Bryony Lemon

Highlights

• My degree in Costume Interpretation and subsequent roles in theatre and film productions have equipped me with a wide range of skills.
  
  Deadly Virtues: LOVE.HONOUR.OBEY is a feature film produced by Raindance Raw Talent. My role as Costume Designer involved studying the script in order to work out what costumes each character would wear and when. I worked alongside the Make-up Designer, Set Designer and Artistic Director to build up an overall image for the film. The film was set in the present day, thus my role mainly involved designing, then sourcing costumes and arranging fittings with the actors to ensure they felt comfortable. On set I ensured that all costumes were stored safely, that the correct garments were clean and ready for each costume change, and ensured continuity between scenes. I was also on hand for dressing and final checks.
  
  I have been a dresser for a number of productions including All Creatures Great and Small, Tis Pity She’s a Whore, Pygmalion and Cambridge Arts Theatre’s Christmas Pantomime Robin Hood. My role within these productions involved washing, ironing, steaming, dry cleaning and repairs as well as lacing corsets, helping with zips and cuff-links, pre-setting and quick changes as well as keeping the Wardrobe department and quick change area tidy to ensure health and safety standards were met. I was on set throughout the Tech week of Pygmalion, which meant I was responsible for liaising with the cast to work out each quick change and typing up dressing notes for future dressers. For each show I also assisted with ‘Get Out’; packing up costumes and accessories and loading them into the wardrobe. For this position teamwork, willingness to work unsociable hours and organisational skills are a must.
  
  Recently I have worked for SG Productions. This involved sourcing, organising, modifying and altering costumes as well as making items for the show ‘Summer Holiday’ which is currently touring day centres and care homes around Britain. This was a great opportunity to collate the whole selection of costumes for a show. Time management and the ability to work to strict deadlines were vital attributes for this project.
  
  I assisted Costume Designer Lucy Attwood in Antler Theatre’s production Where the White Stops, for the Edinburgh Fringe Festival. This involved a fitting with the lead actress, after which I made several alterations. I carried out both hand and machine sewing and made large-scale animal costumes. Working closely alongside Lucy and the good working relationship we maintained was evident in the work we produced.
  
  Another invaluable experience was my role as Costume Designer for the multi-media educational project, Stations of the Sun. This was an Arts council funded project aimed at bringing traditional English folk music to a new and wider audience, and it culminated in twelve public performances. I was responsible for designing and making the costumes. I attended several meetings to discuss the brief and possible design ideas. I researched traditional and contemporary Morris costumes and based my designs on my findings. I designed and made each of the costumes then sourced specific items from dance groups. I worked closely alongside the musicians involved to ensure that the garments fitted well and did not restrict movement. It was particularly valuable as an opportunity to make costumes that were practically viable and comfortable on stage for physically demanding performance.
  
  In light of my training and experience, I feel that I am particularly suited to and well equipped for further work within this field. My degree program developed an in-depth understanding of the technical skills required when making costumes and further experience has given me an insight into designing and sourcing costumes, wardrobe maintenance and dressing as well as experience in working within tight budgets and deadlines.