BA (Hons) Costume for Theatre Film and TV
Angelica has spent her final year specialising in women’s equestrian clothing, showcasing work with historically accurate construction techniques whilst embodying narratives and character within the clothes. Having completed placements at Cosprop and Gatewell Productions Angelica hopes to expand on her workroom experience whilst embracing every opportunity the costume industry has to offer in Theatre, TV and Film.
Costume Supervisor – Pride and Prejudice (The Mount Without)
Costume Maker – A Midsummer Night’s Dream (Malcolm X Community Centre); Loam (Bristol Old Vic); Great Expectations (West Country Tour); Romeo & Juliet (Redgrave Theatre); Macbeth (Bristol Old Vic)
Costume Standby – It had to be you, Sidelined (Christchurch Studios)
Costume Assistant / Dresser – Three Seagulls (Bristol Old Vic); Troilus & Cressida (Redgrave Theatre); Hedda (Bristol Old Vic)
This production of Pride & Prejudice was performed in a 250 year old stone church and included fabric sourcing for 10 show makes. Each Bennet sister had a regency muslin dress worn with an overgrown in a signature colour to achieve the look the designer wanted. From coordinating fittings with the costume makers and designer to achieving an accurate set of costumes for this period, this role also involved contacting costume hire companies to source military uniform.
Photography credit: Craig Fuller
This recreation of a riding habit 1795 -1810 was an exciting opportunity to further explore the construction of women’s clothing in the Regency period. Research trips to the Salisbury Museum where original garment is kept supported the construction, being immersed in the eyes and hands of the original maker. The challenge of creating a virtuoso piece that is as true to the original as possible has been a very inspiring journey and a real luxury to draft and make and entirely hand sewn piece of clothing.
Photography credit: Angelica Robinson
Working with the theatrical tailoring tutors at school, these two pairs of combinations were constructed from an original pattern. The movement on stage required the costumes to be non- restrictive whilst still having an authentic Edwardian feel. The silhouettes needed to be suitable for underdressing as part of the character’s changing throughout the play.
Photography credit: Ed Felton