1930s Wimbledon costumes
Costumes by Andrea Westbye
1930s Wimbledon costumes
Costume for ‘Into the Woods’ production
1930s Wimbledon costumes
Costume by Eleanor Daisy
Costume by Ella Grace Osborne
By Hannah Ringkamp - BA Costume and Performance Design In the last term of my studies I was able to design the costumes for the Autumn AUB Production of ‘The Visit’ ; a Brechtian style play...Read more
By Hannah Ringkamp- BA Costume and Performance Design I have always been interested in the genuine history of clothes, most books and collections will focus on couture and high fashion, but I...Read more
Level 4 Costume students explore the Woman’s Place in society in a contemporary, and often satirical, take on 1950's domestic adverts. As part of the Exploring Interpretation unit, A Woman's...Read more
Designing for AUB production ‘The Visit’
In the last term of my studies I was able to design the costumes for the Autumn AUB Production of ‘the Visit’; a Brechtian...
Designing for AUB production 'The Visit'
In the last term of my studies I was able to design the costumes for the Autumn AUB Production of ‘The Visit’; a Brechtian style play by Friedrich Dürrenmatt and directed by Kirstie Davis.
The play challenges what the power of money can do to a run-down town that was once wealthy. Millionaire, Claire Zachanassian, visits the town with one goal: Revenge. An exciting and vibrant dark comedy which lends itself to quirky costumes with splashes of contrasting colours and the freedom in time and places it is set in.
My job in this production was to create a set of costume designs to be used for the Show. I took inspiration from Brechtian plays, early nineteenth century costume and modern elements distinguishing clearly between poor and rich with colours and fabrics.
The biggest challenge of this project was time and resources. Sourcing and creating over 30 costumes in a short amount of time was complicated at points but gave me a great sense of achievement by the end of it. Thanks to the wonderful costume team and great support from our tutors we were able to create the visual world of Guellen in short time.
Most performers played two or more roles in this production, therefore quick changes were also a great challenge; I had to make sure there was a clear distinction between the characters and that the costumes where adaptable for a fast transformation, sometimes needing to happen on stage.
The collaborative work with the Acting course at AUB has been a great experience and has given me wonderful memories as well as great skills to prepare me for the industry. I am very happy I have been given this opportunity as I find that working on live projects is very educational and nurturing as an artist and it made me grow not only creatively but personally as well.
Brontë – a study of Victorian clothing
For many years I’ve been fascinated by the work of the Brontë sisters.
Brontë - a study of Victorian clothing
For many years I’ve been fascinated by the work of the Brontë sisters. I wanted to illustrate the way they portray their personal desires and emotions in their writing through costume and Scenography in a theoretical theatre piece.
The play ‘Brontë’ by Polly Teale captures the essence of the three sisters beautifully in two acts.
Based on my research I have created a series of costume designs which interpret each character by using different colours, structures and patterns, keeping it historically accurate. It is said that Charlotte, Emily and Anne were quite plain and unfashionable; I therefore used neutral tones and plain patterns. I tried creating Emily’s love for nature and freedom in the way the dress forms around her body and through the patterns of the fabric, Charlottes strictness and devotion through straight lines and a more structured garment and Anne’s youth and view on reality through a more fashionable style and darker colours.
A lot of ideas came from objects that have been found in the Bronte Personage like lace cuffs, collars and garments. It was very important for me to create realness in their character with a touch of romanticism to set the right atmosphere for a modern audience.
It has been a very interesting journey for me as I have gotten to know important people from history a little better, understanding them has given me an insight into their writing and life. It has not only inspired me as an artist but as a person, emotionally; Seeing such strong women defy their gender at a time where females where considered less than a man, not even being able to visit a library, has given me a lot of inspiration to follow my dreams and make the most of my life.
Sourcing Costumes in the Summer.
Over the holidays I worked as a Costume Supervisor for a production of ‘Relative Values’.
After script analysis, costume warehouse trips and countless emails I sourced all 20 outfits! It made me realise how much there is to consider: character, time period, season, aesthetic and fit. Experience I gained through my course helped me balance these considerations.
When opening night arrived, it was so rewarding to see everything come together.
Wimbledon 1936 - 1937, Creating Costumes for Film
In the final project of first year we all made costumes for a short film.
This was inspired by the first televised Wimbledon Tennis Championships, as it was the 80th Anniversary of this event.
Not only did we create costumes from scratch but we also modelled a costume to be a part of the film!
It was a brilliant opportunity to see how a production comes together through collaboration.