1. How do you envisage your entrance to and exit from the space?

I enter from underneath the shirt and exit by walking back behind it. Our piece is circular as it is centered around main focus of the ladder.

2. How long does the transition from one Street to the other last and what moments are there to pause for a Live Tableaux?

It takes under a minute to make the transition of twisting the skirt. We can't really pause for a tableaux during the transformation but there are moments within each street to potentially pause. For example the pawnbroker reviving the beer in Beer Street or him holding up the jacket in Gin Lane.

3. How will you deal with re-staging the performance three times?

Our transition is largely just an adjustment to the costume which can easily be repeated as many times as needed.

4. What materials have you used and why? Can you think of ways this could have been done more successfully and sustainably?

For the fabric that makes up the skirt and corset of the wall we bought old bed sheets from charity shops which gave us a good few meters to work with. However we didn't think about the type of fabric we were buying and used a light cotton to make the corset and a heavier fabric would have been more appropriate. I also needed to buy boning to make the shape and I'm not really sure how this could have been acquired second hand. For my costume of the poor woman, all of the items were sourced from charity and adjusted to suit my needs.

5. In what way does your project contain the challenges mentioned in the Waste Off brief set by UAL?

Our piece continues to be useful after he project has finished as the skirt is composed of large bed sheets, which I will reuse as scrap fabric later on. I also can still use the poor woman costume to an extent. I probably wont have use for the shirt, but the scarf is still intact and can be worn normally. The skirt has a hemline that has been broken down but I intend on cutting a few inches off and sewing a new hemline, creating a shorter skirt that I can still wear.

6. How are you evidencing your consciousness of sustainability?

I haven't yet but I intend on making a workflow page now that the project is finished.

7. What research have you undertaken and how has this fed into the development of ideas?

I have done a lot of research into fabric dyes which I tried to incorporate into my costume designs. However because it was second hand I had to really buy what I could find and not focus too much on historical accuracy. I also have looked into menswear and corsetry of the 18th century which led to changes of the shape of the corset designs.

8. Identify an artist/designer who you admire and who's work has influenced you on this project and explain how.

In our group we didn't really look at a particular artist, but our piece does kind of resemble Mamoru Iriguchi's 'Into the Skirt' performance which is interesting as we all really liked it but didn't consciously intend to make a piece similar.

9. In what way have you considered the original underlying purpose of the satire in the Hogarth prints? What makes Hogarth's work relevant today?

I think the original purpose of the satire is because it makes the prints entertaining so would draw people in to look at the work more closely. It also makes the subject matter less intense - Gin Lane depicts quite heavy issues and without the satire element the topics might have been too strong for the general audience to feel comfortable viewing. Though aware of this, it hasn't particularly effected our work. Our performance was quite exaggerated in motion which I guess relates to satire, with me doing actions like using the saw prop to pretend to saw open the dress to allow the pawnbroker to enter.

10. In what way have you developed your ideas from the original prints by Hogarth?

We have tried to replicate the original characters as closely as possible and transformed the scenery into a dress, so our interpretation is quite literal to the print.

11. How have you incorporated the idea of the transition into your design?

The main difference between the two prints (in our area) is the wall so we made a dress where the skirt can be moved and each half of it resembled a different print.

12. Identify three moments where you have solved a theoretical or practical problem through research or experimentation with materials.

  • We had a problem when constructing the corset so we had to make a new panel for the back to make it fit, so this was more of a problem solved by practically making the garment.
  • We had to consider health and safety and whether the use of a ladder would be possible in the performance. We came up with an alternative idea of draping fabric from a floor above but after asking technicians we found a ladder would be fine.
  • Originally we wanted the pawnbrokers sign to be a headpiece but another member of my group experimented and couldn't find a way of making it hold within the time we had so we ended up with it just being a piece held in the hand.

13. In what way have you managed time effectively?

We didn't make a schedule for tasks because most of it revolved around the dress and we didn't really have an idea of how long this would take. We just worked with setting a main deadline for Monday and allowing Tuesday for finishing touches so this pushed us to finish in the allocated time.

14. How have you managed the roles within your collaboration?

We largely stuck to what we were good at though because majority of it was costume based we all had to do a bit of this despite not everyone in the group wanting to do costume. We assigned everyone a character or area and largely just focused on our areas alone. 



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