Hermia’s father Egeus wants her to marry Demetrius so much so that he goes to Theseus the Duke of Athens and tries to force her to. She doesn’t want to because she is in love with Lysander, but Theseus doesn’t approve and says she either has to be put to death or become a nun. She doesn't like either of those options so choses to run away with Lysander instead and asks Helena for help who then tells Demetrius because she is in love with him and has an ulterior motive; they all run away together. While all of this is happening, the mechanicals are running around in the woods trying to concoct and rehearse a play that they hope to perform and Theseus wedding where he is to marry Hippolyta the Queen of the Amazons. Also in the woods are the fairies and the king and queen Oberon and Titania are in a fight because neither of them want to give up custody of a little boy. This makes Oberon angry, and he makes Puck use a magic potion to cause mischief, it will cause Titania to fall in love with the first thing she lays her eyes on after she wakes up. To cause more problems they turn bottom one of the Mechanicals into half a donkey with an ass's head so that Titania wakes up and falls in love with him. All the Mechanicals run away when they see him. Oberon also gets annoyed by the lovers because they are all bickering loudly and he wants to solve this by also using the love potion quiet them down, but Puck gets them confused and instead of using the potion to make Demetrius and Helena fall in love he uses it on Lysander, and he falls in love with Helena instead. This causes even more arguments especially between Helena and Hermia because Hermia thinks she has stolen her man. After seeing all the mess, he has made Oberon takes off all the magic when everyone falls asleep and when the lovers wake up, they are confused it is all a dream, Titania however is mortified she was doting on a donkey man.
The lovers run back to Athens out of the woods and convince Theseus to allow them to get married at the same time as him making it a triple wedding, and because he is moved by love that day he agrees.
Then after the Mechanicals have been rehearsing all this time, they get to perform their play of Pyramus and Thisbe at the wedding and it is very comical how bad it is.
Athenians
The four lovers
Mechanicals
Nick Bottom- Weaver
Peter Quince- Carpenter
Francis Flute- Bellows
Tom Snout- Tinker
Snug- Joiner
Robin Starveling- Tailor
Lysander and Hermia
Demetrius and Helena
Royalty
Theseus- Duke of Athens
Hippolyta- Queen of Amazons
Philostrate- Master of Revels
Egeus- Hermia's father
Fairies
Oberon- King
Titania- Queen
Puck- Jester
Cobweb
Mustardseed Moth
Peaseblossom
Fig 1. Portrait of Shakespeare
Fig 2 Picture of globe
A Midsummer Night’s dream- 1999
• I decided I wanted to watch the 1999 film version of a midsummer night's dream as a primary research observation to mainly get an insight into the characterisation that the actors portray.
• In this version the director Michael Hoffman decided to set Midsummer in the Victorian era.
• I think this a clever choice because it allows the personality and costumes particularly for the lovers to shine through. As Hermia and Lysander are the adventitious coupe Hermia wears less traditional Victorian clothing and does radical things for the time, like ride a bicycle through town. In contrast to these characters Helena and Demetrius are very prim and proper, more formal in their dress.
• This is all unravelled- literally- in the scenes where they enter the woods. The lovers become more bedraggled the deeper they go into the forest; more layers get ripped and taken off until they all get caught at the edge of the woods in no clothes at all.
• I particularly loved the costume designs for the fairy characters by Gabriella Pescucci.
• As she incorporated very human items like records and drinking jugs into their costumes in unconventional ways, contrasting the magical reflective fabrics used throughout.
• This was to reflect the fairy's mischievousness within the human world taking things they don’t own and don’t understand.
• The fairies were also very inspired by ancient Greece, their dresses were very similar to togas. This was because Midsummer is set in Athens.
Fig 3-5 Stills of 1999 version of a midsummer night's dream
Script Breakdown
Script Breakdown
Suppliers list
Supplier Address Website
A One Fabrics 50-52 Goldhawk Rd, London W12 8DH
N/A
A to Z Fabrics Ltd 53A Goldhawk Rd, London W12 8QP N/A
Accessorize 15 Old Christchurch Rd, Bournemouth BH1 1DR
Amazon N/A
Apricot
1-2 Union St, Bath BA1 1RP
https://www.accessorize.com/uk
https://www.amazon.co.uk/ref=na v_logo
https://www.apricotonline.co.uk/
Contact details Notes
020 8740 7349
02082226566
01202 558607
02070847911
Contact each seller individually
01225 466103
Good for printed cottons, likes cash,
Very helpful but quite pushy sellers, were knowledgeable though and helped us to find options but tried to make us buy more fabric than we wanted
Good for jewellery, often have big 70% off sales
Amazon Prime fast delivery, free returns, not very sustainable or ethical
Not many stores in person but is available in new look shops, online fast delivery but expensive, usually quite high quality
Next day delivery and free returns, Very good for men’s and women’s clothing lots of brands in one place but fast fashion, student discount
Good for jewellery as have their own brand, always have good selection of clothes
Very unethical brand was not aware before ordering, would only use as a last minute resource now, cheap quality Cats ProtectionPoole Charity Shop 111 High St, Poole BH15 1AN
Lots of womenswear with quite a few designer or high quality items for good prices
Dazzle 41a, 43 Goldhawk Rd, London W12 8QP N/A
Debra UK 443 Wimborne Rd, Bournemouth BH9 2AN
07591117679
Had some really nice embroidered and specialist fabrics- where we found the bark fabric- but quite expensive as very high quality
https://www.debra.org.uk/ 01202 516917
Mainly furniture in the one in Winton, but quite a lot of footwear and menswear- where I found a few formal shirts for very cheap 24
Suppliers list
Supplier Address
Depop N/A
Website
https://www.depop.com/gb/
Contact details Notes
Contact each seller through the app individually
https://fabricland.co.uk/ 01202 580066
More expensive than vinted, but more brands have a presence on their to sell samples and things like that, same problems as vinted Fabric land 3 Dominion Rd, West Howe Industrial Estate, Bournemouth BH11 8LH
H and M Unit M, West Mall Castlepoint, Castle Ln W, Bournemouth BH8 9UY
Hobbycraft Unit C9, Retail Park, Redlands, Branksome, Poole BH12 1DN
LewisManning Hospice Care Charity Shop
LewisManning Hospice Care Shop
116a High St, Poole BH15 1DF
396 Wimborne Rd, Bournemouth BH9 2HA
Very close to university and Elliott road, cheap fabrics in both senses
https://www2.hm.com/en_gb/in dex.html 0344 736 9000 Good for modern current clothing, can do click and collect, has sustainable options but still fast fashion
https://www.hobbycraft.co.uk/ 0330 026 1156
Poole@hobbycraft.co.uk
Not a great range of fabrics and expensive for what they are, good for jewellery making and sewing equipment
https://lewis-manning.org.uk/ 01202 119310 Friendly and helpful staff, lots of choice of footwear
N/A
01202 119311 Newest charity shop in Winton, not always the best deals as quite a lot of new clothing, lots of menswear more than any charity shop I have seen- especially men’s formal wear and jeans Marks and Spencer Yeomans Way, Bournemouth
BH8 9UL
Minds Matter 357 Wimborne Rd, Bournemouth
BH9 2AD
Misan West 21 Goldhawk Rd, London W12 8QQ
https://www.marksandspencer.c om/
N/A
https://www.misan.co.uk/misanw est/
01202 363600 Easy delivery and returns, high quality clothing for reasonable prices, very good for underwear, suits run very small
01202 532963 Lots of selection of footwear for men and women
02088112386 This shop was arranged by price so there was no confusion about price, the workers were very kind and patient as well, sale section upstairs for smaller offcuts Monsoon Unit O, East Mall, Castlepoint, Bournemouth
BH8 9UZ
https://www.monsoon.co.uk/ 01202 527332 Lots of good options for women’s dresses, but quite expensive25
Suppliers list
Supplier Address
Naomi House & Jacks place
Poole charity shop
74 High St, Poole BH15 1DA
New Look Unit N, Castlepoint Shopping Centre, Bournemouth BH8 9UZ
https://www.naomihouse.org. uk/
https://www.newlook.com/uk /womens
01202 680901 Very cheap, no clothing above £3 but very full, good for all the jeans we needed to buy
01202 598710 Very good for shoes for women- comfort options, sometimes the sales people are quite rude at Bournemouth and will refuse to print receipt so they can get your email Next Castlepoint Shopping Centre, Castle Ln W, Bournemouth
BH8 9UY
Nobody’s Child N/A
Orya Textiles 32 Goldhawk Rd, London W12 8DH
https://www.next.co.uk/ 0333 005 5590 Very good for men’s suits, high quality, fast delivery free click and collect to store
Ethically made clothing for women, good for formal, also sold in Marks and Spencer’s and John Lewis, a bit more on the pricey side
https://www.oryatextiles.com/ 02087461683 A bit more pricey than some of the other fabric shops on Goldhawk road, but large quantity of silks Primark 48 - 54
https://www.primark.com/engb 01202 589043 Good for things like socks and men’s basics, cant order through website but can check stock
https://www.riverisland.com/ 0344 826 9741 Good for women’s clothing a bit more high quality than other high street brands but this is reflected in the price
https://www.sainsburys.co.uk/ 01202 525082 Good for women’s basics and shoes
Suppliers list
Supplier Address
Scope 366 Ashley Rd, Parkstone, Poole BH14 9DQ
The Salvation Army 1 Latimer Rd, Bournemouth BH9 1JY
The Trussell Trust 439 Wimborne Rd, Bournemouth BH9 2AN
Contact details Notes
https://www.scope.org.uk/ 01202 723806 Another charity shop with lots of furniture, but again good place for jeans
https://www.salvationarmy. org.uk/winton 01202 517989 Very cheap, but very dire selection
https://www.trusselltrust.or g/ 01722 548850
Toni Textiles 51 Goldhawk Rd, London W12 8QP N/A
Vinted N/A
https://www.vinted.co.uk/
02087431488
Contact each seller individually through the website or app
Most of the clothing is maximum £2 so good place to go if need lots of cheap options to try on
Also quite pushy sellers but are open to haggling price, even though big rolls of fabric was quite organised so wasn’t too overwhelming to be inside
Very good deals for clothing that could still be in stores or online, good for vintage as well, quite expensive shipping and takes long to ship unless you ask the seller for delivery that is not available through the app, can pick up at lockers, hard to return items
Winton Margaret Green Animal RescueCharity Shop 467, 471 Wimborne Rd, Bournemouth BH9 2AN
https://www.margaretgreen animalrescue.org.uk/ 01202 524600 Very well-organized charity shop, organised by style as well as gender, had a formal wear selection, very friendly staff
The Fairies
Titania- She is the queen of the fairies and is married to but not always with Oberon. Usually in Shakespearean Literature fairies are presented to be ‘hostile’, creatures that should be feared; however, Titania is fascinated by the humans and is kind-hearted towards them. She is almost inspired by mother nature, as her and Oberon control the weather with their emotions and their love and are often regretful of the inconvenience, they can cause humans, when they create such things like storms. She is in love with Oberon, but they often fight and spend time with other lovers, but they always find their way back to each other eventually.
Oberon- He is king of the fairies, more sinister and authoritative than his wife Titania, though that’s not to say she is not a strong figure by herself. He is fighting with Titania over who will raise the Indian boy they adopted as he feels she is not doing a good enough job. He is manipulative to get his way and makes her make a fool of herself by falling in love with Bottom, and even though it was his plan he still gets extremely jealous when he sees them together showing he still loves her. He has magic that is more deceptive than the other fairies, being able to cast spells and possess some sort of Clairvoyance.
Puck- Although he is often mistaken for a fairy like the others Puck is a goblin inspired by earthly folklore. He is the most mischievous of the bunch, causing the mixed-up love potions for the Athenians. He often speaks directly to the audience like some sort of narrator for the characters who are not human. He is not always called Puck, but instead Robin Goodfellow; the surname goodfellow apparently being sarcastic as he somehow is always the opposite, it was a name made up to flatter him as he has a large ego but with a hidden irony about it.
Fig 7.Photo of Oberon
Fig 6.Photo of Titania
Fig 8.Photo of Puck
The Fairies
These four characters are the other named fairies within a Midsummer night’s dream, although depending on the size of the cast the director might chose to add more unmade fairies double casting some of the other Athenians or mechanicals. Their names come from natural medicines each curing a different ailment back in Shakespearean times and before in folklore, this is because the fairies are seen as an extension of nature.
• Cobwebs were used as a type of suture, or cauterization for wounds and cuts.
• Mustardseed was used as an ointment that would help soothe aching bones and muscles.
• Peaseblossom was believed to cure heartache to do with love.
• The body and cocoons of moths were boiled and could be turned into fabric used for plasters.
The fairies are not physically described in the play apart from being smaller than Titania and Oberon. They are the attendants of the fairy royalty and wait on them and their guest's hand and foot. The fairy world comes alive at nighttime when the humans are asleep, which means they can be mischievous.
Fig 9. Mustardseed
Fig 10. Peaseblossom
Fig 11. Cobweb
Fig 12. Moth
Fairy folklore that inspired Midsummer
At the time when Shakespeare wrote A Midsummer Night’s Dream the idea of fairies or sprites were a very popular subject for fairytale stories or folk songs. Therefore, Shakespeare wanted to include them in his writing to highlight these beliefs and to attract and win over audiences at the time.
• English historian Minor White Latham critically reflects on the history of fairies and how Shakespeare changed the presentation of them for the foreseeable future. He stated that before Shakespeare included fairies in his play people viewed them as ‘dangerously mischievous demonic or evil’ and even though in a midsummers nights the fairies are seen as mischievous it was not in such and extreme way that it can be described as evil.
• He made the watcher of the play see the fairies as ‘benevolent’, this change in portrayal of fairies might have come about because of Elizabeth I as she would watch Shakespeare’s plays being performed at the Globe, and because Titania was technically a Queen, he could not afford to portray a Queen as an evil mischievous figure
• Fairies in Elizabethan folklore are depicted as very mischievous and always causing trouble for humans, especially at nighttime.
• Under the cover of dark meant that they could cause havoc without being spotted by the humans- much like how it is in Midsummer.
• This mischievousness included things like putting spells on unsuspecting humans and snatching away their children
• Shakespeare took these traits from folklore to make Titania and Oberon kidnap a boy and argue over his custody.
• As well as folklore many songs were written about fairies at the time, this is why Shakespeare decided to make his fairies very musical, signing lullabies to their queen and the lovers who enter the forest.
Fig 13 Folklore painting of fairies
Fig 14 Painting of Titania and Bottom
Fig 15 Fairy folklore painting
Inspiration for fairies from catwalk fashion
After having a discussion with the designer for the fairies Ella McAnuff, she explained that she was inspired by modern fashion designers and runway couture and brining in elements of fairy fantasy- ‘High fashion turned magical mystery’. The designers she was very inspired by were:
Yuhan Wang
• Light floaty fabrics like silk and chiffon
• Layering floral lace
• Mainly pastel colour palette
• I can tell Ella was inspired by this designer's use of fabrics and drapery particularly in moth’s costume
• The designer is wanting to represent hyper femininity and strength through her runway collections.
• She likes to use typically feminine motifs like florals and manipulate their shape through drapery and ruffles to distort societies preconceptions of what femininity is
• Ella wanted to represent the fairies in a similar manner, making them more than just passive feminine figures
Fig 17-19 Yuhan Wang designs
Inspiration for fairies from catwalk fashion
After having a discussion with the designer for the fairies Ella McAnuff, she explained that she was inspired by modern fashion designers and runway couture and brining in elements of fairy fantasy- ‘High fashion turned magical mystery’. The designers she was very inspired by were:
Nensi Dojaka
• In her runway designs Doijka usually makes ready to wear fashion that is sold in places like Selfridges.
• A common design feature in her garments is sheer mesh fabric that is tastefully draped and cut over different parts of the body.
• Ella has been inspired by this same half nudity feature in her designs where the design might seem naked, but they are still almost fully covered.
• She usually creates a shape in her designs to cover the chest that reminds me of petals or butterfly wings.
• I can tell Ella has also looked at elements like the stockings on the right for Moth in the breakdown that she wishes to be done on tge drapery.
• This designer also uses straps either using the sheer mesh fabric or a more solid fabric to create asymmetric shapes across the body- much like Moths cross body straps
• The shirt on the left has been an inspiration for the original look of pucks jacket
Fig 20-22 Nensi Dojaka designs
Inspiration for fairies from catwalk fashion
After having a discussion with the designer for the fairies Ella McAnuff, she explained that she was inspired by modern fashion designers and runway couture and brining in elements of fairy fantasy- ‘High fashion turned magical mystery’. The designers she was very inspired by were:
J W Anderson
• J W Anderson is a fashion designer who is known for their exaggerative silhouettes and constant blurring of gender presentation in fashion- this would have been useful to Ella who had to design for characters who have no set gender.
• The fashion house continues to creates fashion that surrounds knitwear also- this brown knitted dress looks like it has inspired the jumper of mustard seed as a brown chunky knit design.
• This designer also mixes different fabrics that would be unexpected parings to create contrast and interest, which Ella has also done in her fairy designs. Fabrics and colours that are contrasting and should not work together on paper but as a collective work harmoniously.
• This designer also makes use of ruffles and ruching to create movement in the clothing as it walks down the catwalk just the same as Ella wants movement in her costumes.
Fig 22-24
J W Anderson Designs
Inspiration for fairies from catwalk fashion
After having a discussion with the designer for the fairies Ella McAnuff, she explained that she was inspired by modern fashion designers and runway couture and brining in elements of fairy fantasy- ‘High fashion turned magical mystery’. The designers she was very inspired by were:
Lou De Betoly
• This designer is particularly inspired by fantasy and whimsicality for her fashion.
• This is seen through her unique textile and fashion techniques and manipulation
• A common feature in their designs is using knitwear and crochet and draping it across the body, they manipulate the tension of the knit to create variety.
• This was another designer that Ella would have been inspired by for the characters of Mustardseed and cobweb as they both feature interesting knit and crochet themselves.
• The design in the middle reminds me of textile techniques of free motion embroidery on dissolvable fabric so that it looks like it is floating and makes you wonder how it has been constructed. This technique has been used on titania's crop top overall to create magical flowers that overlay and stand up by themselves.
• The overall shape of the designs is also very reminiscent of moth's costume with the long waterfall draperies and cross body straps. 35
Fig 25-27 Lou De Betoly designs
Primary research walk
New Forest tall trees trail
Because the majority of Midsummer is set deep in the woods, I wanted to go on a walk in the New forest to be inspired by the nature. Especially because the fairy designs are so heavily influenced by nature. This was I can be more informed when sourcing fabric for these characters as well as supporting the makers in choosing decorative techniques as they have a lot of textile elements in these designs.
The colours of the leaves stood out as well as they weren’t just one shade of green, even on the same tree they were transitioning shades as the leaves were growing back on them at different speeds. This would help me to source fabrics for Titania’s costume as she has a lot of leaf applique and embroidery on her crop top.
This change in seasons was also important to reflect on as director Aileen wanted the setting of the fairies to be a blend of all seasons because Titania and Oberon have control of the weather and because of their argument within the play the seasons have gone into disarray causing all seasons to be visible at once.
The texture of the bark on the red woods was interesting and was an element that I knew Ella wanted highlight in her designs because it would reflect the design of the set; like the fairies had been formed or influenced by the tree where they lived I also took note of the texture and the colour of the mud as the lovers also get lost in the woods causing their costumes to be destroyed, this way I would be able to support Lilli in the dye room if help is needed with breaking down these costumes as I am particularly interested in the side of breakdown.
Breeches
In the fairy costume designs especially Puck and Oberon the designer has taken inspiration from classical Shakespearean costume and modernised it through the fabrics.
In these designs she has used breeches for Pucks bottoms, using classical 16th century breeches patterns and techniques while using a green fluffy fabric to make it whimsical and magical.
• 16th century breeches also known as upper stocks or hoses were heavily inspired by Spanish fashion
• This style of breeches were very large almost like balloons ending at a man's knees.
• As the century progressed the size of a man's breeches grew and volume as they differentiated more from a man's stockings. The name of this style of breech was known as a trunk hose
• It was fashionable for breeches to be made in matching colour fabric as their stockings, neutral, sombre colour fabrics were most popular
• Breeches were fastened using ties at the back waistband, and ties could be added around to be able to attach to the doublet jacket a man would have worn.
The slits in trunk hose were known as panes- like panes of a window meaning sections
Fig 28 portrait featuring Breeches
Fig 29 Trunk hose slits
Doublets
Ella McAnuff, the designer for the fairies has also used the shape of Shakespearean 16th century doublet jackets for Pucks design, as well as the sleeves for Oberon's jacket. This was an intentional choice to make these two characters connected visually, as well as bringing in classical Shakespearean costume elements to make it clear that they are from another world but still royalty.
• A sleeveless doublet was known as a Jerkin
• Doublets were close fitting men's jackets that were worn in Shakespearean times, and were particularly used for costumes in his plays
• Usually made from silk
• Most of the jackets had long sleeves but could also be sleeveless revealing the mans shirt underneath
• If the doublet was long sleeved a common featured was having the sleeve below the elbow fitted and tight to the man's arm while having a puff sleeve feature under the dropped shoulder.
• The puff sleeve was often decorated with slits in the top fabric known as pinking
• The collars were high standing matching the style of the overhanding epaulettes on the shoulders
• The doublet was fastened using buttons or lacing down the centre front using eyelets
• The close shape of the doublet came to a point at the front
• The doublets were usually quilted in between the silk and lining
Examples of doublet jackets from the costume store at AUB
Fig 31 Doublet jacket
Fig 32 Doublet jacket
Designer Mood Boards- created by Ella McAnuff
•
•
Actor- Signe Lundgren
Maker- Molly Leftwich
Designer Ella McAnuff
Character research page- Titania Ballet costumes
• Titania is the Queen of the Fairies within Midsummer, with the other 4 fairies acting as he ‘ladies in waiting’ attending to all her needs.
• When we are sourcing fabrics for this character, we are going to be looking out for fabrics that have a magical quality to them as she should be the most extravagant of all the fairies. We also want to find fabrics that have a lot of movement to give off the impression that she is floating around the stage as well as giving the actor Signe a costume that she can work to her advantage using her physicality.
• The character of Titania is meant to be a very contradictory character; this is because she is strong in her nature and personality as she constantly stands up to her husband Oberon, yet she is gentle in the way she moves and is portrayed.
• This is important to reflect in her costume as we want her presence to be strong and powerful on stage whilst having grace and sophistication.
• For inspiration for her costume and fabrics we source I wanted to look at ballet costumes like romantic tutus.
• This is because the skirts would be made from similar fabrics and allow the dancers to give of this look of graceful floating across the stage, like how the designer and we as the supervisor want Titania to look.
• As well as the bodices of the tutus often having heavily appliqued and embroidered elements to them like the design of the crop top overlay has.
• For this over the easter I decided to visit the Royal Opera house in London as they have a display of their ballet tutus in the foyer and café space of the theatre.
Multiple layers of tulle with a contrasting fabric laying over the top
Heavily beaded and appliqued bodices Layering of scrap looking fabrics
Photos of Actor- Signe Lundgren
First fitting photos Before fitting
First fitting photos After fitting
Fitting notes- First fitting
Second fitting photos Before fitting
Second fitting photos After fitting
Fitting notes- Second fitting
Preassessment photos
Preassessment notes
Actor Character Maker Costume Notes
Signe Lundgren Titania Molly Leftwich
Ruffle Overskirt, Bodice Shawl, Accessories
Skirt: taking up the skirt as pinned, will explained to molly, pin and cut, leave a raw edge onto the skirt, no need to hem the bottom of the skirt skirt has been pulled around so the lacing is at the front (dressing notes),
18th century polinese style, using ties to pull the skirt back at the front at the sides (about half way down the centre of the skirt) (as pictured)
Dressing notes- ties to be tucked into yoke at the front so they aren’t seen anymore
Yoke- hook and bars to be added onto the waistband from the yoke to the top, as it’s falling down
A Midsummer Night’s Dream
Costume Breakdown
Character: Titania
Actor Singe Lundgren
Director Aileen Gonsalves
Designer Ella McAnuff
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe
Rosie Maddox
Maker Molly Leftwich
A Midsummer Night’s Dream
Costume Breakdown
Character: Titania
Actor Singe Lundgren
Director Aileen Gonsalves
Designer Ella McAnuff
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe
Rosie Maddox
Maker Molly Leftwich
A Midsummer Night’s Dream
Make Breakdown
Character: Titania
Actor Singe Lundgren
Director Aileen Gonsalves
Designer Ella McAnuff
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe
Rosie Maddox
Maker Molly Leftwich
A Midsummer Night’s Dream
Make Breakdown
A Midsummer Night’s Dream
Make Breakdown
A Midsummer Night’s Dream
Make Breakdown
A Midsummer Night’s Dream
Make Breakdown
A Midsummer Night’s Dream
Make Breakdown
Production photos
Credit to Andy Beeson
• Actor- Fraser Humphrey
• Maker- Top: Grace McGorty
• Maker- Trousers: Ellie Waters
Designer Ella McAnuff
of Actor- Fraser Humphrey
Photos
First fitting photos Before fitting
First fitting photos After fitting
Fitting notes- First fitting
Second fitting photos Before fitting
Second fitting photos
After fitting
Fitting notes- Second fitting
Preassessment photos
Preassessment notes
Actor Character Maker
Costume
Notes
Fraser Humphr ey
“ “ Ellie Waters Funky trousers
Trousers:
Slightly too small, sarah’s worried about it falling down, machine the CB in as pinned a small bit, just one tiny stitch needed
Cobweb Grace McGorty
Crochet vest Vest: N/A
A Midsummer Night’s Dream
Costume Breakdown
Character: Cobweb
Actor Fraser Humphrey
Director Aileen Gonsalves
Designer Ella McAnuff
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe
Rosie Maddox
Maker Grace McGorty and Ellie Waters
A Midsummer Night’s Dream
Make Breakdown
Character: Cobweb
Actor Fraser Humphrey
Director Aileen Gonsalves
Designer Ella McAnuff
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe
Rosie Maddox
Maker Grace McGorty and Ellie Waters
A Midsummer Night’s Dream
Make Breakdown
A Midsummer Night’s Dream
Make Breakdown
Production photos
Credit to Andy Beeson
• Actor- Lorcan Adams
• Maker- Jumper: Ella Mcanuff
• Maker- Trousers: Molly
Leftwich
Designer
Ella McAnuff
Photos of Actor- Lorcan Adams
First fitting photos Before fitting
First fitting photos After fitting
First fitting photos- Backup costume Before fitting
First fitting photos- Backup costume After fitting
Fitting notes- First fitting
Preassessment photos
Preassessment notes
Actor Character Maker
Lorcan Adams Mustard Seed Molly Leftwich
Costume
Trousers
Jewellery
Notes
Trousers fit well
Socks- tbd
Shoes- going to have fairy shoes.
Ella Mcanuff
Crochet Jumper:
Jumper: - Will be getting a new jumper, when it is it will be hot fixed. :
A Midsummer Night’s Dream
Costume Breakdown
Character: Mustardseed
Actor Lorcan Adams
Director Aileen Gonsalves
Designer Ella McAnuff
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe
Rosie Maddox
Maker Molly Leftwich and Ella McAnuff
A Midsummer Night’s Dream
Make Breakdown
Character: Mustardseed
Actor Lorcan Adams
Director Aileen Gonsalves
Designer Ella McAnuff
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe
Rosie Maddox
Maker Molly Leftwich and Ella McAnuff
A Midsummer Night’s Dream
Make Breakdown
A Midsummer Night’s Dream
Make Breakdown
Production photos
Credit to Andy Beeson
The Athenian royalty
Theseus- Duke of Athens within the play. He is inspired by a war hero within mythology, the tales say he defeated a minotaur; this is mirrored with Midsummer night's dream at the start of the play where we are introduced to his character. He has just arrived back from war in the Amazons where he captured Hippolyta as his prize and intends to marry her. He isn’t portrayed as very heroic within the play, despite some designer's choices to dress him in army uniform, and instead is very harsh and unbending. He doesn’t believe in love the same way his daughter and her friends do, and instead sees it as a form of currency to gain wealth and status.
Hippolyta- She is the Queen of the Amazons; unlike her finance she is very kind-hearted and seems to care for and believe the lovers when they recount their tales of the night. It depends on how the play is directed to if Hippolyta is shown as madly in love with Theseus or not. Because of the time this play was written even though she is a queen and used to rule her own people, she is still portrayed as obedient and having nowhere near as powerful as her finance.
Egeus- He is the father of Hermia and the courtier to Theseus. He is trying to control his daughter's marriage as he wants her to marry Demetrius, but she wants to marry Lysander. He is meant to be a comedic character, very exaggerative and overbearing/ controlling of his daughter.
Fig 33 Theseus
Fig 34 Hippolyta
Fig 35 Egeus
The Modern Royals fashion
After talking to the designer for the Athenians Hannah O’Brien she said she was inspired by modern royals for her costume designs, especially Hippolyta and Theseus. She was particularly focused on the fashion of the royals during the summer seasons, the clothes they wore to occasions like the races, or the garden parties hosted at Buckingham palace.
• One designer that continually created fashion for the royals, especially the duchess of Cambridge, is Alessandra Rich.
• She is known for her sophisticated and sleek tea dresses that Kate always wears to Ascot.
• The shape of the tea dresses are usually high collared with a pussy bow tie sometimes attached.
• The waist is accentuated with a thin belt made from matching fabric.
• The skirts are below the knee and flowing with the light silk fabric the dress is made from
• A very common pattern chosen for this style of dress is polka dot- which is something I will keep in mind when we are sourcing for Hippolyta as Hannah has said she is not fussed with what pattern is shown on her skirt, and if she is directly inspired by Kate Middleton at the races, it would be appropriate to choose a polka dot fabric skirt.
Fig 36-38 Photos Kate Middleton fashion
Fig 39 Photos of Kate Middleton fashion
Royal portraits at the National Portrait Gallery
I decided to visit the National portrait gallery when I was visiting London for primary research as I knew that portraits had been taken of the modern royals, highlighting their fashion.
It was interesting to see the differences in painting portraiture, paticyally of the royals in this day and age, as they all seem a lot less formal than royal portraiture in the Victorian era for instance. It made me think that they are trying to become more likable and relatable, showing they are a family just like any other because of the general publics growing dislike and distaste for the need of the royals.
This portrait of Dianna from 1981 by Bryan organ portrays the princess as an ordinary women. She is not dressed up in finery but instead a simple pair of trousers and a waistcoat. Which was radical as this portrait was taken after she was engaged to Charles. However this style of dress still made her look ‘royal’ despite what it actually is, maybe because of the gold trimming on her waistcoat matching the palace surroundings.
This is what designer Hannah is trying to emanate in her royalty designs- smart and royal whilst still be relatable to normal people.
This was the portrait that stood out to me the most from the gallery. It s a portrait of the Duchess of Cambridge Kate and Prince William from 2022, by artist Jamie Coreth. I was really inspired by her style of dress with the slight volume in her sleeves at the top.
I also love how the artist connected the married couple together by bringing out the colour of his tie to match the green of her dress; even though this was not the case from the original inspiration. I feel as though Hannah was inspired by this as she wants Hippolyta to have a similar shade of purple on her costume to Theseus.
This was another portrait I could see at the National gallery of the British royal family. This particular one was from 1950, so is not particularly modern. However, it was a portrait that was taken of the family when they were in the Royal Lodge; this was somewhere they could go to live life more informally away from their royal duties. The women in this portrait are seen wearing tea dresses with long pearl necklaces. King George is wearing a wide leg suit which looks like I could be made from linen, for a more casual summer suit.
Modern Royal fashion mood board
Royal purple
Skirt and jacket ‘suits’
Wool and cashmere fabric
Fascinator hats
Matching two piece
Florals
Light linen summer suits
Small leather handbags
Actor- Fraser Humphrey
Sourced costumes
Character research page- Theseus
The character of Theseus was directly inspired by a figure from Greek mythology known by the same name. As the play of Midsummer is set in Athens Greece he wanted to pull from local history for his characters.
• In these Greek legends he was often seen as one of the first Kings of Athens, just how his character is the Duke in the play.
• However, in mythology he was not simply a ruler, but a ruthless warrior. His biggest fighting achievement was from when he slayed the great Minitour.
• Shakespeare wanted to emulate this physical cut- throat nature from the stories into of his version of Theseus.
• Although he does not kill in the same manor he is seen as the most forceful and unwavering character in the play.
• He does not feel sympathy for the lovers and the position Egeus is putting his daughter in, trying to get her to marry the one she does not love. This is because according to Greek mythology Theseus did not see the real need for love apart from producing an heir to continue his legacy, therefore he cannot sympathise with them
• Theseus’ wife Hippolyta is also rooted from mythology; she was the daughter of Ares the god of war.
• She is known as the Queen of the Amazons, and a strong fighter herself.
• However, Shakespeare was influenced by Elizabethan patriarchal society. Despite Hippolyta's numerous stories of winning wars, her character in Midsummer is kidnapped and forcefully made Theseus wife.
• She is almost seen as docile ,despite her inspiration, representing how men will always have the power over women within Elizabethan society.
Fig 40-42 paintings of Theseus
of Actor- Fraser Humphrey
Photos
Fitting photos Before fitting
Fitting photos After fitting
Fitting notes
Theseus
•42 jacket
•Wedding- need a tie, purple tie (look at photo)
•Start with top button undone, just shirt and then wedding with tie
•Flower for wedding in button hole
•Need gold watch, 2 links taken out of watch
My response to fitting notes
• Have returned the jacket and ordered the next size up but trousers are all good and designer likes colour
• Can return the other lilac shirts as they are too light, she likes the medium purple shirt
• Need to ask Derin if they have corsages in costume store otherwise, we shall buy some all together
Preassessment photos
Preassessment photosWedding look
Preassessment notes
Actor Character Costume
Fraser Humphrey Theseus Purple Shirt Suit
Notes
Get a black belt that fits him*
Watch- change size Fits well across back
Shoes- ok
Fraser Humphrey Theseus Wedding Suit (tie is added to the previous court suit)
Collar is slightly snug but ok
adding a cream and gold corsage onto the left
Make sure tie is tied properly so the top button doesn’t show
A Midsummer Night’s Dream
Costume Breakdown
Character: Theseus
Actor Fraser Humphrey
Director Aileen Gonsalves
Designer Hannah O’Brien
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
Production photos
Credit to Andy Beeson
Actor- Lorcan Adams
Sourced costumes
Character research- Philostrate
The character of Philostrate in A Midsummer Night’s Dream is the ‘Master of the Revels’ which is a position in Elizabethan times that meant he was in charge of entertaining the royalty. Finding things like musicians and performers around the country that would perform for the King or Queen at a moments notice. That is why Philostrate gets the mechanicals to perform the play to the Duke and Hippolyta, he is embarrassed by his choice of enetertainment but it was the only group available.
• This character's costume is more formal than Theseus which is reflected in Hannah’s costume designs.
• Philostrate is seen with his top button done up, jacket buttoned up, with a purple pocket square worn.
• The purple is representative of his allegiance and working for the Duke as purple is a royal colour; the Duke is seen as a king within Athens in this play.
• The reason why this character is more formal as he is trying to impress Theseus and is in a work uniform so must be dressed more professional.
A running theme in Hannah’s designs for the Athenian royalty was including the colour purple in each of their designs. This was a subtle connection that not only grouped them together aesthetically but was also chosen because of the history the colour purple has with royalty.
The colour royal purple got its name from being a colour only the most elite could afford from ancient times, this was because before things like artificial dyes were created, the colour purple could only be made from a sea snail called the Murex which was very expensive to harvest and produce into dye.
Supplementary laws within Elizabethan England made law that only royalty could wear purple in silk up until 1604- this was because social classes were very visually distinct to make the upper classes feel separated from those they thought was beneath them. This is similar to the costumes within midsummer as the three groups are very distinct from each other. 115
Fig 43. Elizabethan court
Fig 44 Royal purple
Photos of Actor- Lorcan Adams
Fitting photos Before fitting
Fitting photos After fitting
Philostrate
Fitting notes
•Need a belt on trousers
•Lighter colour pocket square (stick with purple) see photo for colour reference
•Flower for wedding in button hole
•Tie for wedding (purple tie used for pocket square colour ref for tie in wedding)
•Cant have earring in- but actor has to keep nose piercing in
My response to fitting notes
• Have talked to designer and ordered a tie and pocket square set that is almost identical to the tie the designer liked
• Again, need to talk to Derin about the corsage
Preassessment photos
Preassessment notes
Actor Character Costume Notes
Lorcan Adams Philostrate Black Suit, Purple Tie
Trousers – no change Shoes ok
Pocket square good, not being sewn in as its gonna be functional
A Midsummer Night’s Dream
Costume Breakdown
Character: Philostrate
Actor Lorcan Adams
Director Aileen Gonsalves
Designer Hannah O’Brien
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe
Rosie Maddox
Lysander
The Lovers
He is one of the four young lovers within this play. He is very in love with Hermia, but her father does not approve of their marriage as he feels he is not good enough for his daughter. This is because of his social standing within life. This is reflected within a play through the way Lysander looks and acts like he is too cool for everything that is going on, like everything brushes off his shoulder and he knows he will get his way eventually.
Helena
In most depictions of Midsummer the character of Helena is portrayed as almost ditsy in love, lovesick and letting her heart completely take over her head and her actions. She is jealous of the love that Hermia can get from Lysander, as she is head over heels in love with Demetrius. She is insanely jealous of when Hermia father wants her to marry Demetrius as she wants him all to herself, which is why she tries to intervene when they run away, to help them escape together. This is why when Puck accidently makes Demitrius also fall in love with Hermia she falls into a rage as she feels life is very unfair to her in love.
Hermia
Hermia is the Athenian lover that is in Love with Lysander, her love almost drives her crazy especially when her father Egeus disapproves of their pairing. She is a rebellious spirit and even though Theseus threatens her with death or becoming a nun is she does not marry Demetrius, she decided to risk it all to run away to the woods with her true love instead.
Demetrius
The last of the four lovers, there is a rumour that circles throughout the play that he used to have a fling with Helena and that is why she is so in love with him, longing for an old relationship to rekindle. However he is presented as a man who does not seem to care, and in fact enjoys having a woman in love with him no matter what he does, which makes the audience confused on what we think of him as a character, that he is playing with Helena's feelings in a way. Even though the two character end up together at the end you are left wondering whether he does love Helena or wants to instead impress the Duke of Athens and insert himself into royalty.
Extinction Rebellion
After having an initial chat the designer for Hermia and Lysander, Hannah O’Brien told me that she was inspired by the fashions and movement of extinction rebellion; and other environmental protests. She is imagining that because the characters of Hermia and Lysander are the ‘rebellious’ couple, running away into the woods then their characters should be modernised into environmental activists who rebel against the government.
In my mind I am imagining a rich young couple who feel like they are very privileged but don’t like that they come from wealth, so they want to make a difference in the world.
I attended one of their protests in 2019 when I was in London, in Leicester square and everyone there was very kind and welcoming, teaching anyone who would listen about what was going on with the environment.
Extinction rebellion is one of the largest environmental protest groups in the UK. They were formed in 2018 in response to there not being enough change done by the government to change anything surrounding the growing trouble of climate change,. They hope to put pressure on the government through forms of non-violent protest that will gain the support of the general public, instead of going around in ways like other climate groups who destroy certain things to get attention. These protests include creating eye catching banners and slogans to grab people's attention and the attention of the media.
At many of these environmental protests, people in the crowd are seen wearing clothing or badges with their logo on it as seen in to the left Hannah wanted to create her own type of logo that we discussed in a meeting was like similar to this. That Hermia and Lysander would have either bought a shirt that would have contributed to the cause, or they would have made one themselves for the aesthetics of it all.
Fig 45-48 Extinction rebellion protest photos
Environmental Activism fashion Reference images
As soon as designer Hannah expanded on her statements about Lysander and Hermia saying that she gets the sense that they are for the cause for the aesthetic more than the actual change it could create, I knew I had to find more refence images for the type of styling and clothing that she was looking for, for these characters. I wanted to create a mood board of reference images that have a sense of ‘rich kid going on a gap year’, going to protests because it would look cool on their Instagram type of person. This would be helpful to me when choosing the style of their clothing from the designs, including things like the fit of the clothes- oversized a very casual like they just threw it on with no thought even though a lot of thought would have gone into it; and the type of jewellery and bags they would wear.
‘The performance of protest’Aesthetics of global protest
This style of clothing became very popular in 2019 when protests surrounding black lives matter and environmental causes started to gain real global traction. However, while researching I came across statements that support my way of thinking that a lot of this support for particular protests stemmed from the wrong reasons. People were posting and attending only thinking about how it would make them look on social media- which is very dangerous as it takes away from the real root cause behind them, people were making it about themselves instead. “performative allyship utilized strategically to build and maintain credibility with followers.” - Mariah
L. Wellman
Environmental fashion
As the characters cared about the environment their fashion would have been conscious of this.
A focus on natural, sustainable materials that would not cause harm to the planet, even shopping second hand to save clothing from landfill. I would love to be able to shop second hand for these costumes but because we needed to by duplicates so that our breakdown artist Lili could create worn down muddied versions, I need to look for new garments.
Sustainable materials that Hermia and Lysanders characters would wear:
• Organic linen- Can be grown without pesticides, the end fabric is biodegradable, the Flax seed can grow in most conditions of soil.
• Organic hemp fabric- 3 times stronger and more durable than cotton while taking much less water to grow and turn into fabric.
• Organic cotton- although this is not as sustainable as people may think as it needs a lot of water to turn the cotton plant into the final fabric.
• Any recycled fabrics or deadstock fabrics
Sustainable fashion brands that I think Hermia and Lysander would shop at that I can keep in mind when sourcing their costumes:
• Lucy and Yak- this is a company that prides themselves in only using recycled, organic or deadstock fabrics when creating their fashion. They also have many sample sales where they sell their originals to make sure nothing goes to waste, as well as selling pieces that have slight mistakes for discount prices to stop them ending up in landfill.
• Hissy fit- A small company based in the UK wo makes all their clothing in house with a small team using only deadstock fabrics saved from landfill.
• Omnes- A fashion company that uses sustainable materials for all their clothing at accessible prices, they also make every step of their production practice open and visible to the public so they have nothing to hide.
• Reformation- A climate neutral company who gives back to environmental causes to offset any emissions they may have created during the manufacturing process.
Fig 49 Fashion company logos
Fig 50 Organic linen
Logo Printing
For the characters of Lysander and Hermia, our designer Hannah created a logo that she wanted to be on both of their t-shirts. After talking with Lilli our breakdown artist, we discussed ways this could be achieved. We first thought we could screen print this to make the actual print more durable and so that they would be able to be washed however Kerry in the dye room said this would not be possible because of the detail in the design. Therefore, I realised we would have to print the design onto photo transfer paper and iron it on to fix into place.
First, I printed out the design on normal paper to take to the fitting so that the designer could decide on placement and how the logo would sit regarding jewellery
Then I printed the design out on the transfer paper and practiced ironing it onto a scrap bit of fabric to test how long was needed to fix it without burning it
I then cut around the real design using a cutting board and a scalpel because this would get me much closer to the design and give more accuracy than scissors
Then I ironed it on, and I found out around 1 minute and 30 seconds was the best time for this. After it was completely cool the next day after lying flat we slightly pulled at it to give it a crackle and worn in look before sealing it under the heat press as we researched this is the best way to seal In the design to be washed.
I then measured the placement that was approved by the designer making sure it was completely in the centre after peeling the backing off and placing the parchment paper over the top
• Actor- Charlie Sibley
Sourced costume
Designer’s initial mood board
Photos of Actor- Charlie Sibley
Fitting photos Before fitting
Fitting photos After fitting
Fitting notes
Fitting photos Before fitting
Fitting photos After fitting
Fitting notes
Lysander Wedding Costume
•Trousers too small
•42 jacket
•40 long trousers. Try them on, if needed take down length of hem.
•Movement piece at the end of the show so need a looser fitting trouser not slim fit
•Waistcoat bigger size
My response to notes
• Have ordered a pair of trousers in the next size up, but also looked on Marks and Spencer where I got the suit from and saw they had a stretch trouser option in the same suit which would be more appropriate for the movement scene at the end. Because the suit trouser did not have a wider leg option so I thought this would keep the look that the designer wanted without compromising the movement.
• Also found an extra-long trouser option in this style as the long option was not long enough.
• Have ordered a jacket in the next size up, same for the waistcoat.
• Do not need to get a corsage for this costume because I bought a tie set that came with a pocket square.
Preassessment photos Main costume
Preassessment photos Broken down
Preassessment photos Wedding costume
Preassessment notes
Actor Character Costume Notes
Charlie Sibley
Lysander Green Waistcoat
Charlie Sibley
Lysander Graphic Tee
Charlie Sibley
Lysander Graphic tee (broken down)
Blazer goof fit. Has belt, good fit,
adding a cream and gold corsage onto the left Remove the pocket square as there is the corsage added.
Vinyl is coming off slightly –find a way to fix it back on* Shoes –
Has a backpack, needs to have patches/badges on bags and maybe something inside- that creates a lot of bulk and makes it annoying to wear.
Shoes a little slidey, but should be fine in PCT
*tee needs to be broken down a bit more as well. More sweat added to the tee.
Lighter colour stains for his darker costume, maybe torn
A Midsummer Night’s Dream
Costume Breakdown
Character: Lysander main costume
Actor Charlie Sibley
Director Aileen Gonsalves
Designer Hannah O’Brien
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
A Midsummer Night’s Dream
Costume Breakdown
Character: Lysander broken down
Actor Charlie Sibley
Director Aileen Gonsalves
Designer Hannah O’Brien
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
Character: Lysander wedding costume
Actor Charlie Sibley
Director Aileen Gonsalves
Designer Hannah O’Brien
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
Production photos
Credit to Andy Beeson
• Actor- Nil Uzer • Sourced costumes
Designer’s Initial mood board
Photos of Actor- Nil Uzer
Fitting photos- Wedding costume Before fitting
Fitting photos- Wedding costume After fitting
Fitting photos- Main costume Before fitting
Fitting photos- Main costume After fitting
Fitting notes
Hermia Wedding Costume
•Arms shortened too much, opened shoulders and changed (look at new safety pin marking as uneven, more taken in at front of shoulder seams than back)
•Side seams- Take in to nothing underarm (follow the safety pin markings) re do zip
•Dart at the back, look at safety pin markings
•Strapless bra or nude bodysuit
•Check dress under lighting incase see through
•Take up dress, look at photo to show length, safety pins creating new length (23.5cm from floor) overlock and turn up as a narrow hem
•Do all other alterations before do the hem (check on mannequin before hemming)
•Don’t have socks showing over boots
•Jewellery- look at fitting photos
•With scraps of fabric cut off for hem test if can dye the fabric to match Lysanders green waistcoat (hopefully dye whole dress similar colour)
Hermia Main Costume
•Broken down
•Still need to create logo on top
•Logo pinned in place on top (look for reference) Right in the middle of the top
•Same jewellery as wedding scene
•Skirt might be see through, add a slip or shorts
• Have made adjustments to the dress and given scrap to Lilli to practice dying to get colour approved from designer.
• Have ironed on logo where pinned.
• Have found nude shorts for all the girls
Preassessment photos Main costume
Preassessment photos Broken down
Preassessment photos Wedding costume
Preassessment notes
Actor Character
Costume
Nil Uzer Hermia Green Dress
Nil Uzer Hermia Long Skirt
Nil Uzer Hermia Long skirt (broken down)
Notes
Maybe needs slip dress underneath to stop the static or hairspray the dress.
Jewellery good, dressing note- make sure socks are hidden in the shoes
Black shoulder swing bag added – to have badges/patches added onto it- put something that adds a lot of bulk inside.
Nil’s skirt hem needs to be pressed flatter
Shoes good to run in
Add more breaking down to the top??
A Midsummer Night’s Dream
Costume Breakdown
Character: Hermia main costume
Actor Nil Uzer
Director Aileen Gonsalves
Designer Hannah O’Brien
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
A Midsummer Night’s Dream
Costume Breakdown
Character: Hermia broken down
Actor Nil Uzer
Director Aileen Gonsalves
Designer Hannah O’Brien
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
A Midsummer Night’s Dream
Costume Breakdown
Character: Hermia wedding costume
Actor Nil Uzer
Director Aileen Gonsalves
Designer Hannah O’Brien
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
Production photos
Credit to Andy Beeson
Production photos
Credit to Andy Beeson
The Mechanicals
Bottom
The character of Bottom is seen as one of the main characters of the mechanicals, perhaps due to his attitude of always wanting to be the centre of attention, jealous of the fact that Quince is the real leader of this amateur theatre troupe and not himself. He is loud and boisterous, always talking over other characters as he feels his opinion is the most important. The Director Aileen says she purposefully chose the shortest actor of the cast to play this character of Bottom because of the comedic value of a small actor taking up the most attention on stage despite it visually being the opposite. During Midsummer he is turned into a half donkey having and ass’ head, and during this time in the woods the fairy Queen Titania falls in love with him and treats him like a King.
Quince
This character is the real leader of the Mechanicals, and he plays the role of the director and the narrator during the prologue production, he wants to greatly impress the Duke of Athens so ends up dressing very over the top to do so. He is meant to be not a very talented writer or director, slightly bumbling and mispronouncing words or getting incorrect timing on his lines.
Snug
Presented as quite a ‘simple minded’ character who is shy and timid, making the audience feel sorry for him. He is very nervous to play the lion, a character that is the complete opposite to his personality because he is scared, he will forget his lines even though they are just lion noises. The designer has chosen to make Snug a painter to go along with this gentle soul style of character.
The Mechanicals
Flute
Flute really wanted to have a titular role in the play, though is massively let down when he is given the role of Thisbe as it is a woman; only because it means he must shave his beard which he has been growing out for weeks… though it is not visible to the audience.. He is usually seen as asking lots of questions to make sure he performs all his lines correctly, and ends up, in some people opinions, stealing the show with his performance- which surprises people as he is meant to be the lowest class of any of the characters which means they see him as the least talented.
Starveling
Portrayed as quite a rude and demanding character, who again thinks he has the correct opinions and tries to boss around Quince and his creative direction. He is originally cast as another character as a mother but argues back that he should be the moonshine which is not even a character and Quince was just going to use a lamp to create this. He is angry in his performance because he is made fun of and cut off in the middle of his lines.
Snug
Probably one of the most comical characters of the group due to the fact they play a wall in their ending play. This is usually depicted as the character wearing a large sheet painted to look like a wall of for the character so simply stand with their hands out to the side and loudly announce that they are playing the wall. The crack in the wall is also shown through the actor splitting their fingers apart to create a small gap that the other actors can peak through.
• Actor- Joseph Chase • Sourced costumes
Flute costume design Designer- Emmy Carter
Character research- Thisbe Pantomime dame
For the mechanicals production at the end of the play Flute plays the character of Thisbe, the damsel in distress in love with the ‘strong’ Pyramus who is played by Bottom. The design for this costume created by Emmy was a halter neck pink dress worn over his original costume but after discussions with her she told me that this was merely a place holder, and she wanted an over the top stereotypically ugly dress and she wanted me to take creative control of how this would look.
Therefore, I investigated the character from British pantomime, as this was a modern interpretation, of the pantomime dame for inspiration for this costume. This was also after talking to the makeup designer Holly who was going in the same direction for hair and makeup.
Features of pantomime dame costume
• Large circle skirt supported by many layers of undergarments like hoop skirts and ruffled petticoats
• Loud garish fabrics like floral or polka dot, often clashing fabrics
• Often voluminous puff sleeves
• Fitted bodice to accentuate breast padding
• Large beaded necklaces like pearls
• Large accessories like bows or feathers worn in tall wigs
Pantomime dames are portrayed as very over the top feminine characters played by a man, like a theatre version of drag. The dame stems from Shakespearean theatre and before when men played all the parts in theatre. They are exaggerative, taking stereotypical features of women and multiplying them by 100.
The character of Flute would portray his female character in a similar fashion as he is seen as not very intelligent and would rely on stereotypes
Fig 51- 54 Pantomime dame photos
Photos of Actor- Joseph Chase
Fitting photos- Main costume Before fitting
Fitting photos- Main costume After fitting
Fitting photos- Play costume
Just need to get oversized pearl necklace for this costume otherwise no notes for Flutes costumes
Preassessment photos Main costume
Preassessment photos Play costume
Preassessment notes
Actor Character Costume Notes
Joseph Chase Flute
Brown Apron
Joseph Chase Flute
Pink Dress
Sleeves a little long on the topsolution is to roll them up (dressing note)
Dressing note- make sur apron isn’t twisted at the back Put something in the apron, maybe flowers, pair of sectaries’/shears (with a cap on the end for health and safety)(?) , makes him seem like a florist, ball of ribbon inside maybe? – so he has something to mess around with Gipsephelia????
*possibly have a different coloured top under the apron? Maybe add pink neckerchief to make the costume more feminine?
Top potentially changed? –maybe will be fine once flowers are added to the whole thing. Added tie as a handkerchief in the top pocket. - rejected Pink neckerchief added –confirmed by director
Pink neckscarf added around the neck, alongside the pearl necklace, potentially only choose one?
Flower crown added, potentially a wig as well
A Midsummer Night’s Dream
Costume Breakdown
Character: Flute
Actor Joseph Chase
Director Aileen Gonsalves
Designer Emmy Carter
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
Character: Flute play costume
Actor Joseph Chase
Director Aileen Gonsalves
Designer Emmy Carter
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
•
Actor- Jennifer Saunders
•
Sourced costumes
Snout Costume Design Designer- Emmy Carter
Snout character research
To modernise the characters of the mechanicals the designer Emmy alongside the director Aileen Gonsalves, have given them new job roles. In this instance Snout who was a Tinker is now a Builder/ Constructor. Therefore, I wanted to research into modern construction workwear for character research and inspiration before I started sourcing. Quite luckily, I am having building work done on my house, so I used this opportunity to talk to the builders at my house where they buy their work clothes from like their cargo trousers and overalls and why it's important to do so.
The builders stressed the importance of wearing steel toe capped boots, just like the ones that are required at Elliot road if you enter the set building workshop. This is because on a work site even though they try to make it as safe as possible accidents can still happen and toes are easily broken, steel toe caps help to prevent this from happening. This however is not practical for a stage production as the boots are very heavy and could cause harm if an actor accidently kicks another because of how solid the toes are. Therefore, a boot in a similar style, like a lace up work boot is much more appreciate while still giving the look of authentic workwear.
Because the contractors working on my house are all under one company, they usually wear a polo shirt with the company's logoi embroidered on one side of the chest however for jobs where they are hired individually, they said they look for general workwear online from
• Site- which you can get from Screwfix, this is a great place for trousers and coveralls.
• Port west- which specialises in overalls/ coveralls like high vis
• Fortress
• Dickies- which is a slightly higher price point than other brands because it has become more of a fashion trend than a workwear brand so that is something to keep in mind.
Mainly the builders wore workwear that was made from cotton canvas, twill, or flameretardant waterproof fabric. Any fabrics that were very durable but easily washed or wiped off as they would get very muddy very quickly. They favoured dark fabrics as the dirt and wear would be less visible. They would usually wear polo shirts with workwear trousers with lots of deep pockets, or coveralls if the job was particularly messy and they wanted extra protection on their clothing like their polo shirts.
Fig 55-56 Steel toe cap boots
Snout character research
Constructor reference imagery
Steel toe cap shoes
Canvas work belt
Hard hats if on worksite
Trousers with large pockets
Overalls/ coveralls
of Actor- Jennifer Saunders
Photos
Fitting photos Before fitting
Fitting photos After fitting
Fitting photos- Play costume
Fitting notes
Snout:
Boiler suit:
-the boiler suit with the buttons, put poppers in between the buttons (don’t take them off)
-work boots with elastic laces put it?
The Wall:
-take the front neckline a bit lower where pinned
-face the neckline so it doesn’t fray, Stayflex a strip of fabric to make it (or put some tacks next to the slit so it wont rip bigger)
-hem where pinned along the bottom
-shorten arms/sides where pinned
-a mix of the potatoes and the scourer
-brick sizes- make it look like you ran out of space so it gets smaller at the end
Preassessment photos Main costume
Preassessment photos Play costume
Preassessment notes
Actor Character Costume
Jennifer Saunders Snout Boiler Suit
Jennifer Saunders Snout Wall
Notes
Belt looks too new? –another option to look at -Second option preferred
*possibly use the other overalls that were sent to ellitot road, need to make sure her other costume fits underneath, and maybe take them uo – salmon pink overalls.
Possibly a blue and white one too- to try on.
Possibly wear a safety helmet – continued on when she becomes the wall, wears the helmet for that as well. Also wears a high vis jacket
Take up hem of overalls maybe? Or dress them rolled up
Needs a way to attach the wall to her arms in the right place. Attach elastic loops, or finger loops as pinned.
A Midsummer Night’s Dream
Costume Breakdown
Character: Snout main costume
Actor Jennifer Saunders
Director Aileen Gonsalves
Designer Emmy Carter
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
Character: Snout play costume
Actor Jennifer Saunders
Director Aileen Gonsalves
Designer Emmy Carter
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
Production photos
Credit to Andy Beeson
• Actor- Sophie Shields
Sourced costumes
Quince Costume Design Designer- Emmy Carter
Photos of Actor- Sophie Shields
Fitting photos- Main costume Before fitting
Fitting photos- Main costume After fitting
Fitting photosPlay costume
Quince
Fitting notes
•Need a looser/ wide leg trouser
•Found new trousers, look at photo. Needs a new button (has fallen off)
•Move the button in slightly to give more space (1 cm)
•Check waistcoat (look at photo)
•Narrator
•Sequin waistcoat
•Preferably an orangey yellow fabric foe the necktie, worst case the yellow/mustard seen in photo
My response to fitting notes
• Found button to replace trousers to sew on
• Overlock the yellow fabric to finish off for necktie
• Sewn down some of the sequins that were falling off because it was a vintage waistcoat
Preassessment photos Main costume
Preassessment photos Play costume
Preassessment notes
Actor Character Costume Notes
Sophie Shields Quince Shirt and Waistcoat
Sophie Shields Quince Sequin Waistcoat
Tie choices – not plain one, floral tie selected. Button needs replacing on the trousers
Glue the sole back on the shoe
Rings are needed Clipboard as a prop?
Add a square (handerchief) to the costume to make it seem more formal, also for her to mop her head with.
Dressing: undo the yellow cravat when bottom’s not there?, jacket not on for bottom’s return, when bottom comes back, put on the sequin jacket, do up the buttons and tie the yellow cravat.
A Midsummer Night’s Dream
Costume Breakdown
Character: Quince
Actor Sophie Shields
Director Aileen Gonsalves
Designer Emmy Carter
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe
Rosie Maddox
A Midsummer Night’s Dream
Costume Breakdown
Character: Quince play costume
Actor Sophie Shields
Director Aileen Gonsalves
Designer Emmy Carter
Supervisor Sophie Canniffe
Assistant supervisor Amelia Bavin
Head of running wardrobe Rosie Maddox
Production photos
Credit to Andy Beeson
Additional sourcing
Due to time and budget restraints, I also ended up sourcing a couple addition costumes for the production- these were Helena's wedding scene costume and Hippolyta's main costume, so I decided to include a costume breakdown for these two as well.
Costume plot
Estimated
Estimated budget for my characters
Estimated budget for my characters
Final budget for my characters
Total: £1667.44
Elliot road hire forms
Elliot road hire forms
Elliot road hire forms
Rehearsal reports
Our rehearsal reports were sent as a live word document so we could edit our responses in the document itself so the DSM Leyla could easily keep up with the answers instead of having a lot of incoming emails. If there was an urgent question, she would email us directly as well. I have highlighted my response in italics to make it obvious.
Rehearsal reports
Rehearsal reports
This costume was an activity we did with Rebecca Pride as a styling and sourcing challenge. We had a budget of £30 and went to Cobbler the vintage shop in Pokesdown with an open mind to try to come up with a character or a costume inspired by a character. I spent about an hour searching through all the racks and found this great shirt inspired by the 70s and thought about creating a character surrounding this, by finding some flared trousers or a skirt but I was having trouble finding anything that would fit. I then found this great red wool cardigan and immediately thought I could come up with a costume inspired by one of my favourite films Amelie. This was because I knew Amelie was made into a musical production and thought I could produce a costume that would be inspired by the film but made for theatre instead. I knew she was a very quirky character wanted to show through the styling of the final costume. In Cobbler I found a long black pleated skirt and a red and white patterned head scarf as it reminded me of the one she wore when she was hiding from the man in Paris sending him on the scavenger hunt for his photobooth book. This all came to around £26, so I was going to find the rest of the pieces from the costume store at university. For this I found a white blouse with strawberry's printed on, this was because one of the scenes that stuck out most in my mind was when she guided the blind man through the streets of Paris and took him to her favourite fruit market; as well as it being a shirt that would highlight the quirky side of her character that I wanted to show. I thought the shirt would also be a good fit as sometimes in my mind theatre costumes are more literal in showing their characters compared to TV and film. I then finished the look of with a pair of pointed tortoise shell glasses, a piece of ribbon that I cut up and tied into a bow for a necklace, and a pair of pointed black heels with white frilly socks. I wanted to give her a black necklace as it tied in the costume connecting the colours at the top of the outfit with the shiny black shoes at the bottom, I also chose to pair the black shoes with white socks as it was an unconventional choice.
Mood board I created for the costume
VFX Grad Film
• At the beginning of this term myself and Seren had the opportunity to work on the VFX courses final third year grad film. For this challenge I had to go along to pre- production meetings with the crew to find out what the film was going to be about and what they expected from us costume wise.
• They explained that the film was like a directors show reel from the 1920s, and it started in his office over his shoulder and then would zoom into his idea board and show the ideas he wished to create in Hollywood.
• This would involve a cowboy western scene, a gladiator fight scene, a star wars lake Como romance scene, and a janitor scene.
• We were not given specific costume designs just these scene outlines and were told we had free reign design and aesthetic wise if it looked like it would fit the 1920s Hollywood vibe.
• We were given a budget of £500 to find all the costumes needed for the cast. However, because it was a VFX film and not a normal grad film we got the feeling that they didn’t fully understand the role of costume and we were only given a week to design and source all the costumes.
• We also struggled at the beginning because they wouldn’t decide on a cast list of who was going to play each character. Although we had conducted measurement sessions for all the cast involved when we asked for a specific cast list the producer sent back list saying simply their names and extra for the majority. This was not helpful as the scenes where there would be extras were very different themes as we didn’t want to buy a cowboy outfit for an extra if they were in the 1920s Hollywood scene or if they were playing a janitor.
• But after we communicated this to the rest of the team, they were apologetic and sent a list as soon as they could of the correct cast list.
• We ended up sourcing a gladiator costume including a sword ( this was very interesting as when we were talking to the VFX team they were saying things didn’t need to look real like the sword and the gun because they wanted to enhance and change these things in postproduction because this is what their film was all about), A linen 1920s suit for the director including fedora, two western cowboy costumes, janitor overalls, 1920s glamour long dress that looked like it could be inspired by princess Leia, a brown suit for the other lover, as well as a few shirts and trousers and braces for the extras.
• The suit that we sourced for the lake Como love scene ended up being used by Casa Nova contemporary cast for Solo which was fun to see as both our actors were very tall.
• We also had to consider the challenge of working on a film that was filmed in front of a green screen for most of it, meaning none of the costumes could be green in any way. As well as learning about continuity and attention to detail on costumes as they were being filmed up close instead of far away on a stage.
• This opportunity was certainly a challenge because of the time constraints as well as the lack of organisation in areas, and it made me especially appreciative of the AUB productions I have been working on so far, but it pushed me as a costume student as it allowed me to be involved in the design process as well as sourcing.
Dresser for Lilli's fittings I helped Lilli in her fittings for her Poole college dance project by being the dresser as she was working alone with just the designer so they both had to be inside the fittings- I also took photos of all the dancers
Note taker for Seren’s fittings- Casa Nova period
Dresser for Rachel's fitting
Alterations for maria marten
Driving Lili to Poole college
Dresser for day of dance- and all day of dance fittings
Alterations for day of dance
Photographer for casa nova fittings- period
Photographer for casa nova fittingsContemporary
I was note taker for the first Casa Nova fittings- From this I learnt I am not the best note taker because of my ADHD I really struggled to condense down what was said in the fittings…
I helped to be a dresser for Rachels day of dance fittings
I helped to sew on poppers and hook and bars on the Maria Marten costumes before their tech week
I drove Lilli and her designer to Poole college with all their costumes and rails because there was not a van available at the time to take them down
I was a dresser for day of dance which I speak about in the next pages
I helped to alter the costumes for day of dance, helping to sew bows onto the corsets and gloves
After learning my skills are not particularly helpful in note taking, I then became the photographer for the next casa nova period fittings taking before and after photos
I took the before and after photos for the Casa nova contemporary fittings, it was also fun because after the fittings they were finding more options for one of the actors as the costume wasn’t quite working and I helped to find options of this costume and try them on because I was the same size as the actor. I tried to help them give opinions of how I felt because the model was self-conscious of her bust and stomach.
Model for Rowans personal project
Alterations for Casa Nova contemporary
I was a model for Rowans personal making project which I speak about in the next page
I helped Rachel and Nicole sew some alterations on their casa costumes after their preassessment before their tech week began
Modelling for Rowans personal project
• In the final term I volunteered to be a model for Rowan's personal project where she was recreating a historical opera gown, similar to the style of the Casa Nova costumes.
• For this I had to be available to Rowans for a measurement session as well as three fittings in front of Wayne, and a final photoshoot.
• I really enjoyed this experience as it really gave me an insight into how the actors feel on the other side of the fittings. It really made me sympathise with them because the challenge is quite daunting and can make you feel quite exposed especially when just fitting things like the chemise. And this was just a fitting in front of Wayne and Rowan, not even a whole team of people like the show fittings are.
• It really made me reflect on the language that should be used in fittings to make the model feel confident in the way they look; I was especially appreciative of the way Wayne handled the fittings as he made me feel very comfortable.
• It was a fun experience, and I was glad to help with Rowans project in this way to make her vision of this dress come to life.
Dresser on Day of Dance
• I was also very fortunate to help Rachel out with her Day of Dance supervision project by being a dresser.
• This was a great experience as well as it gave me a new dressing experience that was different from traditional theatre, this was because it was a live outdoor project with multiple performances throughout the day.
• This involved dressing the dancers at the beginning of the day and then following them to each performance to watch and make notes of any things that might need dressing differently or fixing as the day continued.
• I was also involved in the lead up to the final performance day helping to dress and take notes in the fittings, as well as helping on the dress rehearsal days and going along with Rachel to normal rehearsals to make notes of things to do with the costumes and dressing.
• I also helped in the alterations of the final costumes , especially on the day where there was a mishap and one of the corsets ripped and we had to run to find a replacement. As well as hand sewing elements of the costumes together after the dancers were dressed to make sure everything stayed in place as there was lots of movement involved and it would sometimes cause elements to slip down.
• These were some of the photos I took on the day of the performances for Rachel
“16th Century | Fashion History Timeline.” Fitnyc.edu , 2018, fashionhistory.fitnyc.edu/category/16th-century/.
AMidsummerNight’sDream . Directed by Michael Hoffman , Searchlight Pictures, 1999.
F, and M Kelly. ShakespearianCostumeforStageandScreen . Adam And Charles Black, 1938. FIT Student. “1660-1669 | Fashion History Timeline.” Fitnyc.edu , 2018, fashionhistory.fitnyc.edu/1660-1669/.
Hawkins, Ella. ShakespeareinElizabethanCostume . Bloomsbury Publishing, 19 May 2022.
Holland, Peter, and Catherine M S Alexander. TheCambridgeShakespeareLibrary.Volume3,Shakespeare Performance . New York, Cambridge University Press, 2003.
Huang, Helen Q, et al. ElizabethanCostumeDesignandConstruction . New York, Focal Press, 2015.
Jacobs, Joseph. CelticFairyTales . Middletown, De, Createspace, 2015.
Justine De Young. “1550-1559 | Fashion History Timeline.” Fitnyc.edu , 2018, fashionhistory.fitnyc.edu/15501559/.
Maas, Jeremy. VictorianFairyPainting . 1997.
Mcgeown, James. “Elizabethan Sumptuary Laws: Fashion Policing in Shakespeare’s England | Blogs & Features.” Shakespeare’sGlobe , 16 Apr. 2019, www.shakespearesglobe.com/discover/blogs-andfeatures/2019/04/16/elizabethan-sumptuary-laws-fashion-policing-in-shakespeares-england/. Museum, Victoria and Albert. “Search Results | V&a Explore the Collections.” Victoria and Albert Museum , collections.vam.ac.uk/search/?page=1&page_size=15&q=elizabethan. Accessed 31 May 2024. “Mustardseed - a Midsummer Night’s Dream.” Www.shakespearegeek.com , www.shakespearegeek.com/shakespeare_characters/a_midsummer_nights_dream_mustardseed.html. Accessed 31 May 2024.
“Mythological Inspiration in “a Midsummer Night’s Dream.”” ShakespeareComesAlive! , 20 Aug. 2017, shakespearecomesalivesdsufall2017.wordpress.com/4-group-characteranalysis/#:~:text=Shakespeare%20is%20drawing%20on%20the. Accessed 31 May 2024.
“Peter Quince: Shakespeare’s Most Autobiographical Character.” Www.folger.edu , 28 May 2021, www.folger.edu/blogs/shakespeare-and-beyond/peter-quince-shakespeares-most-autobiographical-character/. Phillpotts, Beatrice. FairyPaintings . 1978.
Pride, Rebecca. TheCostumeSupervisor’sToolkit . Taylor & Francis, 27 July 2018. “
Pride, Rebecca. TheCostumeSupervisor’sToolkit . Taylor & Francis, 27 July 2018.
“Puck, a Midsummer Night’s Dream.” NoSweatShakespeare , 2020, nosweatshakespeare.com/characters/puckmidsummer-nights-dream/.
“Puck on Film - 1999 William Shakespeare’s a Midsummer Night’s Dream.” Www.boldoutlaw.com , www.boldoutlaw.com/puckrobin/1999-midsummer-nights-dream-film.html.
Reader's Digest Association (Great Britain. Folklore,MythsandLegendsofBritain. London, The Reader’s Digest Association Limited, 1977.
Rice, Chris, and William Shakespeare. AMidsummerNight’sDream . Harlow, Pearson Education, 2008.
Royal Shakespeare Company. “Dates and Sources | a Midsummer Night’s Dream | Royal Shakespeare Company.” Rsc.org.uk , 2017, www.rsc.org.uk/a-midsummer-nights-dream/about-the-play/dates-and-sources.
. “Stage History | a Midsummer Night’s Dream | Royal Shakespeare Company.” Rsc.org.uk , 2017, www.rsc.org.uk/amidsummer-nights-dream/about-the-play/stage-history.
Shakespeare, William. AMidsummerNight’sDream . 21 Aug. 2019. Shakespeare, William . AMidsummerNightsDream . Cambridge, University Press, 1936. Sherborne, Michael. AMidsummerNight’sDream,WilliamShakespeare . Harlow, Essex, Longman ; London, 2013. Steinway, Elizabeth. “Why Weren’t Women Allowed to Act in Shakespeare’s Plays?” SOURCE , 21 Mar. 2022, source.colostate.edu/why-werent-women-allowed-to-act-in-shakespeares-plays/.
THE GLOBE. “The Globe | Shakespeare’s Globe.” Shakespeare’sGlobe , 2019, www.shakespearesglobe.com/discover/shakespeares-world/the-globe/.
“The Music of the Fairies.” ShakespeareBirthplaceTrust , 29 Mar. 2013, www.shakespeare.org.uk/exploreshakespeare/blogs/music-fairies/#:~:text=Shakespeare.
“The Plot | a Midsummer Night’s Dream | Royal Shakespeare Company.” Www.rsc.org.uk , www.rsc.org.uk/a-midsummernights-dream/the-plot.
White, R S, et al. AMidsummerNight’sDreamLanguageandWriting . London Bloomsbury Publishing Plc The Arden Shakespeare, 2021.
Fig 1
Portrait of Shakespeare (1610) Available from: https://en.wikipedia.org/wiki/Chandos_portrait Fig 2.
Picture of globe (2017) Available from: https://www.britannica.com/topic/Globe-Theatre Fig 3.
Stills of 1999 version of a midsummer night's dream (1999) Available from: https://www.imdb.com/title/tt0140379/ Fig 4.
Stills of 1999 version of a midsummer night's dream (1999) Available from: https://www.imdb.com/title/tt0140379/ Fig 5.
Poster for 1999 version of Midsummer (1999) Available from: https://www.imdb.com/title/tt0140379/ Fig 6.
Photo of Titania (1999) Available from: https://www.charactour.com/hub/characters/view/Titania.AMidsummer-Nights-Dream Fig 7.
Photo of Oberon (1999) Available from: https://villainstournament.fandom.com/wiki/Oberon_(A_Midsummer_Night%27s_Dream_(1999)) Fig 8.
Photo of Puck (1999) Available from: https://www.charactour.com/hub/characters/view/Puck.AMidsummer-Nights-Dream Fig 9.
Photo of Mustardseed fairy (2020) Available from: https://www.buffalorising.com/2020/01/amidsummer-nights-dream-ictc-with-bpo-at-kmh-had-opening-night-audience-cheering-and-laughing-twoshows-left/ Fig 10.
Peaseblossom (2009) Available from: https://internetshakespeare.uvic.ca/Theater/artifact/28990/index.html
Fig 11.
Cobweb (2016) Available from: https://www.bbc.co.uk/programmes/p03w4mf0/p03w4kzw Fig 12.
Fig 13.
Moth (2018) Available from: https://www.pinterest.co.uk/pin/575475658615096197/
Folklore painting of fairies (1786) Available from: https://shakespearecomesalivesdsuspring2019.wordpress.com/4-shakespeares-sources/ Fig 14.
Painting of Titania and Bottom (1848) Available from: https://www.ngv.vic.gov.au/explore/collection/work/4118/ Fig 15.
Fairy folklore painting (1867) Available from: https://thefadingyear.wordpress.com/2016/09/16/the-fullmoon-the-fairies/
Fig 16.
Yuhan Wang designs (2023) Available from: https://www.vogue.com/fashion-shows/designer/yuhanwang
Fig 17.
Yuhan Wang designs (2024) Available from https://www.vogue.com/fashion-shows/designer/yuhanwang
Fig 18.
Yuhan Wang designs (2023) Available from: https://www.vogue.com/fashion-shows/designer/yuhanwang
Fig 19.
Fig 20.
Yuhan Wang designs (2022) Available from: https://www.vogue.com/fashion-shows/designer/yuhan-wang
Nensi Dojaka designs (2023) Available from: https://wwd.com/fashion-news/showsreviews/gallery/nensi-dojaka-rtw-spring-1235337780/
Fig 21.
Nensi Dojaka designs (2023) Available from: https://wwd.com/fashion-news/shows-reviews/gallery/nensi-dojakartw-spring-1235337780/
Fig 22.
Nensi Dojaka designs (2023) Available from: https://wwd.com/fashion-news/shows-reviews/gallery/nensi-dojakartw-spring-1235337780/
Fig 23.
Fig 24.
Fig 25
Fig 26.
Fig 27.
Fig 28.
J W Anderson Designs (2020) Available from: https://www.jwanderson.com/lt/about/collections
J W Anderson Designs (2023) Available from: https://www.jwanderson.com/lt/about/collections
Lou De Betoly designs(2024) Available from: https://www.showstudio.com/collections/autumn-winter-2024/loude-betoly
Lou De Betoly designs(2024) Available from: https://www.showstudio.com/collections/autumn-winter-2024/lou-debetoly
Lou De Betoly designs (2024) Available from: https://www.showstudio.com/collections/autumn-winter-2024/loude-betoly
Portrait featuring breeches (1564) Available from: https://fashionhistory.fitnyc.edu/1560-1569/ Fig 29.
Trunk hose slits (1610) Available from: https://www.metmuseum.org/art/collection/search/26925 Fig 30.
Portrait featuring Spanish breeches (1554) Available from: https://fashionhistory.fitnyc.edu/1560-1569/ Fig 31.
Doublet jacket (1620) Available from: https://www.metmuseum.org/art/collection/search/81558 Fig 32.
Doublet jacket (1580) Available from: https://www.metmuseum.org/art/collection/search/23241 Fig 33.
Theseus (2016) Available from: https://www.bbc.co.uk/programmes/p03w4mf0/p03w4hw1 Fig 34.
Hippolyta (1954) Available from: https://www.facebook.com/thersc/photos/hippolyta-and-theseus-in-a-midsummernights-dream-1954-photo-by-angus-mcbeanrsc/10155737161918235/?paipv=0&eav=AfabU7FsQix2v1seZGNW9n3BfIqOyT9a1P3vOsDj5XqCb_87nZooyNktlhziwVvUaQ&_rdr
Fig 35.
Egeus (2005) Available from: https://www.rsc.org.uk/shakespeare-learning-zone/a-midsummer-nightsdream/language/the-opening-scene Fig 36.
Photos of Kate Middleton fashion (2022) Available from: https://people.com/royals/kate-middleton-summer-stylehats-sunglasses-dresses/ Fig 37.
Photos of Kate Middleton fashion (2019) Available from: https://www.vogue.com/vogueworld/article/katemiddleton-perfect-summer-dress-wimbledon-2019 Fig 38.
Photos of Kate Middleton fashion(2022) Available from: https://www.vogue.co.uk/fashion/article/kate-middletonrepeat-summer-looks Fig 39.
Photos of Kate Middleton fashion (2022) Available from: https://people.com/royals/kate-middleton-summer-stylehats-sunglasses-dresses/ Fig 40.
Paintings of Theseus (1775) Available from: https://www.thoughtco.com/theseus-4768473 Fig 41.
Paintings of Theseus (2023) Available from: https://www.imagininghistory.co.uk/post/theseus-who-was-the-greekhero-and-why-was-he-a-horrible-demi-god-a-guide-for-everyone Fig 42.
Paintings of Hippolyta (1620) Available from: https://mythopedia.com/topics/hippolyta
Fig 43
Extinction rebellion protest photos (2019) Available from: https://www.newscientist.com/article/2200755-thescience-behind-extinction-rebellions-three-climate-change-demands/ Fig 44.
Extinction rebellion protest photos (2018) Available from: https://participedia.net/case/6041 Fig 45.
Extinction rebellion protest photos (2022) Available from: https://www.bbc.co.uk/news/uk-england-london61120179
Fig 46.
Logo of Extinction rebellion (2018) Available from: https://www.facebook.com/XRebellionUK/ Fig 47.
Organic linen (2017) Available from: https://materialdistrict.com/material/organic-linen/ Fig 48.
Organic linen (2024) Available from: https://www.lifegivinglinen.com/organic-and-100-linen-fabric newcolors.html
Fig 49.
Lucy and yak logo (2017) Available from: https://en.wikipedia.org/wiki/Lucy_%26_Yak Fig 50.
Reformation logo (2024) Available from: https://www.thereformation.com/ Fig 51
Hissyfit logo (2015) Available from: https://www.pinterest.co.uk/hissyfitclothing/ Fig 52.
Omnes logo (2024) Available from: https://www.facebook.com/omnesfashion/ Fig 53.
Pantomime dame (2016) Available from: https://officiallondontheatre.com/news/nothing-like-a-dame-381855/ Fig 54.
Pantomime dame (2016) Available from: https://www.independent.co.uk/arts-entertainment/theatre-dance/abrief-history-of-the-pantomime-and-why-it-s-about-so-much-more-than-blokes-in-dresses-a7485011.html
Fig 55.
Pantomime dame (2017) Available from: https://www.walesonline.co.uk/whats-on/family-kids-news/secretspanto-dame-revealed-one-14073402
Fig 56.
Steel toe cap boots (2018) Available from: https://www.quora.com/Will-steel-toed-boots-be-a-problem-goingthrough-airport-security
Fig 57.
Workwear trousers (2024) Available from: https://www.builders-superstore.co.uk/product/mascot-workweartrousers-17031-navy-with-kneepad-pockets-and-holster-pockets/
