The costume design section at this year’s Graduate Exhibition of the Dun Laoghaire Institute of Art, Design and Technology presents a host of fresh Irish talent. Eight young designers showcase the craftsmanship they’ve honed to perfection over their four-year degree in a range of expertly structured corsets, tailored suits and beautifully draped dresses. In questioning the designers on the factors influencing their decision to study costume design, many spoke of their interest in film and theatre, and a fascination in what goes on behind the scenes. The young designers also take inspiration from a number of literary sources, bringing the accounts to life.
For example, the leather-armour piece by Fay Wordingham is inspired by Neil Gaiman’s fantasy novel Neverwhere. The armour is forged for the strong female character Hunter, who must battle to survive in the underground tunnels of London. With a fierce yet feminine silhouette, the patience essential in creating such a design is impressive, as it is entirely hand-carved, tooled, dyed and stitched. The material has been intricately cut into different panels which then piece together to form a stylish yet effective defence. Unparalleled as a warrior, the mythical beasts slain by Hunter also feature in etchings upon the leather, reminiscent of prehistoric cave paintings. Aisling Nolan’s costume design embarks on fairy tale fashion as she is inspired by the classic Brothers Grimm tale, ‘Rumpelstiltskin’. The viewer comes face-to-face with a grim and ghastly fantasy world as the twisted trickster Rumpelstiltskin confronts them in a voluminous floor-length cloak. The silhouette has late-Victorian influences and is made of garnet-coloured velvet, with black lace detailing along the chest and shoulders.
A fairy tale backstory is central to Amy McSweeney’s design, ‘SnowQueen’s End’. The two-piece collection is inspired by Joan D.Vinge’s 1980 science fiction novel The Snow Queen – which in turn was inspired by the original Hans Christian Andersen fairy tale. The frosty fantasy is brought to a fore, depicting a crucial point of transition as the Winter Queen’s reign comes to a close and the Summer Queen prepares to rule. A connection with the natural world is evident in both garments, with a particular focus placed on water and shells. The sleek futurism of the Winter Queen’s cool-coloured t-shirt dress is designed to represent her power as both a woman and a leader. A play on both sheer and opaque elements is demonstrated by a laser-cut shell pattern carved into the bodice. In contrast, the designer explains how she brought the Summer Queen’s costume to life using ‘hand sewn trimming, wave pattern quilted lining and hand painted shells’. Derived from tribal fishing villages, the ethnic print maxi dress flaunts vivid shades of red and royal blue, while the overlaying parka coat is created using faux Mongolian sheep fur.
Costume design can also present a need for more historically-focused content, where an in-depth knowledge of the style of past eras and an eye for detail is essential. Sarah Higgins’ two-piece collection accomplishes precisely this as it inspired by Hans Werner Henze’s famous opera, The English Cat. The cast consists entirely of domestic animals who have rejected their natural instincts in favour of a human life in civilised Victorian society. Through a careful selection of materials, the designs combine a perfect balance of late-Victorian style and feline essence. Higgins explains, ‘The corset is made in a dusty pink suedette, which to me almost suggests the skin of a hairless cat! The decoration on the dress is in the form of almost comical, oversized tassels made of yarn – tassels were not an uncommon decorative detail in Victorian times, but the fact that I have made mine from different yarn fibres suggests the fact that cats would have traditionally been seen to play with yarn’.
Elisabeth Whittam transposes Shakespeare’s and Fletcher’s Cardenio to sixteenth-century Russia in her design for The Wife. Rich hues of amber and gold decorate the skirt and top while a faint floral pattern embroiders the flowing white sleeves of the undershirt. The finery in this combination of colour and pattern creates a poised elegance perfect for the status of a noblewoman. The costume stays true to traditional Russian style as a kokoshnik headdress, ruby-red in colour and embellished with silver flora, completes the garment. Isobel Jones-McAuley also places a great important on period-accurate cuts in her Regency-era menswear design. This was created as part of a hypothetical television adaptation of Susanna Clarke’s novel, Jonathan Strange & Mr Norrell. The historical fantasy was a perfect choice as the designer explains, ‘I’m very fond of menswear and you don’t really get a better opportunity to do some gorgeous tailoring than a Regency dandy to be honest.’ The main character of Christopher Drawlight appears in a shirt with popped collar and large, billowing sleeves. A salmon pink waistcoat rests above this, and is further matched with a vibrant blue tailcoat and high-waisted, cream pantaloons.
Other designers turned to the stage to help kindle their costume ideas. A personal favourite of mine, Orlagh Tracey’s collection embodies the swinging sixties as it is inspired by the musical, DreamGirls. Set between 1962 and 1974, the show reflects a revolutionary period of America’s musical history with the emergence of Motown. The beautifully draped, ball gown made for lead protagonist, Deena, is a stand-out piece. Pastel pink in colour, the dress is cut from duchess satin and silk taffeta. A trail of appliqué flowers ornament the front as they flow downwards from the right shoulder, gradually dissipating towards the hem. Sarah McColgan’s halter-necked design is influenced by Queen Phedre of the iconic Greek tragedy. McColgan describes, ‘In my adaption of the play the characters are trapped in a crumbling ruin representative of their lives, a sort of purgatory in which the story is continuously repeating’. The lovesick obsession Phedre harbours for her stepson ultimately leads to her downfall and is symbolised through the green colour of the duchess satin. A floral lace design of the same forest-green decorates the bodice, adding a subtle twist of pattern to the garment. As the dress is purposefully designed for the moment of her romantic rejection, the intense desperation Phedre unveils is also conveyed through the revealing cut of the silhouette.
Whatever the inspiration behind a costume may be, each of these designs capture the most important element of costume design – they tell a story. Although now closed, the exhibition has proved a soaring success, and we feel confident in the knowledge that the future of Irish design is in safe hands.