I’m excited to be studying Costume Construction at the Royal Central School of Speech and Drama. Theatre is an art in which the audience is enticed into the world of its characters; however, this is impossible without theatre practice that works together to enforce this illusion. Costume is fundamental to this, whether it be to display to the audience different aspects of the character, or to help the actor discover their own traits and define their physicality. In the time that I have studied both Textiles and Drama, I have been fascinated by its ability to portray an emotional journey as important as any aspect in set design or production, and have let this influence my design and construction of a variety of garments.
Through my degree, I am improving my technical ability as well as enhancing my creativity to assemble attire that truly embodies the world of the play.
Costume is inseparable from all of the other elements in a production, and these aspects feed off of each other to create an immersive experience. Over the past few years, as a student at Goffs School in Hertfordshire, I fulfilled a range of roles across the spectrum of play production. This included the making of props and sets, the management of lighting and sound, and stage management. In line with my own interests, I identified and brought together the appropriate costumes for two school plays. As a result, and as part of a dedicated team, I reinvigorated and made self-sufficient the institution of annual productions at my school, based on minimal funding and a creative use of materials. It took hard work and determination, but was been immensely rewarding to have helped to produce four stage shows.
At school I was deeply motivated to spread participation as wide as possible, for students of all ages. As part of the Goffs Academy of Performing Arts, I looked for new ways for younger people to get involved and contribute to performing arts, so as to move away from a preoccupation with acting roles and instead find opportunities in script-writing, or directorial aspects. As well as this, I also ran a weekly Technical Club, which aimed to inspire younger students to get more involved with the more practical aspects of theatre, by teaching them new skills which they could apply to different parts of theatre practice.
I have also proven to have strong organisational skills, as shown by my position as Deputy Head Girl as well as a long-standing House Captain, as part of which I ran several fundraising campaigns and events in the community, such as with the elderly.
Machine Sewing (Domestic and Industrial),
Overlocking (Domestic and Industrial),
Experienced with Fittings,
Use of Domestic and Industrial Irons,
Basic Tapestry Skills,
Dress and Tech Rehearsals,
Confident in the use of Technology,
School plays: Romeo & Juliet (2012), Teechers (2013), Little Shop of Horrors (2014), Blood Brothers (2015),School Performing Arts)
GAPA productions: Ernie’s Incredible Illusions (2012), Midsummer Night’s Dream (2012), Twisted Fairytales (2013), Murder Mystery Night (2014)
(2018) ‘Young Vic The Convert Promotional Shoot’ – Assistant Stylist
(2018) ‘Young Vic Unpacked’ – Assistant Costume Supervisor
(2018) ‘The Beautiful Game’ - Dresser
(2018) ‘Britannia Season 2’ – Set Dresser
(2018) ‘A Chorus Line’ – Costume Maker and Dresser - (Ed Hughes)
(2017) ‘EM’(Musical) – Dresser - (Hannah Chissick)
(2017) ‘Much Ado About Nothing’ – Costume Designer and Maker - (Jean Carr and John Morton)
(2017) ‘May Every Happiness be Thine’ Tableau – Costume Maker and Dresser – (Simon Basketter)
Whilst at University I'm working part time to help fund my studies.
Arsenal Football Club
Steward – November 2016 – Ongoing Using my dispute resolution and problem solving skills to ensure the fans have a great matchday experience. Regular training in core skills i.e first aid, spectator safety, customer service, safeguarding etc.
Visitor – October 2016 ongoing Testing ”Over 18” law in pubs and bars. Requires following procedure and providing documentation detailing the detail of the visit.