A Broad Abroad - A Fantastic One Woman Act

I said a few weeks ago that I work well under pressure. Well this week was certainly a real test for just how well I can work under pressure.

We received a last-minute request from a Norwegian teacher who was in Rome this weekend with her 28 students and wanted to see a performance. Not to miss an opportunity, Gaby made the decision to put on her one woman show - A Broad Abroad.

This meant we were working under immense pressure. It was mine and Gaby's duty to put on a great show for these students with only 3 days to work. First thing first - print out the script and read over the lines with Gaby. I admire her on the-spot-thinking to put on the show and grasp the opportunity. I created a sound track, designed lights and we managed to run a tech-rehearsal in the 3 short days we had. I have learnt how to use colour in light to create specific ambiance which was important for this show to depict the difference countries. For example we used a directed, long straight blue light at the front to create a New York Subway, and a red hue for the Japanese story.  I thoroughly enjoyed working on this show and liked the intimacy of just working with one other person.

We set the stage with things accumulated from travels and directed a central light effect

A strong red lighting for a story of a Zen Monk

The show went really well, the students thoroughly enjoyed it and the teacher was incredibly grateful. From an audience perspective and in terms of content - this was my favourite performance. It was the sort of humour and style I would like to see at the theatre - true, bizarre stories with humour, and sincerity.

How final exams SHOULD be done

Today was the drama class' finals (finals, so American man) for the class which my boss teaches, as well as the million and one other things that woman handles!

Now when taking into consideration the teacher of the class, it was never going to be your ordinary final exam, noooo way.

The class had learnt and rehearsed Spoon River anthology by Edward Lee Masters and they each had an excerpt written by an imaginary character from the grave. So, how would one hold this final exam I hear you ask? Well, you could just have the students stand and read their pieces, you could have one on one performances in a quiet room... or.. you can take them around the centre of Rome to perform amidst the commotion of a city centre.

Filming in public spaces is never an easy task. This is due to a number of ever so slightly distracting noises. Wailing children. Buzzing motorbikes and car engines. Beggars hollering around for money and of course, the numerous helicopters around because today just so happened to be the canonization of the Pope. Whatever that means...?!

These pain the arse locations were actually only for the students that couldn't make the REAL trip. The next stop was the English Non-Catholic cemetery - spooooky. ..No really it was quite beautiful. It is actually the home to the graves of John Keats and Percy Bysshe Shelley - two major English romantic poets and also the German writer Goethe.

A student about to perform his monologue in the English Cemetery

Next stop, because no finals are final without a final celebration, was the beach. The sun wasn't shining, there were funny looking clouds that may even suggest that rain was on it's way. Did that stop us? Heeeell no.

I got to visit the beach for the first time in Lazio which was cool, we stopped at an apartment of a friend for a delicious Italian lunch (cooked by a New Yorker!) and of course, delicious Italian wine.

What better way to end a 'semester'! Makes me look forward to going back to university and having modules and final deadlines.. not sure it's going to be quite the same though..

The view of the Ostia beach front. Look at those stunning terracotta villas!

My hand-made traditional Bengali wedding headpieces

Okay so whilst I've got all this energy buzzing through me why don't I show you some of the cool stuff I've been up to since I've been here.

The first show I worked on when I arrived in Rome in September was called Under The Overcoat, directed by Theodora Voutsa and an adaptation of a novel called The Namesake by Jhumpa Lahiri. The novel follows a Bengali couple who move to America and experience a vastly different culture. 

My delegated role was 'Costume and prop assistance'. This was a great opportunity for me to show what I can do visually.

So, where to start? Well, a new bride needs a headpiece right? ... and wait.. so does the groom?

In Bengali wedding tradition, both the bride and the groom wear a headpiece for the ceremony. A Mukut for the bride, and a Topor for the groom. Like these here:

..Image not my own - as you can tell from the watermark plastered over it

The theme of culture in the performance was so important that I wanted to create the most traditional, realistic costume I could muster (with the teeny tiny budget). Using white fabric, some cardboard and my ever trusty glue gun I gathered all the sparkly golden things I could find and began constructing.

I have to admit, before I can began these I honestly thought - am I actually going to be able to make these in two days? I was working to a deadline for the dress rehearsal and sure enough, I magicked up these in time:

The Topor for the groom in working progress

Kaushik (Nikhil Ganguli) in his Topor. It did actually sit on the head without support.. I promise

Natalie (Ashima Ganguli) in her handmade Mukut

The stunning wedding sari was supplied by the wives of members of the Indian Embassy who kindly lent us much of their own jewellery and clothes.

This was my first lesson in learning that I MUST document my creations. Although these pieces are still around in the costume cupboard it would have been really nice if I had been able to photograph them both on the actors in full costume. During rehearsals and manic showtime however, this is harder than you would ever believe...

It also taught me another little lesson on how no matter how daunting a task.. it's always possible if you have the confidence, commitment and enthusiasm in what you're doing.

Where there's a will... There's a way

Folies Begere Costume & Headpeices I Crafted for 'Nine: The Musical'

We have now finished the performance 'Nine'. I admit, of all the show I have worked on here, this is the one I am most relieved to have finished. I really worked hard and I am looking forward to a few days rest. 

As the costume designer, I showed the ability to be incredibly resourceful; I undercut the costume budget by a significant amount. I did this by being resourcing and imaginative when shopping. This is incredibly satisfying as I know that for a company with such a small budget, an undercut of 200 euro is a serious amount. A few things were brought from new but apart from that I was as cheap as possible. 

My role during this show required thorough planning and organisational skills to meet our deadline last week and cover the vast amount of work I had. I am an excellent organiser in fact, and I am now utilizing this skill within my work to get the best results.

The project gave me confidence in my leadership skills the ability to allocate practitioner roles. The particular moment I am referring to in this reflection is here:  A Costumista's Catalyst

All the costumes and head pieces in the photo's are designed and created by me.

Folies Begere head pieces close ups 

La Fleur and her Follies Girls in full costume

Saraghina the volumptious, gypsy prostitute 

Saraghina's four gypsy sluttons

The Chorus members in their Overture costume

One of the fellow students filmed the show for his personal project and I was lucky enough to receive a copy. These are stills taking from the film of the performance. 

The overture scene

Louisa and Guido both in 60's fashion, and reporters

Guido's Italian mother in a Roma apron

Guido and the women in his life

Saraghinas sluttons dance, I love the lighting on this

Guido and Claudia, his muse

Louisa and Guido, Louisa in mock 60's glasses

Folies begere dance

Claudia, the muse

Carla, Guido's mistress in a genuine 60's leopard print coat and bag with a sexy red dress

Market bargains - Carla in her babydoll cami 

This was by far my best experience so far working with the theatre. My abilities were put to the test and I worked really hard - it paid off. I got lots of good feedback from people in the audience after the show about how amazing they thought the costumes were. A friend of a friend even asked 'Wow what was the budget for costumes this year?' .. that was really satisfying to hear knowing how little I spent. 

My Design Process as a Costumista for 'Nine': 21st March - 7th April

Costume design process for 'Nine'

This week I worked my socks off to ensure that the costumes would be ready for the show.

I understand the usual procedure for a costume designer would be to draw up costume designs and pass them on for other people to resource and create. As I would be resourcing the clothes and creating the costume myself I skipped this step due to being on a short time scale. I had 3 weeks to resource, fit, and create costumes.. and the cast wasn't small. I felt that I could use my time more wisely by noting down the costume ideas. I understand that this would not usually be possible in the industry, not only because people would need to see your ideas to visualise them, but because I doubt that the director would trust the designer enough to be able to let them go ahead without seeing anything. Luckily my boss had enough trust in me to let me run with my ideas.

Main characters:

Guido: Two suits- one plain and one plaid, one pair of stylish Italian sunglasses

Guido’s wife: Classy 60’s dress, casual but elegant. Monochrome colours. Long coat and stylish Italian sunglasses

Carla (mistress): Seductive and sexy babydoll/chemise for ‘A  call from the Vatican’, red dress & leopard print coat for second change

Saraghina (lead gypsy): Big bustier to show off her amazing assets and reflect the ‘volumptious’ character from the skirt. Fur, red and black colours. Fishnet tights. Skirt created from layers of material and scarves. Large gold hoop earrings, heavy gold jewellery

Claudia (muse): Long dress almost like that of a ball gown. Very high-profile actress

Guido’s mother: Modest clothing, long skirt and a top with an apron over the top

La Fleur (producer): Black blazer and black trousers with a sexy corset peeking out from underneath. Hot red feather boas to finalise folies’-bergere extravagant appearance.

For the overture scene (the opening of the show) I wanted all of the girls in the cast (the main characters & the 4 chorus members) dressed mostly in monochrome shades with sequins and sparkles. This would represent the dream-like state Guido is in, with all the women around him who are singing a very mesmerising ‘la la la la’ song.

The chorus members would then have two changes to follow and these would be as follows:

Folies Bergere: More sequins. Shades of pink, red, blue, purple. Think super sexy, small underwear, corsets, high heels and most important fabulous head dresses. Feathers and sparkles.

Gypsy Whores: Corsets layered up with large skirts that were somehow hideous yet sexy. A dark kind of clothing shades of greens, purples and deep reds. Fishnet stockings, scarves to build layers.

Once I had thought about what I was after I took a trip to the market and began rummaging through all the 50 cent and 1 euro stalls. Our budget was tight so these were the only stalls I would be buying from. I managed to haggle a couple of things I found for 2 euro down to my 1 euro a piece budget. Here are some of the pieces I nabbed on my first trip.

One size sequin boob tube 1€  --  Size 8/10 black cami 0.50€  --  Size 14/16 White bustier 1€

Red curtain material 0.50€    --   Size 10/12 black corset 1€    --    Red stretch cami 0.50€     --   Black silk skirt 0.50€

As I was buying from the market there was A LOT of the things that did not actually have labels in them. On my first trip (as I know the cast pretty well) I visualised the students with the clothing and thought about if they would fit. I understand this is not the most professional way of doing things however when I returned home and measured them against size charts – my predictions were really almost spot on. I then had the idea of taking a tape measure with me next time however it is good to know should I ever be without a tape measure I can fairly accurately estimate clothes sizes.

I judged the pieces not only by the size but also by the material and how much stretch there was to allow for manoeuvre.

I took these photos into show my boss after my trip to market to receive conformation that she was happy with the direction I was heading. She was happy and she was even more happy with the prices I had paid for these items.

Total spent so far: 4.50€

Before I made any more purchases I wanted to gather whatever I could use from the costume closet. I went over to Gaby’s and rummaged through masses of clothing. I pulled out everything I thought might come in handy and brought it back to my house.

I had a selection of clothing however I did not have enough pieces that I could try on the girls of even make full outfits with. I wrote down all that I had and assigned them for each member of the cast. For example if I knew I had a top that would fit the muse for the overture (a size 14) this meant I needed to find a size 14 bottom half to match that top. I wrote out all the things I would need and took another trip to the market. It was harder than expected finding large skirts with elasticated waist bands and I needed something that was versatile in size. To solve this problem I bought a number of scarves (actually very good quality scarves at a very good discounted rate after a bit of bartering) and I would fashion those as skirts.

That evening after my shop I began playing around with some outfit combinations on my bed. I would have tried them on myself (or a mannequin), but all these clothes were really varied in size so that would not have been possible. Instead, I envisioned outfits and arranged appointments with the cast to try on what I had come up with. Some were yet without bottoms but once I had allocated pieces to certain people that would give me a base to continue shopping and find something that would complement it.

Overture costumes

In fashion design, unless you are working with plus sizes it is rare that you work clothing for bigger girls. I know in my previous experience if ever people design things they design them to look good on small sizes (8/10). This meant that this was much more of a challenge. We had a huge mixture of sizes – the smallest being a size UK6 and the largest a UK20. Again, I bore in mind when shopping - I had to consider what the girls would be comfortable in – they are students after all, not practised actors. 

Folies Begere costumes

Once I had done this I took the outfits in for the girls to try on and see what worked and what didn't. It was also a good opportunity to see how the clothes fitted the girls. 

Some needed progress but were a good start... some worked..   but some needed work..

For a final time and I went back to the costume closet and resourced everything I could, plus a few cheeky extras from the market. Some outfits I tried various combinations to see what looked right.

One of the chorus members, Maria, trying on various Gypsy Whore costumes

Next stage was Folies Bergere. I had most of the costume but now I needed the headdresses. I did my research and looked at the styles they use, some of the shapes they create and tried to figure out how the hell you can support something like that on your head. That was going to be the tricky part. I had some ideas. I could use headbands to support the base and create a sturdy curved platform in the centre to use as the base for my construction. With a 20 euro budget for four head pieces, I took to the shops.

I first came across some mini bowler hats with black netting all over and adorned with sparkles and feathers. As it was a shop – my bartering skills could only work so far. I was offered four for a discounted price of 17 euro (they were originally 5 euro each). Knowing this would only leave me with 3 euro to spare, I looked for an alternative. 

I managed to find a smaller equivalent of the hats without the feathers and netting… for 1 euro each. Bargain. Here is what I managed to find- excuse the photo from eBay, I didn't take one myself beforehand.

Using these as a base I bought feathers separately, along with some fabric and managed to create the 5 euro hats for a much lower price of around 1.50 each. Perfect. Then they needed height and extravagance. 

Backstage I had found the most bizzare bright green water fountain plant type thing (sorry I really don’t know how better to describe it than that!). I had a vision it would create a most amazing headpiece so with that in mind for one of the hats I decided to go for three other similar plant decorative items to make the others. The colours would never work and they would look incredibly cheap so I used 5 euro from my budget to buy a fantastic chrome spray paint. (only then did I realise how fun spray painting is)

Spray painting is incredibly fun

My favourite of all the slightly ridiculous things was the windmill. The flower on the far left was originally one of those things you stand in your garden so that when the wind blows it flies around.

Tea and fag on hand for intense working

Now I had my biggest challenge… making these wearable. Not only wearable – danceable..

The first one I began making I used the lighter bits I had brought. I thought that this would allow me to start with something easier and learn more efficient ways of balancing. Here is one mid progress. I know, another awful photo. I WILL learn to record things properly.

Me giving the headdress a test-run

Once I had my first piece I fixed two extra flaps coming from the bowler hat to create more balance on the head. It was similar to a head band but made from stiffened fabric. This was so you could slide hair clips onto it and hold onto the head better. I designed them so that the clips would be facing the other way to the crocodile clips already fixed underneath the hat. 

Hat design to keep them on the head

We will create beauty

After weeks of pre-production preparation and panic we have finally arrived at the big day everybody is has been working their socks off for. Tonight at John Cabot University, an international university here in Rome, we will be performing our opening show of 'Nine'.

It's tense, exciting and nerve racking before a show. I can't speak for myself as an actor (god knows how terrified they must be!) however nerves do still creep up when you're up in that little magic tech box above the audience. A skill I have learnt here at the theatre is how to operate light and sound boards and so this has recently been my responsibility during the show - and I really enjoy it (AND get to see the show!)

Initially I would have expected to be backstage with the actors so that I could help them into their costumes and ensure that they are ready to go - however, with a role elsewhere this has meant I have instilled a confidence in them to dress themselves and help each other. I actually think this has worked out for the best. I'm not backstage fussing over them, perfecting every crease and ruffle and i'm sure it's as satisfying for me as it is to them when they come out looking fabulous.

Here's a sneak-peek photo of the Folies Bergere song from last nights dress rehearsal:

"We will create beauty"

A Costumista's Catalyst

I'm going to start with a little insight into my day today - because I believe it's been a catalyst for me starting up this blog.

Firstly a bit of background - I am currently working, among other things, as the costume designer for an upcoming performance of the musical "Nine". It's based on a Federico Fellini film favourite - 8 and a half. Fulfilling my role as the costumista, (costume designer) - do expect a big of Italian lingo slipped in here and there - I've been resourcing and fitting costumes and hand crafting head pieces for the Folies Begere number.

I spent the proportion of my day yesterday spray painting obscure faux flowers in a striking chrome colour and affixing them onto miniature bowler hats I managed to grab for a cheeky 1 euro each. I will include a more detailed post on these. My boss, an incredible lady who I could also dedicate a long ass post to, was actually rather delighted this morning when she saw them.

But the thing that really left me motivated this evening was how I surprised myself by taking on a leadership role stronger than I ever have. To sum it up: the lights we had for the show were not having a striking or professional impact on the stage. I was unsatisfied and drew up a light design for the show. With the help of two other students I instigated a swift re-working of the lights, directing and leading them to create the design I had drawn up.

I dare say, it felt pre-ty good taking charge and being assertive. A good skill to learn, and a good opportunity for me to practice it.

An Introduction...

Buonasera (Good Evening)

I would like to actually start by introducing my blog, and myself a little. I have been working in Rome as an intern now for.. let me see.. 7 months. (Wow). Living in another country lands you in experiences and situations you would never have expected for yourself - and it's really, really so interesting.

Alora, I want to share with you these adventures, escapades and general day to day happenings of my life here on this blog.

Expect some back dating - 7 months has gone by so there's a fair bit to catch up with...

Baci!

'NINE: The Musical' Research and Boards

I have been busy working on Nine and still stoked for project as I will have a much more hands-on role and freedom with my work. We have a cast of 11 characters with 2-3 costume changes each which is a huge increase from the last shows I worked on. I think this will be a challenge as I am going to have to work a lot harder - and faster to ensure everyone is ready in time for the show. I want to push myself and really prove my talent in this show.

I began by doing my own research into the themes, I said a while ago that I was going to create boards and I followed through and did it. This is quite a personal achievement for me as I often come up with good ideas but don't always persevere and follow them through. This time I have. 

This production screams sexy, showgirl and avante garde Italian fashion

Basic costume board for the 'Overture' scene

We have girls of all sizes in the production - from extra large to extra small - which means I need to create costume that is adaptable size-wise and keep it sexy. The above board shows my first ideas which I followed up with a trip to the huge fabric store I know of from my first few weeks here in Rome, Fratelli Basetti Tessuti. It felt good to need something and know where I can get it from. It has taken me a while to learn the best places to buy stuff however now I feel confident shopping in Rome and not getting ripped off. Which, believe me, is a challenge in it's self!

In the store I was shown rolls of sequinned materials, some were a million miles away from our budget - I'm talking 80euro a metre here (and I expect some are even more expensive) - yet some were much more in budget. I collected samples to attach to my boards.

The more expensive fabrics... so damn.. pretty...

More sparkles... just cheaper! Hooray!

I am uncertain our small 200 euro budget will cover the sequinned fabric to make the skirts however I enjoyed following through with the process as it was good practice for me. I used research skills from my two years at Coventry and knew the importance of collecting samples and getting a feel for the fabrics. My images and information has all been referenced too - another thing I would never have got into the habit of doing if it was not for our projects on campus. I realise now how even the smallest tasks and skills are important. 

Being in a fabric store that large was actually quite overwhelming - in a positive way. There are rooms after rooms of rolls of fabric, all unique and some really spectacular. Although I am not doing a collection for my final year I definitely want to include the use of fabric in the installation I hope to create. I have always enjoyed working with fabric and I want to create pieces that do not require the precision and accuracy of pattern cutting and making. I have confidence that with practice I would be capable to do so, however I feel it would be more beneficial for me to use my best skills - which is creating from a more artistic perspective where projects are more adaptable and you are able to modify and fine-tune as you go along.

We create a programme for every show and it is really important for everyone involved. It not only informs the audience but commends the actors who take part and help them publicise themselves - which is what the theatre aims to do as a spring board.

Nine programme designed by me - Front and Back

Inside pages of the programme with bios and photographs

My experience as an extra in a film! 'Everest' OUT in 2015

Last  Monday I attended my costume fitting for my role as an extra. Being a costume designer this was really exciting for me as it gave me a chance to see how it's done by a professional. Well, in this case, the assistant of the professional. I was dressed by the assistant designer but I managed to catch a glimpse of  the real costumista as he strode into the room, looked at me, exclaimed "Urgh that's horrible - take it off" and went off out again.

I couldn't help but smile to myself a little as he left the room, I found his mannerisms slightly amusing, the offence he felt from my miss-matched outfit was almost too much for him to look at. 

It made me wonder if things change once you move up to higher ranks. It seems it becomes more deciding 'yes' and 'no' to other peoples decisions than making your own - depending on how many people you have working for you.

There were shelves of mountains boots, boxes of gloves, hats, scarves and earmuffs and finally rails of old school 90's ski and mountain wear. The colours were great, I love the magenta, teal and purple combo's that were so popular for that fashion. 

Wooley hats, scarves, gloves, ear muffs - the lot!

Mountain boots.. I was one of the last so the shelves were a little bare

Rails of 90's ski wear

Colourful body warmers

Ski wear is super super comfy

To the left is my first costume and, as comfy as the blue sweats were, they weren't working as part of costume. We needed to go less pyjama, more mountaineer-er. The solution was a pair of original high waisted Levi's, that if I may add, fitted ever so perfectly - it's a shame they couldn't come home with me!

I returned to Cine Citta on Thursday for my first day of shooting. The producer briefed us before we headed off to get changed. We had an assistant to help us and off with our clothes and on with the costume - I was not expecting such treatment as an extra! We then waited in turn for hair and make up - something else I wasn't expecting. I sat in front of a Hollywood vanity mirror and had my cheeks dirtied and reddened, then my hair fashioned into a very cute Norwegian style low plait. 

It seems as a red-head I was a target of serious face-reddening
in the make-up department

I was really really lucky to have this experience. Not only did I get an idea of how costume works for a film, I got to see how the action on set worked. Unfortunately I could not get any other photo's as phones were forbidden on set (as expected). We went through the process of retaking scenes, hearing the clacker and then the directors words: Rolling, Background action, and then finally Action. Background action was our cue, and with that I tried my best to immerse myself in the scene and act as naturally as possible. I would not have had the confidence to do this a year ago, however after a combination of being at University and most importantly, moving to Rome independently, I was comfortable enough to do it. 

Seeing filming in action and the way the costumes, hair, make-up and set is all designed really enthused me about film making. It gave me an idea for my final year project to integrate video into my branding. I want to create a promotional video and I now have lots of skills from my year in Rome to help me along with it. I will be able to use my lighting skills to set an effective ambience, I have learnt from the Everest filming how important it is to ensure that costumes of extra and actors do not clash with each other - nor can they clash or blend in with the set. This is a useful note that I will take from this experience - the image being shot on camera must work as a whole, every aspect an part of the shot needs to be considered and they must all be in visual harmony with one another. 

Information on the film Everest due for release in 2015 is on IMDB so check it out! I will most certainly be going to the cinema for this one!

Another cheeky photo - I hope I'm allowed to share these..