I’m a mature student who has just graduated from BA (Hons) Design for Costume and Performance.

Before university, I studied an apprenticeship in digital marketing and I developed skills in design, artwork, branding and both digital and print marketing. Although I enjoyed that work, I was limited by the briefs set by company and couldn’t experiment outside of their constraints. I also wanted to further pursue my growing passion for historical fashion and studying costume could facilitate this. I chose AUB because I could collaborate with BA (Hons) Acting and Makeup, Hair and Prosthetics courses to put on theatre productions at AUB’s two theatres, and my course was part of Bournemouth Film School so I could also work on film projects.

I’m originally from west London. I’m near lots of film studios and in commuting distance of the West End, so I wanted to broaden my skills and experience. I also chose to study in Bournemouth because I wanted to live outside of London for a while and have access to a stunning coastline and countryside.

During my degree, I discovered that my strongest skills were organisation, communication and time management. As a result, I chose to focus on costume supervision in my final year, working on two major productions. The first was La Traviata for Hurn Court Opera, where I helped source costumes and supported my fellow costume students in creating costumes for a cast of 20 professional performers. It was a fantastic project to be part of, particularly because the production was set in the 1930s, a period I have a real passion for and was also exploring in my dissertation. I also got my first dressing experience too – I helped dress the actors on the theatre tour and ran and organised the wardrobe.

The second production was Unearthed, a newly written play by Penny Levick and Steph Dale for the Women of Dorset initiative. The project was inspired by workshops with women from across Dorset, who shared the stories and themes they wanted to see represented on stage. The play celebrates the remarkable women who have lived in Dorset, and it was incredibly rewarding to contribute to such a meaningful production. Across both projects, I gained valuable experience sourcing costumes from AUB's costume store, professional hire companies and online suppliers. I also organised and ran costume fittings, altered garments and worked closely with designers, makers, actors and directors to ensure the costumes supported both the performers and the production.

A woman with an elaborate high hairstyle adorned with a cherry, wearing a light blue outfit, poses on a pink background. Another person, dressed in a dark green outfit, adjusts the hem of her clothing from behind.

A woman in a black t-shirt examines items inside a Zippi garment bag hanging on a rack. The bag contains a red feathered item and a pair of high-heeled shoes. She wears a tool belt at her waist, indicating a costume or theatre setting.

A group of three women stands in a narrow space, with two of them positioned beside a rack of clothing. One woman, wearing a black t-shirt and a green lanyard, smiles at the camera, while the others are dressed in black and look towards the side. The background shows a bulletin board and corridor walls.

A theatrical performance featuring a woman in a red dress with a feather headdress, surrounded by a cast in formal attire. The background includes stage elements like large windows and decorative features, with dim lighting enhancing the dramatic scene.

Three elegant dresses displayed on mannequins within a showcase. On the left, a white gown with floral embroidery; in the centre, a striking red dress with a decorative neckline; on the right, a black sequined gown with a full skirt. A brochure sits on a table in front.

A man dressed in a blue tunic with a white emblem stands next to a woman wearing brown attire and a blue scarf. Both are in historical costumes with period-style shoes, set against a backdrop of red drapery and stone walls.

Five performers dressed in historical costumes with ruffled shirts and trousers are performing on a stone stage. They hold various props and display dynamic poses under warm lighting in an arched venue with a rustic ambiance.

A woman in a black dress with white accessories stands beside a seated man wearing a red cloak and white shirt, holding a cross pendant. They are on a stone stage with a dark background and red drapery.

A small plush figure dressed in blue clothing sits on an airplane seat next to a window. Outside the window, a scenic view reveals mountains and a lake under a partly cloudy sky, with warm colours from the setting sun reflecting on the landscape.

Following these projects, my Course Leader, Will Hargreaves, invited me to costume supervise another new play that he was designing. Because I was based in London outside of term time, I was able to organise fittings with the professional cast and attend rehearsals throughout the production process. The play, written by Filip Krenus, was performed at Midsummer Scene's English Language Theatre Festival in Dubrovnik and Hvar, Croatia. This became my first professional role in the industry and gave me invaluable experience working alongside actors, directors and producers while building lasting, professional connections. Funnily enough, the Director, Sean Aita MBE, is an ex-acting lecturer at AUB and one of the actors, Lucinda Davidson, is an ex-acting student, so it was great meet more AUB Alumni!

One of the highlights of the project was searching through AUB's costume store with Will to find garments created by previous students that could be repurposed for the production. Working outside the university environment taught me a great deal about managing fittings independently and carrying out alterations to a professional standard. I also had the opportunity to make several garments for the production with the help of my mum. Together, we created the blue tabards for D'Artagnan and Captain Treville, along with numerous collars that helped give the costumes a more authentic, 17^th century appearance. I even made a miniature costume for a small mannequin version of D'Artagnan, which the cast loved using for social media promotion.

One of the most rewarding moments was seeing the production photographs after the performances. Watching the costumes come to life under the theatre lights at the spectacular Fort Lovrijenac in Dubrovnik, and seeing both the cast and audience sharing images online, was a proud reminder of everything that had gone into creating the production.

The skills and insight I gained into the costume industry during my degree were invaluable. For me, going to university was worthwhile because it gave me three years to develop a wide range of practical skills, including costume design, pattern drafting, garment construction, sewing and alterations. It also gave me the freedom to be creative, experiment and discover my own approach before working on professional productions. Beyond the practical skills, I developed a much deeper understanding of how the theatre and film industries operate, as well as the confidence to pursue a career in costume. I graduated not only with technical knowledge and industry experience, but also with the belief that I have the skills to make a meaningful contribution to the profession.

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