focus on womenswear because I had previously done the units on tailoring where we created a coat, so I felt like I understand what components go into making things like coats and waistcoats, and we had a unit on making historical trousers, so the same things apply; but I felt like we had spent less time on making full women's costumes as deeply. Therefore, I wanted to use the patterns of fashion book for this because this is one of the main sources that makers find historical patterns from.

• Firstly, I found this dress from 1830-36 that is at the Northampton museum. Its described as being a dinner dress and would have been worn over a tightly laced corset and a bustle to give it its shape.

• The sleeves on this dress are gigot sleeves, the pattern piece is very large and is gathered a lot at the top of the sleeve where it is curved.

• The sleeve is fastened at the wrist with hooks and eyes and is marked on the pattern with notches where this is.

• The top fabric of this dress is a pale dove grey moire taffeta , and is lined with white glazed cotton, which is a type of treated cotton to make it smoother looking and feels nicer on the skin.

• The dress is done up the back with hook and eyes.

• The lining is cut and made separately and then slip stitched to the top fabric on the inside.

• The edge of most seams are piped with 1/8” piping, like the sleeves, collar, opening and waist.

• The hem of the skirt is slightly padded, in 3” wadding.

• The skirt is pleated and attached to ¾” cotton tape.

• The collar is a pelerine collar and is made up of one strip of fabric.

• This next dress is from 1837 as I wanted to look at how fashion has changed in the later 1830s, it is from Gloucester Museum.

• It is a morning dress with bishop style sleeves, and it would have been worn over a lightly boned demi corset, and a bustle made of stiff frills.

• The dress would be made from brown silk and lined with glazed unbleached cotton for similar reasons as the previous dress.

• However, unlike the last dress the sleeves are lined with a different fabric, white calico.

• The sleeves weren’t gathered in just one line instead in multiple rows at the top of the sleeve, this one is 14 rows differentiating in width. As well as being gathered in one line at the wrist.

• There is a decorative curved strip that is hand stitched on top of the existing sleeve and has piped edges with 1/16” size piping.

• The top fabric of silk and the lining are treated as one fabric, so would be sewn at the same time, meaning there would be the exact same amount of fabric for the lining and top as it wouldn’t need to be folded and slip stitched over.

• The skirt lining was a brown, lightweight glazed cotton.

• The skirt is gathered to the width of the cotton waistband and then the bodice and the skirt are stab stitched together, through the piped edge of the skirt.

• The bodice is boned down the front and side seams.

Fig 54 1830-36 gown from patterns of fashion

Fig 55 1837 gown from patterns of fashion

Patterns of fashion research

• This dress is from 1839-45 and from the Gallery of English Costume.

• It is a day dress with bishop sleeves, that could have been worn with a chemisette that would have been visible slightly around the neckline, that or the neckline would have been piped. Also worn over a tightly laced corset and multiple horsehair or piped petticoats to give it a dome shape.

• The dress is made from a silk cashmere mixed fabric in a deep beige colour, it had a shiny finish to it.

• The lining and top fabric are treated as one fabric.

• There is wadding in the skirt and the bodice in certain areas to create a desirable shape.

• The skirt is cartridge pleated at the waistline to form 1/8” sized pleats.

• The waistline is piped with 1/8” size piping.

• The bodice is fastened with hook and bars at the centre back

• The decoration on the dress is made from a stiff muslin fabric.

• The bodice is decorated with flat pleated folds made out of the top fabric and attached in between each fold with stitches, the pleats come down at the front to a point.

• The final dress that is in the right period for this show is from 1829-31 and is at Snowshill Manor.

• It is an evening dress with beret sleeves, it would have been worn over a lightly boned corset and a small bustle pad. It could have had a corded petticoat underneath but that type of petticoat might not have been needed because the hem is padded which would give the same shape effect.

• It was made from a lilac and white stain striped cotton and lined with white cotton.

• The wide collar was piped with 1/16” wide satin piping.

• The front apron is made out of lace fabric and trimmed with a lilac satin ribbon.

• The dress is fastened on the back right side with hook and bars.

• The cape collar is detached and fastened at the center front.

• There are hook and bars sewn directly onto the waistband.

• The beret sleeves are covered with a net fabric as an oversleeve and gathered to the size of the armhole.

Fig 56 1839-45 dress from patterns of fashion

Fig 57 1829-31 dress from patterns of fashion

Lacing corsets

Firstly, you hand the corset to the actor the right way up with the back completely open. You want to hand it to them with the back facing toward them so they can slip it right on , putting their arms through the straps. This is because they might be feeling uncomfortable about being exposed as a corset is worn without a bra, though unlike the practice images here they would be wearing a chemise.

Then do the same with the other side of the corset lace, lacing the left-over eyelets. Apparently when some people lace, they create these kind of bunny ears halfway down the corset going straight down which some people use to help tighten the corset for a more snatched look but isn’t always great for theatre.

As a head of running wardrobe, learning how to lace up corsets correctly and efficiently is very important. I first watched Jen show me how to do this on a mannequin with a bum roll to try to mimic how skin would move when being manipulated by a corset.

Then you get the corset lacing and start with the top eyelet and go in from the front and then straight across to the other side. Then lacing one side at a time going through the back lace diagonally skipping one eyelet each time.

Then start tightening the corset lace starting from the top. It doesn’t matter if there is a gap at the back of the corset you just don’t want it to be too big. Take a photo at the fitting to make sure it’s tightened the same way each time. Then tie off the lace at the bottom in a double bow and tuck the strings up underneath .23

Tying cravats

• Several of our male characters have cravats being made for the show, therefore I need to know how to properly tie them so that they look historically accurate, as well as being able to tie them speedily because most of the changes in this show are quick changes. I also made these to be able to print out and give to my dressers before the tech week, so they knew the correct ways the designer wants them tied for the show.

This style is not technically a cravat, but it is used for the costumes of the train conductor at the beginning of the show and Mr Gripe at the very end.

First put the necktie around the neck from the front to the back, then cross them over at back and bring them forward.

Then tie it at a loose knot at the front, make sure the necktie is spread out around the neck and not bunched up

Tying cravats

This is the cravat for Doctor Mourne

This cravat want not made so it has a label on it, make sure it is the right way around, then place it on the neck with one tail longer than the other

Warp the longer tail around the shorter one time

Place the longer tail over the top of the short one

Then take the tail that is at the back and pull it up and over to over the ‘knot’ make sure it’s tucked into the coat and puff it out a bit

Tying cravats

Place it around the neck with one tail longer than the other

This cravat is for the school inspector

Take the longer tail and put it over the top of the shorter

Then pull it up through the back where the knot is

After the tech run, the designer decided she didn’t like how this cravat looked, so it ended up being tied like the previous cravat, like the doctor

Wrap it around the other tail once

Then pull It back down through the knot, basically this is a tie but in a cravat shape.

Tying cravats

This cravat is for James

Place it around the neck from the front and put the tails down the back, spread out the cravat and tuck in the collar from the chorus shirt underneath

Adjust it so that one is longer than the other and cross the longer over the short

Bring the tails to the front

Pull the tail up and over the knot and spread it out again so that it covers all the skin and the shirt

Washing blood workshop

Even though in our script breakdown of the show mentions blood being splattered over clothes from shooting a would on a train, the director has chosen not to include any blood within our production. However, this was still a very useful workshop to learn how to properly wash out blood as well as what blood looks best on different fabrics and on skin.

On our hands we tested the fleet street and pigs' blood as they were the reddest and looked the most realistic. The pigs might fly blood was the best on the skin because it dried down the best while still looking fresh. It was also the easiest to rub off the skin when washing without it staining which meant it would be good if an actor needed blood on one scene and not in the other. Fleet street was a very runny blood.

We tested fleet street bloodwork's; pigs might fly and kyrolan blood. These are the bloods that Jen had gotten from the makeup course that are used in productions, this is because they are speiality theatre blood that washes out of skin and clothing. Jen told us that if you needed to use the blood on stage, like someone being shot or stabbed you can use the fake blood and wrap them up in cling film bags so that they burst and splatter.

Both fleet and pigs blood looked the most realistic on the fabric as well as the kryoln was very yellow, more like pus than blood. This might have been that the bottle wasn’t shaken up enough though. The kryolin stained the fabric badly even after washing so we wouldn’t recommend using this blood.

We found the best way to get out the blood out of the white cotton was to always use warm water and a tide stick, this was when we were hand washing to get the initial blood out in case you had to wash blood with other costumes so it wouldn’t bleed. All the samples could have done with a wash in the machine though after we had hand washed them to be able to fully get the stain out.

Historical collars and collar studs

Jack’s shirt as he is playing Mr Grimshaw is a collarless historical darcy shirt which means that the collar will need to be attached using collar studs, his collar was also a Darcy collar that stood up straight to his chin. The designer originally wanted an even taller collar, but the actor was afraid he wasn't going to be able to talk properly so instead the coats collar was instead extended to give the exaggerated look.

I had never used them before, so I wanted to write down how to use them in here for future reference.

Collar studs are different than shirt studs, we did not have to use shirt studs for the final shirt as the one we chose had actual buttons, but they work in the same kind of way.

• There are two lengths of collar studs that comes in a packet, and they have two different functions.

• The short stud goes at the back of the shirt.

• The side that looks like a button is the side that goes against the skin, and the gold or silver stud is the outside as it is more decorative.

• To put the stud through the buttonhole you snap it open, so it lays flat then once it's through snap is back into place.

• Then the long collar stud goes at the front of the shirt because there are more layers for the stud to go through.

• The stud first goes through one side of the collar, and then the shirt together and then the other side of the collar.

Industrial iron workshop

About the industrial irons

• Little spout at the bottom which let's the water out

• Don't leave it on overnight as the pressure when you open the valve is very strong and will burn you

• Always good to drain water first to stop the building up of the limescale

• Fill up the water at the valve that you open like a medicine bottle

• Maximum and minimum line on the iron for the after don't over or under fill

• Use the pedal to cool down which means it will less likely crease as you go round the ironing board

• Taking the moisture out of the ironing board

• Don't want it to get wet , water stains

• Don't fiddle with the temperature

• Shoes on the irons , change them out every now again, stops the shine from happening on darker fabrics

How to iron shirt notes

• Can spritz the shirts and put them in a bag to hang if you have more time

• Don't tumble-dry shirts until they are completely dry because then it will be really annoying to iron

• Always put in similar items into the tumble dryer

• Always good to have spray water bottle for particularly stubborn creases give it a spray dampen

• Always start with the smaller areas the things that won't get creased so much like the collar or the cuffs

• Try not to iron in the grease from necks around the collar

• Leave collar flat and then come back to them

• Not ever shirt needs to be pressed flat, think about the character and what makes sense for them

• Flatten it out the best you can like the sleeve , pull at the cuff it and then iron it

• Think about what is being worn over the top, are only the sleeves being seen focus on those

• Then start to iron the main part of the shirt, going in-between the buttons always try to keep it as flag as possible

• Use the iron board to manipulate how the short is sitting

• Need to be able to speedily do it, will come with practice because you might have like 20 shirts to do

• Them end on the collar fold

• Then straight away hang it up so it doesn't gain anymore creases

• You don't need to use a sleeve board when doing sleeves because you don't usually have time just keep moving the sleeve around, so you don't iron in a crease

Script breakdown

Script breakdown

Making Miss Slighcarps belt

• From most of the fashion research I have done from this era it is clear that one of the main goals is to make the women's wait look small, as well as the large sleeves to make it look proportionally smaller they would sometimes pair their dress with a large width belt. On the front of the belt was a large buckle, that was rectangular. The designer wanted to combine these historical references with a Trunchbull from Matilda vibe, we tried to find lots of belts that would suit this but none of them were quite right so we decided that I should make a belt that could be tailor made and look exactly right. We found faux leather fabric and a brass buckle in the uni buckle box, however this buckle was the wrong way round as it had to be rectangular lengthways and it wasn’t so it wouldn’t function like a normal belt. I had to make a strip to fabric to cover the bar on the inside of the buckle and loop it around so that it could slide onto the strip of fabric I would sew into the belt, and topstitch. I then fastened the belt at the back with two poppers, making sure to measure Averys waist at the fittings over the top of all the layers of dress.

Painting aprons

• We ended up having aprons made by level 4 and 5s as CPD hours and then after they were made it was our responsibility to dye and paint them to make them look like the design

• We used the same formula of dye that we used for the grey shirts and dip dyed the ends of them.

• Then after they had dried, I was in charge of painting the numbers on them.

• The numbers we had to have that were included in the script were 98 and 99 that were Bonnie and Sylvias aprons, and number 18 for Emma.

• I wasn't confident enough to just free hand the numbers, so I looked online for different fonts and found one that was similar.

• I then traced off the numbers onto a paper and looked at what sizes would look best on the apron, and then measured off on each apron where these numbers would sit so, they would all be identical.

• I then painted the numbers on using acrylic paint that I mixed up to be the correct colour.

Cast List

Dye room first sampling session

• Then we tried batik on samples.

All of the characters who are within the chorus all wear very loose balloon sleeve shirts that are covered with this design. The designer left it down to us to figure out how this technique was going to be achieved, we discussed with her different ways that we thought could work using our knowledge of textiles and costume so far. The two stand out ways we could think of to experiment with were batik and tie dye.

• It was just me and Rosie in the dye room for this session so at first she focused on creating the right colour of grey by mixing up different Dylon dyes, we were going to use Dylon dyes because the materials of the shirts that we had sourced and that were going to be made were cotton.

• From this experimentation we realised that elephant grey, even though it looked like it would be the perfect colour grey from the swatch wall, turned out very blue all the concertation's of it we tried.

• We figured out in the end that to create a grey concertation we would have to use black dye and neutralise it with the coffee colour.

• Firstly even though we knew it probably wouldn’t be successful I tried a tie dye technique

• Because the design was not circular patterns but instead more random I crunched up the fabric and tied it in random places over the whole ball of fabric not sections.

• However in my attempt to make a non spiral design I struggled to get enough of the fabric dyed to create the achieved pattern so that was quickly disregarded.

• We knew that the design was a lighter grey underneath and then a darker grey so we knew we would have to dye the shirts first grey then do the batik technique over the top, but because this was a sampling session we were pressed for time so the fabric underneath the wax was white.

• We used the tjanting tools to create different designs, we found that using these tools was very unpredictable and it would often cause spillages which is not really a problem because it could be scraped off before it was dyed.

• We tried different designs and I realised it looked the best when you dragged the tool from one side of the fabric to the other and then branched off from that, and using different sized tools to make thicker and thinner lines

We showed these to the designer and she really liked the outcome, however we realised that this technique would take many realised hours if we were to do it on the full l size shirts and because it is unpredictable not all the shirts could have the desired outcome. So we chatted more with ethe designer and started to come up with some alternatives

Dye room second sampling session

• In this second session we wanted to test out batik on a full shirt to see how long it would take, because it was still the favoured technique of the designer, so we wanted to see if it was going to be achievable.

• I was in the dye room with Rachel this time and we created a grey dye mixture to dye the whole shirt before we batiked it.

• Then we decided we should work on one half of the shirt each creating slightly different designs so that the designer could decide what kind of style she preferred.

• We were in the dye room for three hours and barely managed to finish one shirt between the two of us, so we fed this back to the designer.

• After we ironed off the wax so that the full design could be revealed after dyeing a second time, a darker colour, we realised the shirts were still quite stiff even after the wax had been ironed out. Also we were concerned that the ironing boards could be slightly ruined from the wax, even though we had many layers of scrap fabric above and below the shirts to soak up the wax.

• While we were in the dye room the designer had found this fake batik technique online that would make the same design but much quicker so in the end, we decided to go with that on the final shirts. Isobel was going to guide us through how to create this technique so that it would go exactly how she envisioned.

This was the side of the shirt that I worked on

This was the side of the shirt that Rachel worked

Stencilling shirts

• In the end we used a stencil to create the tree pattern that the designer wanted on the shirts, she was kind enough to create a stencil for us so that we would be able to achieve this.

• Some of the shirts were printed by CPD volunteers again but the final few were stencilled by us the supervision team.

• We used the stencils making sure they were dry and not too covered in paint as this made them sticky and much harder to print, and then mixedup grey acrylic and used a sponge to print.

• One of the shirts had to be washed as it had the failed flour attempt on it and the arm had already been printed and we discovered that the paint would fade a lot when it was soaked, so I had to hand repaint over that arm following where the stencil had printed.

• We also learnt from this that the shirts could not then be washed in between the shows so they would only be able to be sprayed with the vodka spray from far away so that it didn’t mess up the paint and left to air out.

Performance week schedules

The actors were just plotting certain scenes in the morning, so the plan was not to watch them rehearsing in the morning and I thought it would be more useful to make any final changes to costumes, like anything that has been broken that still needed to be fixed. As well as sorting out the rails ready to be taken down for the tech week in the afternoon.

Then in the afternoon the plan is to set up the backstage and dressing room area with Molly the makeup designer to figure out what setup is going to be best for everyone to be able to work together in one room. Then in the evening we are going to stay and finish setting up the rails as the makers wanted that final late night study to be able to work on their costumes.

Performance week schedules

Performance week schedules

Performance week schedules

Dressing Schedule

Elliot road hire forms

Elliot road hire forms

Signing out characters shoes for rehearsals

Signing out characters shoes for rehearsals

Makeup designs

Lewis is only Mrs Brisket for one scene so he will not look like this for most of the show. After going to production meetings, the makeup designer talked with the director, and they decided that his makeup will stay the same throughout the entirety of the show which means the only makeup change that will be happening at the same time will be adding on a wig. During the tech week we figured out the best way to get this quick change running smoothly is to get Lewis mostly dressed and then while Hannah and Charlie are clipping on his green skirt Lewis can bend down so the makeup assistants can reach Lewis’ head and put his wig on while I sort out the accessories.

David starts as Mr Willoughby at the beginning of the play which means he has his facial hair on but for the next scenes when he is chorus, he doesn't have this facial hair. When this change happens, we get him completely out of his Mr Willoughby costume, set out his Simon/chorus trousers so that he can step into them, the we sit him down so that makeup can take his facial hair off while we change and tie up his shoes. The same happens at the end when he gets back into Mr Willoughby, we get him completely out of Simon and get him just to change into his Willoughby trousers and then set down for the facial hair to be applied. Then while that is happening, we can get his jacket and accessories on while he is sat down without making him move around to inconvenience the makeup artists.

Makeup designs

Shayla has her chorus makeup on for the majority of the show the only time she ever comes off for a change is when she becomes Mr Gripe, because this change is pretty long we get all of the costume done first and then makeup can put on her wig and moustache without us all crowding her.

Megan starts out as a chorus member but her hair and makeup is the same for chorus at the beginning than when she is doctor. Therefore she starts out the play with a moustache and her hair in a plaited bun. Her final change out of the doctor her third one, she becomes and orphan so she has to take off her Mustache. I let makeup take it off first and then I put her apron and cap on . When she becomes Aunt Jane her makeup stays the same they just take out her hair out of the bun which reveals her plait this is done after she puts the nightgown on so that if the hair gets messed up from the nightgown it can all just be fixed after the gown is on.

Jada only becomes Dr Field for one scene so she has a Mustache put on for this scene, when she gets changed in and out of Dr Field Charlie puts on her waistcoat and then Jada does up her own buttons so that makeup can apply and take off the Mustache without and extra set of hands getting in the way.

Makeup designs

Solo starts as James so he has a Mustache and his hair tied up in a bun, he keeps this same hair and makeup look for when he is in the chorus. The only hair and makeup change he has is when he becomes Mr wilderness, he needs to have sideburns attached. Because this change is a long change again we decided it makes sense for makeup to go first and take down his hair while applying the sideburns so that they will have a longer time to stick and dry before he goes on stage. Then we get him dressed and add his accessories after this. Depending on the night if there is less makeup team swarming solo then we can get his jackets on while they are finishing the sideburns but definitely not all at once because then it would be too chaotic.

Jen just has her hair in the plait when she is chorus, her first makeup change is into the school inspector, because this change happens slightly overlapping with Brisket again makeup goes first to put on the Mustache because we are usually finishing up getting Lewis into his final costume. Unlike this design she does not get her hair put up into a bun because it is covered by a hat so hen I put on her jacket I make sure the plait is tucked underneath the jacket and the hat is pulled down as well. The night before the first show the director decided she wanted an extra hair piece to be made for Jen as Mrs Willoughby, as there is so many layers to her costume I get Jen completely dressed and then before I put on her fichu I let the makeup team step in to attach this hairpiece as I discovered as we ran with Jen and David to the other entrance of the studio this would always be messed up so it didn’t make sense to completely dress her before we ran.

Makeup designs

Lucy's hair stays the same the entire production, she only wears her bonnet in her opening scenes before she becomes and orphan then she changes her cap, the only time makeup would come is if needed was just to touch up her hair if it got messed up in the middle of the production.

Lily originally had a cap, but after the preassessment the cap that we made was rejected as it did not work with the hair design. After the tech week it was also decided that when lily's character becomes a boy in order to hide from the evil adults her hair would change as well, Molly originally curled lily's own hair to create this look but instead she made more hair pieces of the curls and the bows that would just clip off when this quick change would happen.

Originally Jacks character had a full beard, Mustache and a wig however after the dress run and the filming we had Jack came up to me to say that he wasn't feeling comfortable with his facial hair on and the cast and the director agreed that it was making his speaking very mumbled as he couldn’t fully move his face therefore restricting his performance. He had come up to me after already talking to the makeup department about his worries just so I was aware of any changes that might be made. Therefore after all the discussions talking there was a uniramous decision to have Jack not wear his facial hair during the performances.

How to keep costumes clean

During the run of the show, because so many of the costumes are handmade most of them are not able to be washed; but because the show is so physical and even if it wasn’t the costumes still need to be kept clean and sanitary. This means the costumes will be better and more comfortable for the actors to wear as well as for the dressers. I then did some research into the different ways costume departments keep their costumes clean without washing. When researching I also came across a great website that had handy tips and articles for everything to do with head of running wardrobe- I am just putting it in here for future reference as it was helpful- https://thewardrobeguide.com/

• Vodka water spray- this is something that is used in industry to keep the clothes smelling fresh. It is just what the name suggests and is a mixture you make and put in a spray bottle of vodka and water, the amount of vodka to water you use depends on what kind of fabrics you are spraying on.

• Some people say that a spray made up of just vodka is best for fabrics like wool. It doesn’t just work by the vodka smelling so strong that it hides the smell of body odour, but it breaks down the bacteria that creates this smell.

• It is also more effective than branded fabric refresher as it works scientifically rather than just having strong smelling oils that would mask.

• You should also only use 100% vodka on silk costumes, which we have quite a few of because the water could stain the fabric permanently.

• Always spray the costumes from far away so you don’t get a big blob of spray that will take a lot longer to soak and be less effective, this way you can spray a whole garment a lot faster.

• Make sure as well to only use plain and cheap vodka that doesn’t have any flavourings in as that couldn’t ruin the fabrics and make them sticky.

• Dress shields- for all costumes that were made, like ladies' bodices or men’s coats we gave the makers dress shields that could be poppered on to the armpits on the inside.

• These would be used to soak up most of the sweat from the actors and the after every performance we can un-popper them and throw them into the wash so they will be nice and fresh for the next show.

• This obviously doesn’t keep the whole costume clean, but it defiantly helps.

• Fresh up machine- this is a portable small machine that helps to clean clothes without having to wash.

• As well as removing some smell from costumes it kills the bacteria that is sitting on the fabric, it uses plasma to break down odour molecules.

• You use it by charging it up via USB, and then turning it on at the front, the light shines white when it is not working and purple when it does.

• You run it over the clothes, epically places that particularly hold onto smells and push down and it makes a little hissing noise.

• I have found that it doesn’t completely work on costumes that are quite strong smelling and it definitely needs to be used with all the other cleaning ways, like the vodka spray and dress shields. But the machine always needs to be used before the vodka because it can't be used on wet fabrics.

• It's also very expensive so I have to always keep it on me and take it home with me as well when I leave uni.

Laundry lists

8x Black cotton vests 60 minute quick-wash 30 degrees

10x Grey cotton socks 60 minute quick-wash 30 degrees

Machine load 1

Tumble-dry/ hang Every day (1x matinee, 1x evening)

Tumble-dry/ hang Every day (1x matinee, 1x evening)

Machine load 2

Hairdryer if needed

Hairdryer if needed

1x Off the shoulder white cotton chemise 60 minute quick-wash 30 degrees

Every day (once in the morning)

2x White cotton chemises 60 minute quick-wash 30 degrees Tumble-dry Every day (once in the morning)

1x White cotton fake over collar 60 minute quick-wash 30 degrees Tumble-dry Every day (once in the morning)

10x white dress shields 60 minute quick-wash 30 degrees Hang dry Every day (once in the morning) Hairdryer if needed

1x White cotton shirt 60 minute quick-wash 30 degrees Tumble- dry Every day (once in the morning)

2x White tights 60 minute quick-wash 30 degrees

dry Every day (once in the morning)

if needed

Laundry lists- costume maintenance

Wolves Laundry List

8x Grey chorus shirts Vodka water spray- add essential oil if needed - Straight after every show

All ladies' dresses Vodka water spray- add essential oil if needed - Straight after every show Steam

4x Girl's bodices Vodka water spray- add essential oil if needed

Straight after every show

4x Cravats Vodka water spray- only if needed

4x made jackets Vodka water spray- add essential oil if needed

All breeches Vodka water spray- add essential oil if needed - Straight after every show -

Dressers

Powles Level 6 maker

Tolley Level 6 maker

Hannah

Charlie

Dresser's checklist

Costume item

Wolves of Willoughby Chase

Actor Lily Barbara

Character Bonnie

Scene

Orphanage scene- Act 2 Scene 4

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Hannah Powles

Make/ Hire/ Buy Styling notes

Floral bodice Make Fastened at the back

White tights Buy Worn underneath bloomers- all Bonnie costumes

Brown breeches Make breeches waistband underneath bodice

White petticoat Make Worn over bodice, fastened at the back with poppers

Red overskirt Make Worn over bodice, fastened at the back with poppers

Orphan apron

Make- supervisors N/A

Cream satin character shoes Hire- AUB costume store Heel grips in back

Dresser's checklist

Costume item Make/ Hire/ Buy

Wolves of Willoughby Chase

Actor Lily Barbara

Character Bonnie

Scene Escaping orphanage- Act 2

Scene 4 until the end of the play

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Hannah Powles

Styling notes

Floral bodice Make Fastened at the back

White tights Buy Worn underneath breeches

Brown breeches Make Button fastening

Light brown jacket Hire- AUB costume store N/A

Flat cap Hire- AUB costume store Hair clips must be taken off and then hair hidden underneath cap apart from bun

White satin character shoes Hire- AUB costume store White heel grips in back

Dresser's checklist

Wolves of Willoughby Chase

Actor Lily Barbara

Character Bonnie

Scene

Beginning of act 1- scene 6

Cape added in scene 6 for skatingscene 7

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Hannah Powles

Costume item Make/ Hire/ Buy Styling notes

Floral bodice Make Worn underneath skirts

White tights Buy Worn underneath breeches

Brown breeches Make Bodice over the top of breeches

White petticoat Make Petticoat attached to bodice with ribbon

Red overskirt Make Skirt attached to bodice with ribbon

Red cape Make Hood up, big hook at the front

White character shoes Hire Heel grips in back

Dresser's checklist

Costume item Make/ Hire/ Buy Styling notes

Black vest Buy Worn underneath chorus shirt at all times

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy Worn underneath breeches

Blue breeches Make Button fastening, flap done up first and then waistband fastenings

Striped breeches Hire- AUB costume store Attached to breeches with buttons before dressing

Brown lace up boots Hire- AUB costume store N/A

Wolf hat Make- props team Hats to be held by the snout, put on by actors, elasticated strap

Wolves of Willoughby Chase

Actor Jada Bodden

Character Chorus/ wolf chorus Scene All production apart from act 2 scene 7-8

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Sarah Davey

Dresser's checklist

Costume item

Make/ Hire/ Buy

Styling notes

Grey cap Hire- AUB costume store Tied underneath chin in a bow

Black vest Buy Worn underneath shirt all time

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy Worn underneath breeches

Blue breeches Make N/A

Striped braces

Orphan apron

Hire- AUB costume store Attached with buttons before dressing

Make- Supervisors Kept in crate, actors put them on themselves

Brown lace up boots Hire- AUB costume store N/A

Wolves of Willoughby Chase

Actor

Jada Bodden

Emma

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Sarah Davey

Dresser's checklist

Costume item

Make/ Hire/ Buy

Styling notes

Black vest Buy Worn underneath chorus shirt

Grey chorus shirt Make Tucked into breeches

Blue waistcoat Make Buttoned up at the front

Stethoscope Hire- AUB costume store Worn around neck

Grey long socks Buy Tucked underneath breeches

Blue breeches Make Waistcoat over breeches

Brown lace up boots Buy- AUB costume store N/A

Wolves of Willoughby Chase

Actor Jada Bodden

Character Dr Field

Scene Act 2 Scene 7

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Sarah Davey

Dresser's checklist

Costume item Make/ Hire/ Buy Styling notes

Black vest Buy Worn underneath chorus shirt

Grey chorus shirt Buy- supervisors printed Tucked into breeches

Brown breeches Make Fastened with buttons, front flap first then waistband fastening

Striped braces Hire- AUB costume store

Attached to breeches before dressing

Grey long socks Make Tucked under breeches

Brown lace up boots Sourced- Actors own shoes N/A

Wolf hat

Make- props team

Hats to be held by the snout, put on by actors, elasticated strap

Wolves

Willoughby Chase

Li

Dresser's checklist

Costume item

Blue beret

Black vest

Grey chorus shirt

Make/ Hire/ Buy

Styling notes

Buy- added accessories onto Worn jaunty off to the side and forward hiding forehead

Buy

Worn underneath chorus shirt

Buy- supervisors printed Tucked into breeches

Brown breeches Make Fastened with buttons, front flap first then waistband fastening

Striped braces

Grey long socks

Brown waistcoat

Distressed jacket

Blue handkerchief

Cream knitted scarf

Knife in sheathe

Stick with badges on

Brown lace up boots

Hire- AUB costume store Attached onto breeches before dressing

Buy

Hire- AUB costume store

Buy- supervisors distressed, added patches

Hire- designers own

Worn underneath breeches

Buttoned up if there is time within change, worn over breeches

Worn open

Tied around neck

Hire- AUB costume store Wrapped once around neck, tails long at front

Make- props team

Make- props team

Hire- actors own

Tied in a knot before dressing and slung over one shoulder over jacket

Uses as walking stick

N/A

Wolves of Willoughby Chase

Actor Solo Candy

Character Mr Wilderness

Scene Act 2 scene 5

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Rebecca Li

Dresser's checklist

Costume item

Make/ Hire/ Buy

Black vest Buy

Styling notes

Worn underneath chorus shirts

Grey chorus shirt Buy - supervisors print Tucked into breeches

Grey long socks Buy Worn underneath breeches

Brown breeches Make Fastened with buttons, front flap first then waistband fastening

Striped braces

Hire- AUB costume store Attached onto breeches before dressing

Gold waistcoat Make Velcro at the back, fake buttons done up at front

White cravat Make Tied in the ascot way to hide the chorus shirt

Brown velvet coat Make Not done up

Black buckle shoes

Hire- AUB costume store Insoles inside

Wolves of Willoughby Chase

Actor Solo Candy

Character James

Scene Act 1 Scene 2, 3, 5, 8 Act 2 Scene 1, 3, 9,

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Rebecca Li

Dresser's checklist

Costume item

Chemise

Grey long socks

Black lace up boots

White corset

Make/ Hire/ Buy

Hire- AUB costume store

Buy

Hire- AUB costume store

Make

Bum pad

Green bodice

White petticoat

Green overskirt

White collar

Make

Make

Styling notes

Put on first, no bra underneath

Put on before corset

Put on before corset

Already laced up, loosen and clip at the front, make sure the CF and CB are straight, scoot it around if not, the corset tightens to a complete close to make the costume fit

Tied in knot at the front waist

Sleeves are a bit tight so have to tug on them a big to make the bodice fit correctly. Fastened with hook and eyes at the back

Make Fastened with hook and bars at back

Make Fastened with hook and bars at back, worn over bodice

Make Fastened with hook and bar at the front

Wolves of Willoughby Chase

Actor Avery Kirin

Character Miss Slighcarp

Scene All scenes before scene 8

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Aimee Ward

Dresser's checklist

Costume item

Chemise

Grey long socks

Black lace up boots

White corset

Make/ Hire/ Buy

Hire- AUB costume store

Buy

Hire- AUB costume store

Make

Bum pad

Green bodice

Make

Make

White petticoat

Green overskirt

White collar

Pink overskirt

Brown belt

Styling notes

Put on first, no bra underneath

Put on before corset

Put on before corset

Already laced up, loosen and clip at the front, make sure the CF and CB are straight, scoot it around if not, the corset tightens to a complete close to make the costume fit

Tied in knot at the front waist

Sleeves are a bit tight so have to tug on them a big to make the bodice fit correctly. Fastened with hook and eyes at the back

Make Fastened with hook and bars at back

Make Fastened with hook and bars at back, worn over bodice

Make Fastened with hook and bar at the front

Make Fastened with hook and bar at the front

Make- Supervisors

Fastened at the back with poppers

Wolves of Willoughby Chase

Actor Avery Kirin

Character Miss Slighcarp

Scene All scenes onwards from scene 8

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Aimee Ward

Dresser's checklist

Costume item

Chemise

Make/ Hire/ Buy

Hire- AUB costume store

Grey long socks Buy

Black lace up boots

White corset

Hire- AUB costume store

Make

Bum pad

Green bodice

White petticoat

Green overskirt

Make

Make

Styling notes

Put on first, no bra underneath

Put on before corset

Put on before corset

Already laced up, loosen and clip at the front, make sure the CF and CB are straight, scoot it around if not, the corset tightens to a complete close to make the costume fit

Tied in knot at the front waist

Sleeves are a bit tight so have to tug on them a big to make the bodice fit correctly. Fastened with hook and eyes at the back

Make Fastened with hook and bars at back

Make Fastened with hook and bars at back, worn over bodice

White collar Make Fastened with hook and bar at the front

Black sunglasses Buy

Wolf cub scarf

Make- supervisors

Worn on face

Just placed on shoulders

Wolves of Willoughby Chase

Actor Avery Kirin

Character Miss Slighcarp

Scene Travelling sceneAct 2 scene 3

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Aimee Ward

Dresser's checklist

Costume item

Make/ Hire/ Buy

Styling notes

White darcy shirt Hire- AUB costume store Buttoned all the way to the top, last one closed with collar stud

White darcy 16” collar Buy

Grey long socks

Striped braces

Buy

Attached using collar studs

N/A

Hire- AUB costume store Fastened onto trousers before dressing

Black stripey trousers Make Fastened with buttons at the front

Black waistcoat Make Worn over trousers- can be tightened with buckle at the back

Black thin tie Make Tied in a simple tie knot

Black buckle shoes Make Shoe insoles

Wolves of Willoughby Chase

Actor Jack DeLacey

Character Mr Grimshaw

Scene All scenes- if he is chorus he just takes off jacket

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Charlie Tolley

Dresser's checklist

Costume item Make/ Hire/ Buy Styling notes

Black vest Buy

Grey chorus shirt Hire- AUB costume store

Worn underneath chorus shirt

Tucked into breeches

Grey long socks Buy Worn underneath breeches

Brown breeches Hire- AUB costume store

Striped braces Hire- AUB costume store

Laced up at the front as well as buttoned

Attached to breeches before dressing

Brown lace up boots Hire- AUB costume store N/A

Wolves of Willoughby Chase

Actor Shayla Elliott-Lee

Character

Chorus

Scene All scenes apart from Act 2 scene 8, 9,

Designer Isobel

Kantaris

Supervisor Rachel Lacey

Maker Sourced

Dresser's checklist

Costume item Make/ Hire/ Buy

Styling notes

Black vest Buy Worn underneath chorus shirt

Grey chorus shirt

Hire- AUB costume store Tucked into breeches

Grey long socks Buy Worn underneath breeches

Brown breeches

Striped braces

Red waistcoat

Hire- AUB costume store Laced up at the front as well as buttoned

Hire- AUB costume store Attached to breeches before dressing

Hire- AUB costume store Buttoned all the way up

White large cravat Make- Supervisors Tied in a big bow

Grey coat

Brown lace up boots

Hire- AUB costume store Worn open

Hire- AUB costume store N/A

Wolves of Willoughby Chase

Actor Shayla Elliott-Lee

Character Chorus

Scene Act 2 scene 8, 9,

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Sourced

Dresser's checklist

Costume item Make/ Hire/ Buy Styling notes

Black vest Buy Worn underneath chorus shirts

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy Worn underneath breeches

Striped braces Hire- AUB costume store

Attached onto breeches before dressing

Red wool breeches Make Button front, do up flap first then the waistband fastening

Brown fur lined lace up boots Hire- AUB costume store N/A

Wolf hat

Make- props team

Hats to be held by the snout , put on by actors, elasticated strap

Wolves of Willoughby Chase

Actor David Isherwood

Character Chorus/ Wolf chorus

Scene All chorus scenes where he is not Simon or Mr Willoughby

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Jenny Bowden

Dresser's checklist

Costume item Make/ Hire/ Buy

Black vest Buy

Grey chorus shirt

Grey long socks

Striped braces

Red wool breeches

Cream and red scarf

Brown wool coat

Bow and arrows

Green leg warmers

Cream chunky knit socks

Brown fur lined lace up boots

Styling notes

Worn underneath chorus shirts

Make Tucked into breeches

Buy

Hire- AUB costume store

Make

Make

Worn underneath breeches

Attached onto breeches before dressing

Button front, do up flap first then the waistband fastening

The scarf isn’t long enough to be out and flowing so one side needs to be longer and tucked underneath the jacket straight down, and the longer end folded over this side and tucked under the jacket as well

Make Buttoned up

Make- props team

Slung over shoulder

Make Worn over the boots

Buy

Hire- AUB costume store

Worn over the boots and under the leg warmers

N/A

Wolves of Willoughby Chase

Actor David Isherwood

Character

Scene

Simon

Act 1 scene 7

Act 2 scene 4, 5, 6, 7, 8

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Jenny Bowden

Dresser's checklist

Costume item

Make/ Hire/ Buy

Black vest Buy

Styling notes

Worn underneath chorus shirts

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy

Striped braces

Worn underneath breeches

Hire- AUB costume store Attached onto breeches before dressing

Shiny cream breeches Make Fastened with buttons

White cravat, pink bow tie Make Fastened at the back with hook and bar, they are the same piece

Pink and cream waistcoat Make All buttons done up

Pink coat Make Coat left open

Black buckle shoes Hire- AUB costume store Shoe insoles

Wolves of Willoughby Chase

Actor David Isherwood Character Mr Willoughby

Scene

Act 1 scene 2

Act 2 scene 9

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Grace McGorty

Dresser's checklist

Costume item

Make/ Hire/ Buy Styling notes

Black vest Buy Worn underneath chorus shirts

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy Worn underneath breeches

Striped braces Hire- AUB costume store Attached onto breeches before dressing

Brown wool breeches Make Button front, do up flap first then the waistband fastening

Black buckle shoes Hire- AUB costume store N/A

Wolf hat

Make- props team Hats to be held by the snout , put on by actors, elasticated strap

Wolves of Willoughby Chase

Actor Lewis Feest

Character Chorus/ wolf chorus

Scene All scenes up until act 2 scene 4

Designer Isobel Kantaris

Supervisor Rachel Lacey Maker Ellie Waters

Dresser's checklist

Costume item

Black vest

White…

Grey long socks

Striped braces

Brown wool breeches

Black buckle shoes

Wolf hat

Make/ Hire/ Buy

Buy

Make

Styling notes

Buy

Hire- AUB costume store

Make

Hire- AUB costume store

Make- props team

Worn underneath chorus shirts

Folded underneath bodice, over shoulders to cover the black vest

Worn underneath breeches

Attached onto breeches before dressing

Button front, do up flap first then the waistband fastening

N/A

Hats to be held by the snout , put on by actors, elasticated strap

Wolves of Willoughby Chase

Actor Lewis Feest

Character Mrs Brisket

Scene All scenes from act 2 scene 4

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Ellie Waters

Dresser's checklist

Costume item Make/ Hire/ Buy Styling notes

Black vest Buy Worn underneath chorus shirts

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy Worn underneath breeches

Striped braces Hire- AUB costume store Attached onto breeches before dressing

Brown wool breeches Make Button front, do up flap first then the waistband fastening

Black long boots Hire- AUB costume store Breeches tucked into boots

Wolf hat Make- props team Hats to be held by the snout , put on by actors, elasticated strap

Dresser's checklist

Costume item

Black vest

Grey chorus shirt

Grey long socks

Striped braces

Black spotty cravat

Brown wool breeches

Brown tweed jacket

Black long boots

Brown bowler hat

Make/ Hire/ Buy

Buy

Styling notes

Worn underneath chorus shirts

Make Tucked into breeches

Buy Worn underneath breeches

Hire- AUB costume store

Make- Supervisors

Make

Make

Hire- AUB costume store

Hire- AUB costume store

Attached onto breeches before dressing

Cravat tied cascading style

Button front, do up flap first then the waistband fastening

Done up all the way, down the CF then the belt

Breeches tucked into boots

Hair tucked under

Wolves of Willoughby Chase

Actor Jennifer Jones

Character School Inspector

Scene Act 2 Scene 4

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Isabella Davis

Dresser's checklist

Costume item

Make/ Hire/ Buy

Styling notes

White chemise Hire- AUB costume store Pulled slightly off the shoulders

White corset Hire- AUB costume store Already laced up, loosen before the show, then can do up with the busk then tighten with lace

White…

White petticoat

Pink skirt

Pink bodice

Make Tucked underneath bodice

Make Fastened with hook and bar make sure it's on the waistline

Make Fastened with hook and bar make sure it's on the waistline

Make

Bodice put on after skirts as worn over the top of the skirts

Brown lace up boots Hire- AUB costume store Put on shoes before corset is tightened

Wolves of Willoughby Chase

Actor Jennifer Jones

Character Mrs Willoughby

Scene Act 2 scene 9

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Sophie Diosi

Dresser's checklist

Costume item Make/ Hire/ Buy Styling notes

White vest Hire- AUB costume store Worn without a bra

Nude corset Hire- AUB costume store Can be fully laced up when dressing at the beginning of the show as she wears it throughout the whole thing, not too tight as she has a lot of movement and singing

White tights Buy Worn underneath breeches

Cream breeches Make Tucked underneath bodice

Blue bodice Make Fastened at the front with hook and eyes

Blue petticoat Make Fastened at the back with poppers, worn over bodice

Blue skirt Make Fastened at the back with poppers, worn over bodice

White overskirt Make Fastened at the back with hook and eyes, worn over bodice

Wolves of Willoughby Chase

Actor Lucy Hutchinson

Character

Sylvia Scene Costume without cape Act 1 scene 1-5

Cape on in Scene 6

Designer Isobel Kantaris

Supervisor Rachel Lacey

Maker Elsie Howards

Cream satin character shoes Hire- AUB costume store Ribbon tied into a bow

Dresser's checklist

Costume item Make/ Hire/ Buy Styling notes

White vest Hire- AUB costume store Worn without a bra

Nude corset Hire- AUB costume store

Can be fully laced up when dressing at the beginning of the show as she wears it throughout the whole thing, not too tight as she has a lot of movement and singing

White tights Buy Worn underneath breeches

Cream breeches Make Tucked underneath bodice

Blue waistcoat Hire- AUB costume store

Not done up

Flat cap Hire- AUB costume store Hair tucked up underneath

Cream satin character shoes Hire- AUB costume store Ribbon tied into a bow

Wolves of Willoughby Chase

Actor

Character

Scene

Sylvia

Middle of Act 2 Scene 4

onwards

Designer Isobel

Kantaris

Supervisor Rachel Lacey

Maker Elsie

Howards

Dresser's checklist

Costume item Make/ Hire/ Buy Styling notes

Black vest Buy Worn underneath chorus shirts

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy Worn underneath breeches

Striped braces Hire- AUB costume store

Blue wool breeches Hire- AUB costume store

Black long boots Hire- AUB costume store

Attached onto breeches before dressing

Button fly fastening

Breeches tucked into boots

Wolves of Willoughby Chase

Actor Megan Howlett

Character Chorus/ orphan

Scene All scenes apart from Act 1 scene 2

Act 1 scene 5

Act 2 Scene 3

Act 2 Scene 7

Designer Isobel Kantaris

Supervisor Rachel Lacey

Dresser's checklist

Costume item

Black vest

White nightgown

Blue breeches

Make/ Hire/ Buy

Styling notes

Buy N/A

Hire- AUB costume store Done up to the top to hide the vest underneath

Hire- AUB costume store Try and pull them up so they don’t poke out from underneath dress

Grey long socks Buy No shoes in this scene

Actor Megan Howlett

Character Aunt Jane

Scene Act 2 Scene 7

Designer Isobel Kantaris

Supervisor Rachel Lacey

Wolves of Willoughby Chase

Dresser's checklist

Costume item

Make/ Hire/ Buy

Black vest Buy

Styling notes

Worn underneath chorus shirts

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy

Striped braces

Blue wool breeches

Grey tailcoat

Blue cravat

Black long boots

Black top hat

Stethoscope

Worn underneath breeches

Hire- AUB costume store Attached onto breeches before dressing

Hire- AUB costume store Button fly fastening

Hire- AUB costume store All buttons done up

Hire- AUB costume store Tied in traditional way

Hire- AUB costume store Breeches tucked into boots

Hire- AUB costume store Hair tucked in

Hire- AUB costume store Slung around neck

Wolves of Willoughby Chase Actor Megan Howlett

Kantaris

Supervisor Rachel Lacey

Dresser's checklist

Costume item

Black vest

Make/ Hire/ Buy

Buy

Styling notes

Worn underneath chorus shirts

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy Worn underneath breeches

Striped braces

Black breeches

Black coat

White cravat

Black conductor hat

Black long boots

Hire- AUB costume store Attached onto breeches before dressing

Hire- AUB costume store Button fly fastening

Hire- AUB costume store Buttoned up all the way

Make- Supervisors Tied into bow

Hire- AUB costume store Don’t pull down too far as will cover eyes

Hire- AUB costume store Breeches tucked into boots

Wolves of Willoughby Chase

Campbell

Dresser's checklist

Costume item Make/ Hire/ Buy Styling notes

Black vest Buy Worn underneath chorus shirts

Grey chorus shirt Make Tucked into breeches

Grey long socks Buy Worn underneath breeches

Striped braces Hire- AUB

costume store

Black breeches Hire- AUB

costume store

Black long boots Hire- AUB

Attached onto breeches before dressing

Button fly fastening

costume store Breeches tucked into boots

Wolves of Willoughby Chase

Actor Cal Campbell

Character Chorus/ orphan

Scene All scenes apart from Act 1 Scene 2

Designer Isobel Kantaris

Supervisor Rachel Lacey

Costume plot

Costume plot

Budget sheet for running wardrobe

What to include in a dressers belt

I wanted to write what I included in my dressers belt for the tech week and run of the shows, and things that were especially helpful and what I would include next time.

Snips- I loved having these as at one point in the show during the final quick change we couldn’t get Simons jacket off because the toggles hadn’t gotten knotted around the wool, and we were running out of time so I had to snip the wool to get him out as he wasn’t wearing it again during the show so I could fix it afterwards.

Fabric scissors- these were useful during the run for cutting off stray bits of thread and things like that, I will say though the fabric scissors were really large and got in the way sometimes so I would recommend only having a pair of snips instead

Plasters- There was a lot of falling over on stage which led to bleeding quite a few times, even though we had a first aid kit it was useful to have extra, as well as for dressers in case they cut fingers and didn’t want to bleed on clothes

Tissues- useful for the actors for sweat, runny noses all sorts of things.

Rescue remedy spray- This was more of a personal choice as it was really useful for the actors and people backstage to calm people's nerves

Pens and pencils- This is an essential to be able to make notes of any changes that would happen during the show, or to make lists of things that broke that needed fixing

Lint rollersfor quickly cleaning up costumes that would have gotten dusty on stage

Pads and tampons- just really useful for everyone

Masking tape- Really good for labelling things backstage like quick change chairs and the accessories table

Shoe repair glue- I didn’t end up using this but it was just in case the shoes broke midway as none of them were new

Script- having the script meant that we always knew where we were during the tech runs when we hadn’t quite memorised the show yet

Already threaded needles- these were there for quick sewing fixes like buttons falling off and things like that

Threads- I had two rolls of thread in my belt and more in the dressing room- the two in my belt were the most used colours in the show, brown and grey

Safety pins- These were so helpful for if things were coming undone or not staying up in the middle of the show where there wouldn’t be time to fix. – I hung three different sizes off the rings on my belt

Act and Scene Action

Pre-set

Wolves of Willoughby Chase: Dressing Plot

Dresser: Amelia Bavin

Actor Notes

Act 1 Scene 1

Act 1 Scene 2

Act 1 Scene 3

Act 1 Scene 5

Pre-set all hats, shoes and accessories on the rail and the shoe rack, pre-set Davids chorus trousers and shoes on 3rd chair

Change into Doctor Mourne, put on hat and glasses and tie cravat, give stethoscope

Doctor Mourne to chorus, take off coat, hat, glasses, cravat, stethoscope

Mr Willoughby to chorus, take off coat and cravat, change and do up one of the shoes

Change into Change into Doctor Mourne, put on hat and glasses and tie cravat, give stethoscope Out of Doctor in the same scene

Act 1 Scene 6 Into Simon costume, put on one set of socks and leg warmers over one of the shoes, put on scarf

Act 1 Scene 7 Miss Slighcarp overskirt

Act 1 Scene 8 Simon into chorus take off socks

Act 1 Scene 8 Take off Slighcarp over skirt

Act 1 Scene 9

Act 2 Scene 1

Act 2 Scene 2

Act 2 Scene 3

Act 2 Scene 4

Act 2 Scene 4

Setting up Brisket preset

Change into Doctor Mourne, put on hat and glasses and tie cravat, give stethoscope

Change into Brisket, Do up bra, put on bustle and hand ties to Hannah to do up, put on petticoat, put on top skirt, give overskirt to Charlie ,give gloves, put on choker, put on belt

School inspector, put on coat and hat, tie cravat

Doctor Mourne to orphan, take off coat cravat accessories put on apron and cap Later- into Simon put on socks

School inspector to chorus

Act 2 Scene 5 Brisket to chorus, take off belt and skirts, help put on shirt and give hat

Act 2 Scene 5 Pre-set Aunt Jane

Solo into wilderness put on scarfs and hat

Act 2 Scene 6 Into Aunt Jane, shirt off pre-set onto chair so she can put it back on

Pre-set Mrs Willoughby

Act 2 Scene 7 Mrs Willoughby change, out of chorus completely whole change, then makeup come in then after do the fichu

Megan Howlett

Make sure all shoes are untied and loose so they can be quickchangeable

Make sure the cravat covers the chorus shirt, give glasses don’t put on because they are so small

Megan Howlett Hand over costume to Charlie so he can pre-set on chair straight away

David Isherwood Give coat and cravat to Charlie to pre-set

Megan Howlett Pre-set Doctor one more time

David Isherwood

Make sure socks and leg warmers cover the top of the shoe and cover chorus socks

Avery Kirin Take off belt first then put it back on after overskirt on

David Isherwood

Avery Kirin Hang it back up

Megan Howlett

Lewis Feest As bodice is being done up wig is being put on

Jennifer Saunders

Megan Howlett

Jennifer Saunders Hang back up on rail

Lewis Feest

Solo Candy

Megan Howlett

Jennifer Saunders

Act 2 Scene 8

Simon into Mr Willoughby, put on waistcoat, cravat, then jacket

David Isherwood Then I run with Jen and Charlie runs with David and we sort them out at the door

Wolves of Willoughby Chase: Dressing Plot

Dresser: Hannah Powles

Act and Scene Action

Pre-set

Act 1 Scene 1

Act 1 Scene 2

Pre- set train conductors costume on the first quick change chair Coat, cravat, hat

Change into train conductor, put on coat and tie cravat

Train conductor to chorus, take off coat hat and cravat

Actor Notes

Act 1 Scene 3

Mr Willoughby to chorus, set up trousers on the floor and help to change into chorus trousers, put on and do up one of the shoes

Act 1 Scene 5 James into chorus, take off coat cravat and waistcoat

Act 1 Scene 6

Into Simon costume, put on one set of socks and leg warmers over one of the shoes

Act 1 Scene 7 Into James, tie cravat

Cal Campbell Make sure the cravat bow is extra floppy and outside of the coat, slow

Cal Campbell Hang up costume straight away onto rail, move the cravat over to Mr Gripes costume, slow

Candy Set up onto the 3rd chair

David Isherwood

Make sure socks and leg warmers cover the top of the shoe and cover chorus socks

Solo Candy Make sure it goes under waistcoat and covers skin and chorus shirt

Act 1 Scene 8 Simon into chorus, take off socks David Isherwood

Act 1 Scene 9 Setting up Brisket pre set Act 2 Scene 1 Giving Avery her scarf and glasses

Act 2 Scene 2

Act 2 Scene 3

Act 2 Scene 4

Act 2 Scene 4

Act 2 Scene 5

Act 2 Scene 5

Change into Brisket put on bra and then vest, tie bustle at the front, hand petticoat and skirt to Amelia, do up bodice, hook on half of overskirt

James to Chorus, take off everything

Into Simon, put on one of socks

Sylvia to boys take off skirts Bonnie to boys take off skirts

Brisket to chorus, undo bodice

Preset Mr Gripe

Solo into wilderness put on waistcoat and jacket and belt

Avery Kirin

Lewis Feest As bodice is being done up wig is being put on

Solo Candy Pre-set on chair

David Isherwood

Lily and Lucy Put skirts underneath the rail out of way

Lewis Feest

Solo Candy

Act 2 Scene 6

Solo into chorus

Act 2 Scene 7 Into Mr Gripe, waistcoat, coat, cravat

Act 2 Scene 8 Solo into James, change shoes, waistcoat, cravat, coat

Solo Candy

Shayla ElliotLee

Solo Candy

Wolves of Willoughby Chase: Dressing Plot

Dresser: Charlie Tolley

Act and Scene

Pre-set

Act 1 Scene 1

Act 1 Scene 2

Act 1 Scene 3

Act 1 Scene 4

Act 1 Scene 5

Act 1 Scene 6

Act 1 Scene 7

Act 1 Scene 8

Act 2 Scene 1

Act 2 Scene 2

Act 2 Scene 4

Act 2 Scene 4

Act 2 Scene 5

Act 2 Scene 5

Act 2 Scene 6

Action

Pre-set Doctor Mournes costume on the second quick change chair- Coat, cravat, glasses, hat, stethoscope

Change into Doctor Mourne, put on coat and do up buttons

After Doctor Mourne into chorus pre-set costume again onto chair

Mr Willoughby to chorus, take of waistcoat then pre set Willoughby's costume on the very end chair

Take off Mr Grimshaw's coat

Change into Doctor Mourne, put on coat and do up buttons

Out of doctor in the same scene

Into Simon costume, put on coat and grab accessories, bottle, bow and arrow

Into James put on coat and waistcoat

Simon into chorus, take off coat and scarf

Change into Doctor Mourne, put on coat and do up buttons

Change into Brisket help take off Lewis shirt take off hat, do up petticoat, do up top skirt, put on bodice, hook on half of overskirt

Into Simon costume, put on coat and grab accessories, bottle, bow and arrow

Sylvia to boy put on jacket

Bonnie to boy, put on jacket

Brisket to chorus unhook top skirt, undo skirts

Pre-set Dr Field

Solo to wilderness put on belt, help with shoes if needed but he usually changes himself when he is getting makeup done

Wilderness into chorus

Into Dr field- waistcoat stethoscope

Actor Notes

Megan Howlett

Megan Howlett

David Isherwood

Jack Humphries

Megan Howlett

David Isherwood

Solo Candy

David Isherwood

Megan Howlett

Check the sleeve lining each time to make sure it doesn’t rip

Set it down on one of the last chairs

Run with David to his entrance then put on accessories when there

Lewis Feest As bodice is being done up wig is being put on

David Isherwood

Lucy Hutchinson

Lewis Feest

Solo Candy

Run with David to his entrance then put on accessories when there

Act 2 Scene 7

Act 2 Scene 8

Dr Field into chorus

Simon into Mr Willoughby, take of Simon clothes, help get into Mr Willoughby trousers, then sit down and makeup do facial hair while help to change shoes

Run with David to the door.

Set up of dressing room and backstage

The day before the tech rehearsals started, we went downstairs into the music rehearsal room which was going to be turned into our dressing room. And then we set up the backstage area for the quick-change dressing room as well. I then had to go through my costume plot and see wat costumes would need to be set up where and make a list.

• When setting up the rails we separated the costumes by actor that was the rail divider in black, and yellow that was the character they were playing.

• The costumes in the main dressing room were hung up by metal hangers and I organised them in order of how they would be put on if they were getting dressed.

• I divided up the rails in the dressing rooms by having one rail be of the main characters costumes, and then another rail being the actors chorus costumes so that it would be less confusing when it came to washing and sorting.

• All the costumes that were in here were everyone's costumes that they started the show in.

• The rails also had the grey foldable cubbies on that had everyone's shoes, socks and accessories in.

• We had created a colour chart for the socks and used embroidery thread to organize them, the colours corresponded to the colours they had on my costume plot.

• In the backstage area all the costumes are hung on plastic hangers as they are quieter when things are being put on and off the rail.

• For this rail I decided to organize it only by character as it was easier to see and sort out in the dark.

• I organized it in the order that the quick changes would happen so that we would work our way down the rail in order.

• I also labelled the cubbies on this rail using masking tape and a pen, which we then highlighted so we could see it better in the dark, this was also organised from top to bottom in the order of the quick changes.

• I also printed out my costume plots on A3 paper so that it would be easily seen and readable and printed out a copy for the makeup team as well, as we went along with tech week, we created our notes and dressers checklists which were then printed out and added to the wall.

List of alterations backstage

• From the first tech and dress run we made a list in my frog notebook backstage of everything that would break or need slight adjustments during the runs. We would then look at the list and bring the costumes either up to the studio if it was from an evening performance or just bring it to the front of the rail if it was after a matinee to be fixed. This was the list we had made and all that we fixed until the end of the run.

Show reports

We checked with the props team and there wasn’t anything they could do to the current stethoscopes to make them look older, and then I talked to Megan personally and found out that she cant not have a stethoscope because she actually uses it to check over Mrs Willoughby in the first two scenes when she is a doctor so we swapped it out for Doctor Fields stethoscope and had both of the characters use the same one as they didn’t mind the look of that one.

Show reports

Appendix

CPD examples- fitting notes for Macbeth

CPD examples- sewing patches for Macbeth

Backstage photos

All photos by Jayne Jackson

Production photos

Photos by Jayne Jackson

Bibliography

Aiken, J. (2012). The Wolves of Willoughby Chase. Random House.

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American Duchess Blog. (2017). What I’ve Learned About the 1830s in 2.75 Days. [online] Available at: https://blog.americanduchess.com/2017/10/what-ivelearned-about-1830s-in-275-days.html [Accessed 7 Dec. 2023].

Arnold, J. (2002). Patterns of fashion. 3, The cut and construction of clothes for men and women, c1560 -1620. Hollywood, Ca: Quite Specific Media Group. Arnold, J. (2014). Patterns of fashion / 2, Englishwomen’s dresses and their construction c. 1860-1940 / written and illustrated by Janet Arnold. London: Macmillan Publishers Ltd.

Blog, F. (2008). Underneath the Romance: 1830s Skirt Supports. [online] GBACG - the Greater Bay Area Costumers Guild. Available at: https://gbacg.org/finery/underneath-the-romance-1830s-skirt-supports/ [Accessed 7 Dec. 2023].

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Joanna (2020). Historical Costume, 1790-1830 : Shoes, slippers. [online] Liberta Books. Available at: https://libertabooks.com/costume/historical-costume-17901830-shoes-slippers/ [Accessed 7 Dec. 2023].

Kenna (2018). 1830s Sleeve Supports! [online] Sew Last Century. Available at: https://sewingwithkenna.wordpress.com/2018/12/13/1830s-sleeve-supports/ [Accessed 7 Dec. 2023].

Laurelle Antique Jewellery. (n.d.). Georgian Era Jewellery. [online] Available at: https://laurelleantiquejewellery.com/collections/georgian-era-1714-1830. mansionmusings (2013). A Stitch in Time Saves Nine? Making a Reproduction Late 1830s Dress. [online] mansion musings. Available at: https://mansionmusings.wordpress.com/2013/08/07/a-stitch-in-time-saves-nine-making-a-reproduction-late-1830s-dress/ [Accessed 7 Dec. 2023].

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Rebecca Shedd - Author. (2021). The Writer’s Guide to 1830s Men’s Fashion. [online] Available at: https://rebeccashedd.com/2021/06/25/the-writers-guide-to1830s-mens-fashion/.

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List of figures

•Fig 1. 1830s gown illustration (1838) V and A [online]. Available from: https://collections.vam.ac.uk/item/O576399/fashion-plate-unknown/

•Fig 2 Example of gigot sleeves (2009) Met Museum [online]. Available from: https://www.metmuseum.org/art/collection/search/159535

•Fig 3. 1830s petticoat and sleeve supports (2009). Met Museum [online] Available from: https://www.metmuseum.org/art/collection/search/82081

•Fig 4 1830s petticoat and sleeve supports (2009) V and A [online]. Available from: https://collections.vam.ac.uk/item/O316199/shoulderpuffs-pair-of-shoulder/

•Fig 5. 1830s petticoat (2009) Met Museum [online]. Available from: https://www.metmuseum.org/art/collection/search/82076

•Fig 6 1830s Day dress (2007) V and A [online]. Available from: https://collections.vam.ac.uk/item/O142423/day-dress-unknown/

•Fig 7. 1830s dress (2006) V and A [online]. Available from: https://collections.vam.ac.uk/item/O129214/dress-unknown/

•Fig 8. 1830s evening dress (2013) Fashion History Timeline [online]. Available from: https://fashionhistory.fitnyc.edu/1830-1839/

•Fig 9. Detail on 1830s dress (2010) Met Museum [online]. Available from: https://www.metmuseum.org/art/collection/search/108058

•Fig 10 1830s Pelisse (2009) Met Museum [online]. Available from: https://www.metmuseum.org/art/collection/search/98217

•Fig 11. 1830s Pelisse (2003) fashion history timeline [online]. Available from: https://fashionhistory.fitnyc.edu/pelisse/

•Fig 12. 1830s fabric [online]. Available from: chrome-

extension://efaidnbmnnnibpcajpcglclefindmkaj/https://dressandtextilespecialists.org.uk/wp- content/uploads/2021/08/Identifying-PrintedTextiles.pdf

•Fig 13. 1830s fabric [online]. Available from: chromeextension://efaidnbmnnnibpcajpcglclefindmkaj/https://dressandtextilespecialists.org.uk/wp- content/uploads/2021/08/Identifying-PrintedTextiles.pdf

•Fig 14 1830s chemise [online] Met Musueum. Available from: https://www.metmuseum.org/art/collection/search/82061

•Fig 15 1830s corset [online] V and A. Available from: https://collections.vam.ac.uk/item/O138890/corset-unknown/

•Fig 16 1830s undergarments[online] Lamca. Available from: https://collections.lacma.org/node/233817

•Fig 17 1830s Pelerine [online] V and Available from: https://collections.vam.ac.uk/item/O354534/pelerine-unknown/

•Fig 18 1830s portrait locket [online] Available from: https://collections.vam.ac.uk/item/O122823/locket-unknown/

•Fig 19 1830s bracelet [online] V and A Available from: https://collections.vam.ac.uk/item/O316927/pair-of-bracelets/

•Fig 20 1830s earrings [online] V and A. Available from: https://collections.vam.ac.uk/item/O316927/pair-of-bracelets/

List of figures

• Fig 21 1830s tailcoat [online] Gentlemens Gazette. Available from: https://www.gentlemansgazette.com/tuxedo-black-tie-guide/black-tietuxedo-history/regency-evolution-tailcoat-cravat/

• Fig 22 1830s frock coat [online] Mimi Matthews. Available from: https://www.mimimatthews.com/2016/10/03/a-century- of-sartorialstyle-a-visual-guide-to-19th-century-menswear/

• Fig 23 Morning coat illustration [online] National museums Scotland. Available from: https://mode.nms.ac.uk/victorian-frock-coat/

• Fig 24 1830s breeches [online] Jane Austen world. Available from: https://janeaustensworld.com/2013/06/21/regency-fashion-mensbreeches-pantaloons-and-trousers/

• Fig 25 1830s trousers [online] Met Museum. Available from: https://www.metmuseum.org/art/collection/search/80002252

• Fig 26 1830s waistcoat [online] Met Museum. Available from: https://www.metmuseum.org/art/collection/search/90805

• Fig 27 1830s waistcoat [online] John Bright collection. Available from: https://www.thejohnbrightcollection.co.uk/costume/waistcoat-00/

• Fig 28 1830s waistcoat [online] V and A. Available from: https://collections.vam.ac.uk/item/O78740/waistcoat-unknown/

• Fig 29 1830s men’s shirt [online] Witness to fashion. Available from: https://witness2fashion.wordpress.com/tag/mens-shirtdevelopment-history/

• Fig 30 1830s men’s shirt [online] V and A. Available from: https://collections.vam.ac.uk/item/O351237/shirt-unknown/

• Fig 31 portrait of Beau Brummel [online] Never was Mag. Available from: https://neverwasmag.com/2008/11/beau-brummell-the-moststylish-history-maker/

• Fig 32 Example of Dandy fashion. [online] Available from: https://georgianera.wordpress.com/2018/05/10/the-cut-of-the-clothes-a-storyof-prinny-and-beau-brummell/

• Fig 33 Example of Dandy fashion [online] Never was Mag. Available from: https://neverwasmag.com/2008/11/beau-brummell-the-moststylish-history-maker/

• Fig 34 Portrait of Beau Brummell [online] Available from: https://en.wikipedia.org/wiki/Beau_Brummell

• Fig 35 1830s cravat [online] Gentlemen’s Gazette. Available from: https://www.gentlemansgazette.com/tuxedo-black-tie-guide/black-tietuxedo-history/regency-evolution-tailcoat-cravat/

• Fig 36 19th century top hat [online] Museum of New Zealand. Available from: https://collections.tepapa.govt.nz/object/49933

• Fig 37 1830s gloves [online] Pinterest. Available from: https://www.pinterest.co.uk/pin/498492252503829846/

• Fig 38 1830s men fashion illustration [online] Fashion history timeline. Available from: https://fashionhistory.fitnyc.edu/1830-1839/

• Fig 39 Lace up half boots [online] Liberta books. Available from: https://libertabooks.com/costume/historical-costume-1790-1830-shoesslippers/

• Fig 40 1830s shoes [online] Met museum. Available from: https://www.metmuseum.org/art/collection/search/112738

• Fig 41 1830s shoes [online] V and A. Available from: https://collections.vam.ac.uk/item/O117716/pair-of-shoes-unknown/

• Fig 42 1830s shoes [online] V and A. Available from: https://collections.vam.ac.uk/item/O135447/pair-of-shoes-unknown/

• Fig 43 1830s satin shoes [online] V and A. Available from: https://collections.vam.ac.uk/item/O171661/pair-of-shoes-unknown/

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