Costumes

Here are some of my costume-related works.
I’ve done my best to credit the main creator(s) in each project – if you were involved in any of these projects and are not credited, please tell me and I’ll add you.

Square (Stop Kiss)

2020
Directed by Čarna Kršul
Costume Designer: Zephyr Spring
Asterion Project

Most Budapest

2019
Written and Directed by Čarna Kršul
Costume Designer: Zephyr Spring
Asterion Project

Golde (Fiddler on the Roof)

2018
I worked on this project throughout my last year of university.
This is Golde’s costume for the scene Anatevka, when she is forced to leave her home as part of the pogroms in Russia, 1905. Each piece of Golde’s costume shows items connecting her story to people trying to escape the Holocaust and refugees trying to escape war in recent years, based on my research essay “How does a costume created for the character Golde (Fiddler on the Roof) illustrate the history of forced migration?”.
The performance was a reverse striptease as she repeatedly runs away and back again for her belongings while the song Anatevka plays. The making of this costume involved vatious different techniques ranging from traditional ones like knitting the shawl to less conventional ones like using paper photographs for the tichel (headpiece).
Performed by Claire Docherty

Good

2018
Written by C.P. Taylor
Directed by Iain Davis
Costume Designer and Supervisor: Zephyr Spring and Natasha Murray
A co-production between Napier University and Queen Margaret University, Edinburgh.

Phantasy

2017
Written and directed by Sarah Paulley
Costume Designer: Zephyr Spring
Costume Supervisor: Helene Ditlev-Simonsen

Phantasy is a short sci-fi film about scientists. Their costumes are initially black and white, with their discoveries appearing in colour as the the story goes on.

The Beggar’s Opera

2016
The costumes contain elements of sixteenth century clothing combined with elements of modern day fashion turned into abstract, sculpture-like garments. They are meant display how the character’s lives are far from happy or ideal and that they are trapped there without any chance of escaping. They are meant to look uncomfortable and they are meant to make the audience feel uncomfortable looking at them. The costumes would be ill-fitting, as if they weren’t originally made for their current owners.

After designing costumes for the full cast of The Beggar’s Opera, I made the costume of Mrs Vixen’s character. The corset is made of expanding foam covered in liquid latex and calico, painted with acrylics. The sleeves are made of black velvet with over a hundred slashes. The base of the skirt is made of chicken wire, covered in distressed green fabric and bicycle inner tubes.
Modelled by Vanesa Kelly