03- Evaluation

Time Plan

Time planning for this project is incredibly important as I have such a limited amount of time to create a three-piece suit. I have tried to create a plan that will push me but is also achievable. I will have to update my plan as I move through the project and make any necessary adjustments or alterations.  In this plan I have added all aspects of my uni life; Specialist practice, Investigate study and lectures, as well as considering outside events such as work. I have added all of this into my time plan so that I can effectively plan my time so I am not rushed in any aspects of this or any other projects. 

Learning Agreement

NAME:                       Eliza Rose Harris

COURSE:                  BA (Hons) Costume with Performance Design

UNIT TITLE:             Specialist Practice

REFERENCE NO:  CSS610

CREDIT POINTS:    30
DURATION:             9 WEEKS

WEIGHTING:            2.0

HRS OF STUDY:    300

UNIT LEADER:       Mandy Barrington

Proposal:

Using traditional tailoring techniques I aim to create the costume assigned to me by the designer for the play On The Razzle. Producing a three-piece suit will allow me to develop practical skills as well as theoretical knowledge in the area of costume I intend to progress into.

I will carry out research to make sure that the costume is historically accurate, whilst ensuring it meets with the designer and director’s requirements. I will consider traditional methods of tailoring as well as recognising practicality issues of the garment being used in live theatre. Whilst I have experience of making a suit, I will have to research 1930’s style, considering fabric and cut and making sure it is appropriate to the themes of the play. Recording my research in a workbook will allow me to make informed judgements when time planning and creating the garment. In addition, maintaining my workbook to a professional standard will provide me with reference material for relevant future projects. I will use a blog to evaluate and reflect on my work throughout this project. These evaluations will be contextualised through relevant research.

During Level 5 I built up an understanding of basic tailoring, including; pattern cutting, preparing for and carrying out a fitting and constructing a suit using traditional tailoring techniques. This project will build on these skills and push me to work to a more professional standard as the outcome will be used in a live production. Previously, I created a garment for an individual; therefore, apart from fulfilling the specifications from the brief I had full control of the design and construction of the suit. As On the Razzle is a live production I will have to work collaboratively with a designer and costume team. Whilst independent judgement will guide my decisions I will primarily have to consider what is expected by the designer. This will test my ability to communicate and negotiate with the designer, to create a garment that meets with their requirements and is achievable in the given time frame.

The practical aspects of this project will further my skills in tailoring; as I will be making a 1930’s suit, techniques will be more developed than those I have previously used to create a Victorian suit. The fabrics used to create a 1930’s suit are generally a lighter weight than those used to create a Victorian suit, this could mean that there is less ease to the fabric, highlighting a demand for accuracy. As I am creating this costume using traditional tailoring techniques I will not do a full toile fitting, however I will create a basic toile to check the pattern works and reflects the design before cutting out in top fabrics. I will then baste the suit together for the first fitting to check the fit and aesthetic of the suit; this will also give the designer a chance to see how the suit looks on the actor in order for me to make any necessary changes or adjustments. Whilst not creating a full toile may be a risk, it will push me to work as a tailor would in the professional industry.

Aims

A1   To negotiate a body of work within the context of the brief through a learning agreement which demonstrates effective work planning, time and resource management.

A2   To further develop intellectual reasoning and practical research to an increasingly advanced level of attainment.

A3    To encourage in-depth learning through a high degree of independent judgement and increased critical thinking.

A4    To develop a professional level of communication through the visual creative and technical realisation of your project.

Learning Outcomes

On completion of this unit you will be able to:

LO1   Demonstrate the ability to negotiate an appropriate body of work, formulise a work plan and manage time and resources effectively.

LO2    Demonstrate the initiation and creative application of intellectual reasoning and practical research to a high level of attainment.

LO3    Inform project solutions with appropriate understanding, a high degree of independent judgement and demonstrate critical self-awareness.

LO4    Demonstrate a professional level of project realisation, communication and presentation.

LO4 Demonstrate a professional level of project realisation, communication and presentation

Assessment Components

A negotiated body of work that will include evidence of advanced technical and artistic experimentation and risk taking, I will Hand in a Body of work consisting of a full Costume and a Workbook together with appropriate written evaluation (500 words).   100%

Complimentarily

Should an opportunity become available to work with students from another course, the body of work will be negotiated with your unit tutor.

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

Assessment Criteria (specific criteria related to the learning outcomes)

The level to which your work demonstrates the ability to negotiate an appropriate body of work, formulise a work plan and manage time and resources effectively. (LO1)

The level to which your work demonstrates the initiation and creative application of intellectual reasoning and practical research to a high level of attainment. (LO2)

The level to which your work informs project solutions with appropriate understanding, a high degree of independent judgement and demonstrate critical self-awareness. (LO3)

The level to which your work demonstrates a professional level of project realisation, communication and presentation. (LO4)

Reference Material

Bridgland, A. S. (1928) The Modern Tailor Outfitter and Clothier – vol 1. Ferndale Book Company. UK.

Bridgland, A. S. (1928) The Modern Tailor Outfitter and Clothier – vol 3. Ferndale Book Company. UK.

Costantino, M. (1997) Men’s Fashion In the Twentieth Century. B T Batsford Ltd. London.

Marly, D. (1985) Fashion for Men an Illustrated History. B T Batsford Ltd. London.

Stoppard, T. (1982) On The Razzle. Samuel French, UK.

Time Life Books (1974) Basic Tailoring. Time Life. UK

STUDENT……………………………………….DATE………………..

TUTOR…………………………………………..DATE……………….

Line Drawings

I have created a set of line Drawings to help me when pattern drafting and making the garments to understand where the seams sit and the shapes created. It is important for me to refer to these as well as my design throughout this hole process.

On the Razzle

The Coachman

Ballet Black

This year I am trying to see as many theatrical performances as I can. I went to Poole lighthouse to see a Ballet Black, who were putting on a collection of different pieces. These pieces were all collaborations with different chorographers who specialised in different areas of dance.  This meant that all of the pieces were different even though they used the same set of dancers. The first piece was a duet called together alone, I found this a really powerful piece where you could really feel the emotion between the two dancers. I also felt that this piece was a perfect balance of contemporary and modern ballet.  The costumes in this piece were contemporary but with historical influences therefore they really worked well. The male costume was simple breaches and cut off shirt, this meant that you couldn’t really place him in any particular time period. The female costume was very modern and current however the skirt had netting underneath; this gave a reminder of the classic pancake tutu. The netting was also bright yellow, which was a contrast to the muted pallet of the rest of the costumes. Several other short pieces made up the rest of the first half that were a mixture of styles with different dancers. As a member of the audience who is not an expert on ballet this was really enjoyable as there was a lot of change throughout the piece and I was not left watching a piece which I did not understand.

The second half was set out very differently as the piece had a narrative. Storyville is set in 1915 and follows a lost young girls path as she enters into a New Orleans nightclub. This piece was a contrast to the earlier piece’s however it was still preformed using a mixture of contemporary and classic ballet. You could really feel the emotion in this piece and the story was easy to understand. Overall I really enjoyed the entire performance, as there was such a mix of style and performance techniques. The costumes though varied all worked together and enhanced the pieces.  In the future I will try and see any local performances by Ballet Black. 

Pancho, C. (2012) Ballet Black [Online] Available from: http://www.balletblack.co.uk/index.html [Accessed: 7.10.2012]

Pattern Research

I have spent the last week researching different patterns trying to find the exact style that would have been worn in the last 1920s, and the 1930’s. I found it very difficult to find anything that gave me an exact description of the key details so I could draft the pattern as accurately as possible. I then discovered that the modern tailor, clothier and outfitter was written in 1929 meaning that the patterns in there would have been current at the time and therefore would be accurate and work well for my design. I am going to use the lounge jacket pattern from this book and the pattern for Plus Four. I am going to draft the waistcoat using Grahams own instruction that are the same as the ones I used in Level 5. I am glad that I did a lot of research for this project as I feel that It has broadened my knowledge of 1930s male tailoring however lots of what I have found is not necessarily relevant.  Below I have included copies of the relevant research that I feel is important. 

Bridgland, A.S. (1928) The Modern Tailor Outfitter and Clothier. Ferndale Book Company. UK.

Hamilton Hill, M. (1967) The Evolution of Fashion: Pattern and Cut from 1066 to 1930. B. T. Batsford LTD. London

On the Razzle

For this Project I will be creating a three-piece suit for the coachman from On the Razzle.  This is a 1930’s style suite including a lounge jacket, waistcoat and Plus fours.  I am looking forward to creating this suit as it is for a live performance so I will have to work for a designer and as part of a costume team. I will also get to see the suit being used in a performance and be part of the team helping with the running of the performance. This is something that I really enjoy doing and hope to get a lot more experience in over my third year. I also have 8 weeks to produce a three-piece suit which will force me to plan and organise my time effectively and work as efficiently as possible. Overall this is going to be a really exciting project which will further my knowledge in tailoring and give me more experience of working on a live production.