Beer Street Print - 1751 - William Hogarth

Gin Lane - 1751 - William Hogarth Print

William Hogarth's 'The Graham Children' 1742 London

William Hogarth at the Cartoon Museum - The Four stages of Cruelty - 1751

The Four Stages of Cruelty - Hogarth

The Four Stages of cruelty by Hogarth focuses on the problem of animal cruelty in 18th century London. Like Beer street and Gin Lane, the four stages of cruelty is a print from 1751 and is based in the area of St Giles. The cartoon museum writes 'Eighteenth - century London was rife with cruel sports. Duck hunting, dog fighting and bull, bear and badger baiting with dogs were favourite pastimes of working people. Cock fighting was popular with all classes. 'Throwing at cocks' on Shrove Tuesday was another popular game: a cock was held down, for 'a few pence anyone may throw a short wooden club at him and he becomes the property of the man who kills him' - to me this information was really horrible to read, the fact that times were so confused and people found pleasure in experiencing the pain of others is really frightening. It seems that this was normal to see, perhaps the people of the time were feeling so awful in themselves that taking their pain and anger out on animals was a possible and successful outlet for them. 

Hogarth wrote at a later date that the importance of 'The four stages of cruelty'  'were done in the hopes of preventing in some degree that cruel treatment of poor animals which makes the streets of London more disagreeable to the human mind, than any thing what ever the very describing of which gives pain.' 

Martin Rowson 1997 - Hogarth's Roundabout

Poverty and workhouses in 18th century London

Some workhouses were said to be comfortable places for the poor to live and work in, whereas others were said to be dark places where the poor were made to work tirelessly and receive little food. Many were overcrowded in London where there were sometimes more than 700 people living in one workhouse. Many had to wear special uniforms to show they were charity people, signifying their demeaning status. The British library website quotes 'Many people contracted diseases and died within their walls, and were later buried in unmarked mass pauper graves. In the 1750s social investigator Jonas Hanway discovered that the death rate amongst workhouse children in London was over 90%.' This shows that there were not many safe places for poor children in the mid 18th century, the streets do not seem to be safe in Gin lane, and workhouses are also seemingly dark places to have grown up in London. 

Food in the 18th century

The swelling ranks of middle England liked their simple, plain fare, enjoying roast and boiled meats, pies, and puddings. Roast beef became part of the construction of a British national identity, in opposition to the fancy sauces of France. The invention in the late 17th century of a muslin cloth for steaming, fed England's obsession with puddings - previously, a cook would have had to obtain fresh animal guts in which to steam her pudding. And the English had an enormous appetite for puddings, whether stuffed with meat or game, or oozing with butter or custard.

Class Gap

We can see the class gap through the food that people normally ate in the 18th century - the poor were living on accessible food such as bread whereas the rich were dining on imported foreign cuisine - a luxury that was completely unobtainable for many poor people, from Gin street it seems that some poor people couldn't even afford simple bread or cake.

Whilst the poor depended increasingly on bread and cake, the wealthy were enjoying such delicacies as vermicelli and macaroni from Italy, curry, pilau rice and mango pickle from India, and even turtle soup containing freshly imported turtles from the West Indies. They grew exotic fruits in their hothouses, and kept ice-cream in their ice houses.

London's mid 18th century meat market

Smithfield Market

Smithfield market is well known for its ancient meat market. It is supposedly London's only remaining wholesale market in continuous operation since medieval times. So we can see why the butcher in beer street might be so happy and proud of his profession. I can't find a lot of information on Smithfield's market in the 18th century however i did find out when the meat market surfaced 'The meat market developed particularly in the fourteenth century, stimulated in part by a ban on slaughtering within the city walls in 1381'. Also ' Improvements in agriculture meant that, by the start of the eighteenth century, the market was open all year round.' 

Liza Picard - Dr Johnson's London - On food


There was an alley in Covent Garden called Porridge Island, 'where there are numbers of ordinary cook shops to supply the low working people with 'meat at all hours'. The cooks 'cut off ready dressed meat of all sorts and also sell soop'. Meat was the Englishman's mainstay. But for those who could not always afford meat, cornershops everywhere sold bread heavily adulterated with chalk and alum to make it white.

Supposedly Smithfield market as it was in the 18th century

Jumps and Petticoat - Mid 18th Century - English - The Collection of the Kyoto Costume Institute - Fashion A history from the 18th to the 20th Century

Mid 18th Century fashion

Shifts and Petticoats 

SHIFTS// The all-purpose undergarment, a good linen shift protected the outer clothing from body soil, it absorbed perspiration and wicked away moisture to evaporate for natural cooling in hot weather, it could serve as a night-gown, and it was durable enough to withstand repeatedly the rugged laundry processes of the eighteenth century. A well-made shift is extremely finely sewn and will provide for many years of wear with proper handling.

PETTICOATS// Over the shift went the eighteenth century petticoats; as far as we can determine, women wore a minimum of two. Petticoats could be made of plain, serviceable linen or wool, of finer worsted or silk, or sometimes they were wadded and quilted, in silk or glazed worsted. Unless made specifically to match a gown, they were virtually never trimmed, nor made of patterned fabric. Occasionally we find petticoats in white with a patterned border, intended specifically as an under-petticoat, but generally any petticoat in your wardrobe can take its turn as your outer petticoat, so you can interchange them for variety.

JUMPS AND STAYS// For a proper eighteenth century silhouette, stays or jumps are a must. Nearly every woman wore them--from fashionable ladies who required stays to give themselves a stylish figure and posture, to the lowliest working women, who wore them for bust and back support. 


Textiles and materials used in 18th century fashion

Due to the industrial revolution at the start of the 18th century, traditionally the spinning of cotton and the threading of cotton to create cloth was a home based textile profession. It wasn't until later in the 1760's that water frame technology came about to produce much more textiles and faster. Cotton and cloth were desirable materials in Britain at the time. 

Spitalfields silk -

18th Century women's dress costume in the National Theatre costume store - Oval

John Macfarlane Cinderella - Spring season costume

John Macfarlane Cinderella - Winter season costume

Merce Cunningham - Pond Way

Merce Cunningham - Pond Way

I thought I would research some contemporary dance as my project is all about movement, I really liked the movement in this piece and the use of loose fabric. I'm thinking about how I can incorporate the flow of fabric into my own piece, I think perhaps making the shift dress I am planning for Gin Lane could be made loose and long at the bottom so that it floats with my movements and creates a look of fragility.

Lucy and Bart Germination day 1

My costume design added into the Beer Street scene

Ilona’s Jäntti’s Handspun

Ilona’s Jäntti’s Handspun

As we are thinking about interacting with ropes in our performance I have researched contemporary dance using ropes, I wanted to see how we could interact with rope as performers and how it would read to the audience. In this peice, we see a combination of contemporary dance and acrobatics, the rope seems to be connected to the performer as a part of their body movement. The performance is really fluid, i think if we use a rope in our performance as we have briefly discussed we should try to make our movements quite fluid as this will show the smooth sailing life that the butchers are depicted to have in the berr street print by Hogarth which we are focusing on. 

Drawn by Light - The science museum - 'Isadora Duncan at the Portal of the Parthenon 1921' Bromide print

Drawn by Light - The science museum - The skirt of the village- 1887 - Peter Henry Emerson

Drawn by Light - The science museum

I visited the Drawn by Light photography exhibition at the science museum as it was recommended in the project brief; I enjoyed looking around at all of the photographs and learning how early the photos were taken - its really amazing to think that photographs existed such a long time ago and the first camera was just a darkened room with a small gap of light and some photo-sensitive paper. For me the exhibition was interesting although it has not aided me too much in my research apart from how I might document my work and present it in portfolio form -  I liked the way that 'The Skirt of the Village' 1887 by Peter Henry Emerson was presented- although the photograph is quite small the larger frame and white mounting emphasised my focus on the picture, to me this proved that often in presentation less is more.

Walead Beshty - The Curve - The Barbican -A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench

Walead Beshty - The Curve - The Barbican -A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench

I visited this exhibition for our last project 'Storyage' although as it was recommended for this project I thought i would explore its relevance.This exhibition focuses on detail in a number of pieces, the quantity of work is the most amazing part of the exhibit, Beshty created more than 12,000 prints over a year using a UV sensitive cyanotype process. He printed objects from his own studio including water bottles and screws which were exposed to sunlight creating the blue and white effects throughout the exhibition. This exhibition inspired me to think about how i will stain the bottom of the cape i am making and what type of materials and textures Ishould use. This exhibition was really amazing just to walk around and take in the sheer amount of work; I really enjoyed looking at the smaller prints as they were so detailed compared to the larger prints such as ladders and plants. 

I feel that this exhibition shows what one can make with limited materials - using spare paper and scraps such as old newspapers and leaflets to print on is not only effective but sustainable in creating art. This exhibition is inspiring when looking at sustainability, it just shows how much can be achieved from very little when the imagination and experimentation are explored.

Julio le Parc at the Serpentine

Project evaluation - From Beer Street to Gin Lane and Back again

Project evaluation - From Beer Street to Gin Lane and Back again


  1. How do you envisage your entrance to and exit from the space?

I see us as already being on stage with a black backdrop and Francesca’s puppet as the main focus. The rest of our characters would be hidden or part of the set – or perhaps we will walk in slowly towards the puppet, as if magnetized.  To exit I think it would be effective if we all disappeared behind the black backdrop or returned to our start positions but in our new transformed states.

  1. How long does the transition from one Street to the other last and what moments are there to pause for a Live Tableaux?

I think our performance will last approximately 2 minutes with the transition taking place for around 1 minute all together. I think we could pause as a living picture (live tableaux) once all the characters are first in view and at the very end as we have transformed and have returned to our places within the scene. I think this could look quite dramatic and also quite sinister.

  1. How will you deal with re-staging the performance three times?

We plan to have a bench for Francesca to balance her puppet on and we are thinking about having the black backdrop as a costume that she wears, as long as the bench is in place and we all put our costumes back on in the way they were before transformation. Making sure also that the puppet is in its starting position, everything should be quite simple.


Sustainability (Waste Off):

  1. What materials have you used and why? Can you think of ways this could have been done more successfully and sustainable?


In my project I have used the following materials : a second hand bed sheet (for the gin lane dress), tights (for the Beer Street coat), old pillow/duvet stuffing (to stuff the tights with), the casing of the pillows that I removed the stuffing from (for the sleeves on the gin lane dress), scrap material from the costume store scrap bin in Central Saint Martins (for a tie around on the Gin lane dress), real bones (used as a necklace in the gin lane costume) , staples (to attach the bones to the string), white thread (to sew the coat and the gin lane dress), elastic (for the sleeves of my gin lane dress), and string (to tie the bones together).


I used these materials because I wanted to be sustainable but also practical, tights and pillow stuffing seemed perfect for an excess of material creating the effect of fat rolls. An old bed sheet also seemed great to create a new garment out of. I could of made this more sustainable as I cheated a little and bought a pack of 5 pairs of tights in fear that I wouldn’t have enough used pairs to complete my costume.


  1. In what way does your project contain challenges mentioned in the Waste Off brief set by the UAL?


The materials I have selected are non-hazardous and I discovered materials within the University which I used in my project. The material I used in my Beer street costume was interesting as people were quite tactile with the stuffing which made it engaging- I have had an offer from a BA fashion communication student for my Beer street coat to be used in a Fashion communication shoot with his tutor’s permission. I have received suggestions that after the project finished I could donate the coat to the homeless as it is warm and comfortable; however it will also serve a purpose as a costume in the future as I intend to photograph it in a different location. I tried not to damage the recyclability of the materials by avoiding using glue, I sewed and tied materials together so that they could be untied and unpicked if alterations might be made to reuse the costumes in future projects.


  1. In how far can your project live on after the performance?

Elements of it may be re- used such as the shift dress and the coat however the bones (due to the marrow) will eventually begin to decay and their odor will become progressively worse, so they will have to be thrown away once the performance and documentation process ends. I made everything so that it will last through the performances so there should be no worry of anything breaking.

  1. How are you evidencing your consciousness of sustainability? (e.g. Have you got a separate Waste Off page on Workflow?)

I have a Waste off page on workflow where I have documented imaged of the materials I am using and images and maps of where I sourced these materials – I have also made a separate evaluation for the waste off project focusing on sustainability in particular.



  1. What research have you undertaken and how has this fed into the development of ideas?

When we were first given the brief I immediately began to research Hogarth and the 18th century – using the internet, books and also visiting the Hogarth exhibition at the Cartoon museum. I studied the print in depth and after the class quiz I felt I had to research it even more and get to understand my part of the picture – I researched Hogarth’s work with impoverished children  and the Foundling hospital aswell as the meat market at the time relating to the butchers. I really looked into poverty and the mortality rates at the time which is where our group idea of ‘all or nothing’ came from. I visited exhibitions that I was interested in and recommended such as Drawn by light at the science museum, hogarths London at the cartoon museum, walead Beshty at the barbican and also Julio le parc at the serpentine gallery. Each on made me think about performance, presentation and documentation. I looked at lucy and bart and sarah lucas and how they use stuffed tights in their work and how they shape them. I briefly researched contemporary dance to have a look at movements and the relationship between material, movement and performance.


  1. Identify an artist / designer who you admire and whose work has influenced you on this project and explain how.


Lucy and Bart really influenced my Beer street coat due to their use of tights and other bulky materials to alter the body shape and create extensions to the body, changing one’s appearance. I wanted to show an excess of material and I felt that lucy and bart really excel in this especially in their germination project I really liked the first stages and how the material and its stuffing created rolls, I used this as inspiration in my own work.


  1. In what way have you considered the original underlying purpose of satire in the Hogarth prints? What makes Hogarth’s work relevant to today?


I have looked at the irony in the wealth retaining what they earn and being quite unaware of how the other half of the print live; the idea of it being Gerorge II’s (the monarch) birthday in the print says to me that the monarch did not care for the poor whereas the rich celebrated their wealth and achievements. Freedom of speech is very relevant in the world today due to the recent attacks on the satirical magazine Charlie Hebdo – hogarths work was also satirical – the idea of art making a statement. World poverty is also still very real, not so much in Britain but looking at thriving countries compared to those suffering war and famine. Poverty seems to have a new meaning now, where if one doesn’t have access to a computer it becomes very difficult to gain a job or keep in contact with work or education – expensive technological advances mean that not everyone receives the benefits of a modern world.

  1. In what way have you developed your ideas from the original prints by Hogarth?

I was looking at what is there and whit is not ‘All or Nothing’. This made me think of an excess of material for the rich and a lack of material for the poor. Focusing on the butcher and his full weight and also his full leg of beef aas compared to the impoverished child trying to get food from a stripped bone. In my costume I wanted to show the contrast between extravagance and simplicity.

      3. How have you incorporated the idea of transition into your design?

My design is two separate costumes where an extravagant coat made form stuffed tights diminishes into a simple stained shift dress laced with a necklace of bones and scrap material.


Planning and Reflection:

  1. Identify three moments where you have solved a theoretical or practical problem through research or experimentation with materials.


With the bones I struggled to get any upholstery staples through the parts of the bones I wanted to connect, I found weaker spots which worked well with the staples. However I had to re-boil the bones for a second time before this was possible. I wanted to use string  only to connect the bones however I had to find some wire in order to make the bones stand in the places I wanted. At first I didn’t know what I would use as stuffing for the tights in the Beer street I made a list of possibilities such as tights and paper but when the possibility of stuffing came along I took it as it seemed the most practical in terms of weight and appearance. I experimented with stuffing I wasn’t sure whether to use tights or stuff scrap materials to create mini pillows, I made one small round pillow but decided that I preferred the look that the tights gave.


  1. In what way have you managed your time effectively?


On occasions I have stayed after school to research in the library and complete my costume, I also came in early and sometimes worked during lunch to make sure that I would reach the deadlines set for us. I made sure I took breaks also. I visited galleries in my own time on Saturdays and Wednesdays. I also organized my work so that I would be completing my Beer street costume in class time whilst focusing on my Gin lane costume on independent study days; which worked well as I had two areas of focus going on at the same time.


  1. How have you managed the roles within your collaboration?


There have been absences due to portfolio deadlines, illness and interviews. Knowing that these absences might affect our communication we made a group inbox in order to let each other know what we were doing, exchanging photographs of progress and feedback we received from tutors. Myself and Krystian presented our performance ideas to the class however as a whole group we worked on our own contributions to the performance and how they would tie together to communicate the message that we had in mind. I think we all pulled together and pushed ourselves when there were any hurdles, It was a great feeling when we rehearsed our performance all together; we all knew what we were doing and agreed on our movements I feel that our performance went really well and we pulled together as a group without any arguments or disputes.


Beer Street Print - 1751 - William Hogarth

Beer Street

'Beer street' is the partner print to Hogarth's more widely recognised 'Gin Lane'. Beer street depicts a thriving urban society, where tradesmen drink beer because they have the money to enjoy the alcohol, It seems to be a drink that brings joy and light-heartedness to these Londoners. We see all sorts of professions such as Butchers, Builders, a Priest, an Artist, Tailors, Road repair workers and fish sellers. The scene seems to be one of economic consistency where almost every character in this print has a job or a purpose, people seem to be flourishing and buzzing with energy. The Butcher holds a full joint of beef suggesting a healthy society with good food and supply; a trade that is doing well and serving the people quality.

There are a range of classes enjoying the beer, from the stout wealthy woman in the Sedan chair in the mid ground, to the working class tradesmen and the more dishevelled looking artist in the foreground. This suggests that beer is an alcohol that can give people hope and merriment in their daily lives. The poorest areas seem only to be the artist and the seemingly abandoned flat above the pawn brokers in the right hand corner.

Politically we can see all genders enjoying the alcohol, the fish sellers are women and they are enjoying the alcohol alongside men, however there is a suggestion of prostitution which could convey a problem in society. Despite this class gap we do see the range of classes above sharing the moment together which suggests there is a small class gap.

The print locates the area of St Giles, just north of Covent Garden, Bloomsbury. We can identify this by the steeple of the St Martins in the field parish in the background. The parish along with the priest suggest that there is a presence of religion and morals, if the priest is drinking beer but still has his books and his status upheld, this promotes beer to other members of society. 


Gin Lane - 1751 - William Hogarth Print

Gin Lane

Gin lane is the sister print of beer street. It is said that Gin lane conveys the complete opposite to beer street, looking at the bad effects Gin had on society in the 18th century. In this print we see a huge class gap where the Pawn broker appears to be doing well for trade, whereas everyone else is enfolded in chaos and poverty. The print is really one of desperation, where mothers disregard their children and children scavenge for food, where some are drinking to numb the badness of life and others take to suicide. 

I find the most shocking imagery in this piece to be in the foreground and the mid section. In the foreground we see a mother holding a snuff box, her legs covered in syphilis sores and scars, her shirt freely open and her child falling from her arms. I find her state, especially her deranged looking facial expressions really disturbing and harrowing. In the mid section we can vaguely make out a naked woman being lifted into a wooden coffin, where a child cries next to her. Just right of this scene we see a child impaled on a tall spike; to me this shows the hopelessness for the next generation. The issue of impoverished children stands out almost more than the Gin craze itself in this print, we see a child sharing a bone with a dog, the complete opposite of the chubby butcher in beer lane waving about his joint of beef. We also see a mother feeding gin to her baby on the right hand side, its really ominous. Hogarth was very concerned with child welfare and was a governor in a children's charity founded in the 30's, who built up housing for impoverished children to live in the 40's. Hogarth seems to be genuinely concerned for the future of society in 'Gin lane'.

The political viewpoint comes into play where a figure of George I on a steeple in the background watches over the madness of the lane. The figure of George I being a previous monarch to the 18th century monarch George II suggests that those with most control in politics were uncaring towards the desperate lower classes, and observe the problems rather than intervening and taking action to solve the problems of the Gin craze.

Overall this print is looking at 'The downfall of lady gin' as the skeletal balladeer in the right hand corner holds on his ballad sheet. It looks at the desperation of the lower classes, who could afford the cheap gin to numb their hopelessness where they cannot even afford the luxury of satisfying food or decent building construction. I think the crumbling building sums up the mood of this print, Gin street ( also based on St Giles like beer street) is decaying for the poorer classes as those who can help sit by and watch.

Hogarth's London at the Cartoon Museum

Hogarth's London

I visited the exhibition 'Hogarth's London' at the Cartoon Museum today to get some more background knowledge on Hogarth and some of his prints. I learnt some really useful facts about Beer Street that could help fuel my project ideas. For example, In beer street it is supposedly George II's birthday, the ruling monarch at the time which is probably why everyone seems to be celebrating; this also adds context to gin lane, as the current king would be enjoying his birthday there is chaos and poverty in St. Giles below. We know that it is George II'S birthday because his speech 'Commerce' and 'Arts of Peace' are open in the newspaper on the table in beer street. Also, the flag on the steeple of St. Martins in the field parish suggests that there is a royal celebration or event. Something I also hadn't noticed before was that the poorer looking artist in beer street is painting a Gin bottle; so perhaps all is not well in Beer street and Gin is still slightly present in the lower classes in this happy scene; or perhaps the burden or presence of gin is looming over London despite what class one may be. I learnt that in the mid 18th century St. Giles was actually a notorious slum in London so perhaps this is why the interpretation of the area is so vivid and exaggerated. I also learned that the ballad seller in the right hand front ground of Gin lane is not dead, but blind. Perhaps this shows that those with fewer chances in society and certain obstacles are not getting the help they needed at the time, they are discarded with the poor members of society and set aside as a 'notorious slum' being left in a place where they have no chance of succeeding or making things better. I also saw that the writing over the gin house arch entrance in Gin street notes 'Drunk for a penny, dead drunk for two pence, a clean straw for nothing' this shows how cheap gin was at the time and how easy it was for the poor to drink away their worries. 

William Hogarth - First Stage of Cruelty

Hogarth's - The Bench - 1758

The Bench details

Green and ivory silk damask with wooden 'Louis' heels - English - 1740-1750

Francois Boucher - Madame de Pompadour (detail) - 1759 - The Wallace collection london - ' Fashion. A history from the 18th to the 20th century

Francois Boucher - Madame de Pompadour (detail) - 1759 - The Wallace collection london - ' Fashion. A history from the 18th to the 20th century

Madame de pompadour


  • After her relationship with Louis XV became platonic in about 1750, Madame de Pompadour commissioned a series of works of art with friendship and fidelity as their central theme. The Wallace Collection’s portrait, probably the last Boucher painted of his patron, evokes these ideals by its inclusion of the sculpture of Friendship consoling Love (recalling Pigalle) and in the presence of Madame de Pompadour’s pet spaniel, Inès

Compared to 18th century fashion for the poor classes in Britain, French style seems to be rather extravagant, especially with the amount of detailing and pattern.

Man's Suit (coat,waistcoat and breeches 1740 - English - Wine red Wool - jabot of Valenciennes lace - Binche lace

A simple mid eighteenth century dress -Spitalfields silk and white apron - (Dress in Eighteenth - century Europe - Aileen Ribeiro)

A simple video showing the number of layers and variations of dress that women might wear in the 18th Century

Liza Picard - Dr Johnson's London - On clothing


Poor children probably stole whatever garments they could find, to cover  their nakedness. For a very poor woman, the irreducible minimum would be stays and skirt (petticoat) - the stays were often made of leather,turned black and shiny with wear and dirt . They could not be washed.

A working woman, or the wife of a working man, would have a larger and cleaner wardrobe, but always based on the stays-and-skirt formula. A woman's wardrobe would include a wool gown, a linsey-wolsey petticoat, a shift, a 'coarse' apron and a 'check' apron, stockings and shoes and a 'coloured neck- handkerchief', a cap, and a cloak- and a pair of stays which would last six years - all of this would cost under £2.

Stays were not treated as out-of sight underwear. Very poor women wore them with nothing else, on their top half, and the effect was of poverty, not indecency. 

18th Century women's dress costume in the National Theatre costume store - Oval

Some of the Textiles in the National Theatre costume store

John Macfarlane on Cinderella costume designs

'It’s sort of 18th-century style, with corseted bodices and full skirts, but obviously I take liberties, especially with the Ugly Sisters. The one thing we both wanted was to free them from the panto dame thing where their costumes don’t relate to anyone else on stage. So it’s been great fun to give them tutus for the ballroom. '

For Cinderella 'I went into the direction of 18th-century underwear look, a corseted simple bodice in linen and linen skirt. She doesn’t look raggedy. No laces down the front, not even a scarf on. It’s just stained beige, and she’s the only stained beige thing on stage. The minimum costume to look abused and very sad.'

I really like the way that John Macfarlane talks about his designs for Cinderella, he has designed costumes that are conventional to a century but adapted to suit the type of performance. For example, these particular costumes are for Cinderella at the Birmingham Royal Ballet and so he adds tutus to the traditional 18th century corseted look, giving context to the costume but also the room for movement that the dancers need. 

John Macfarlane Cinderella Ugly step sister costume designs

John Macfarlane Cinderella Ugly step sister costume designs

John Macfarlane Cinderella - Spring season costume

John Macfarlane Cinderella - Winter season costume

John Macfarlane Cinderella Stepmother designs

Lucy and Bart Dripping Colour

Lucy and Bart

I have researched Lucy and Bart works before and my project got me thinking about how i will create these rolls of excess material; it made me think about Lucy and Bart and how they work with tights and balloons to create this effect. I particularly like the beginning stages of 'germination' as without the grass that eventually grows from the costume, it is the effect that i would love to create in my costume piece. I love the way that Lucy and bart transform the structure of the body making the wearer move differently, i think my costume will change the movement of the body in certain ways and lucy and bart make me think about how the costume will change body movements and what this will imply to the audience and the message they receive from my work.

Lucy and Bart Evolution

My costume added into gin lane

Sarah Lucas - 'Black and white bunny' 1997

Sarah Lucas on her work with tights

Recently, she has begun to experiment with an evolution of the Bunnies: "Nuds" keep the sense of stuffed flesh-coloured tights, but are larger and more disturbing. She extrudes them from toilet bowls, hangs them from concrete blocks, wraps them round themselves, so they look like intestines, buttocks, breasts. The word comes from a phrase of her mother's, "in the nuddy", meaning naked. 

Sarah Lucas - Nud Cycladic 3 - 2010

Walead Beshty - The Curve - The Barbican -A Partial Disassembling of an Invention Without a Future: Helter-Skelter and Random Notes in Which the Pulleys and Cogwheels Are Lying Around at Random All Over the Workbench

Julio le Parc at the Serpentine

Homelessness In the UK today

Low wages, zero-hours contracts, outrageous interest charges by doorstep lenders, benefits cuts, benefits delays, ‘sanctions’ on job-seekers – all these and more contribute to a Britain where many are locked out of what the rest take for granted.

And there are plenty who are not destitute, but teetering on the edge. “Just two pay-packets away from homelessness” is how many feel. 

Julio le Parc at the Serpentine

Julio le Parc at the Serpentine

Julio le Parc at the Serpentine

I went to see this exhibition at the Serpentine by chance I hadn't planned to go but came across it. I was really drawn in by the use of light and movement, the interactive exhibition was really fun and something I wasn't expecting. The light in the gallery seemed to perform, installations included a light mirror room and various light emitting installations which caused light projections to dance around on the wall. I found the exhibition really fun and made me think about how a performance would draw an audience in, to make them feel a part of it. 

Biffy Clyro - Mountains - 2009 - How differences can be shown in colour

Comparisons of my costume to intestines

Comparisons of my costume to intestines

Comparisons of my costume to intestines

Nick Turvey - Venus

Nick Turvey - Further research

I came across 'venus' by Nick Turvey when I was searching 'fat rolls' as this was something that people compared my work to. I found this sculpture quite interesting as it made me think about what my work would look like if it was of a different quality where it is not a costume but a sculpture. I like that the sculpture looks like it is melting under weight .

Nick Turvey - Host

Further possibilities and explorations for my project

  1. habitual greed or excess in eating.
    "she said plumpness was a sign of gluttony in most cases"
    synonyms: greed, greediness, overeating, overconsumptionbinge eating,gourmandism, gourmandizing, gluttonousness, voraciousness, voracity,wolfishness, insatiability; More


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