Inside the Collaborative Triumph of LCF and Royal Birmingham Conservatoire
- Written byUna Lote Andzane
- Published date 10 April 2024
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London College of Fashion, UAL students teamed up with the Royal Birmingham Conservatoire to co-create innovative designs for Jules Massenet's opera Cendrillon in collaboration with acclaimed designer Gabriella Slade and director Matthew Eberhardt.
The Knowledge Exchange project with the Royal Birmingham Conservatoire (RBC) has been flourishing for the past four years. Louise Chapman, the Course Leader for BA (Hons) Costume for Performance, initiated the collaboration with the Royal Birmingham Conservatoire because she recognised the barriers that expensive ticket prices pose for students wanting to experience opera productions first-hand. "I thought it would be valuable for the students to understand a little bit more about what opera is about and give them more exposure to the many different forms of performance out there," she explains.
The productions are intentionally site-specific, held in venues such as churches or warehouses. "Opera houses may often come across as very peculiar spaces for people who've never been to theatre, so it’s also about reaching people who may not ordinarily engage with opera," Chapman says. This innovative approach not only provides students with practical experience but also aims to broaden the accessibility and appeal of opera to diverse audiences.
Embedded within the core teaching curriculum, the project is essential for preparing future creatives in the vocational realm. Two years ago, the Lindbury Trust bestowed £131,000 upon the project, recognising it as a stellar model of cross-disciplinary practice and for seamlessly integrating students into professional work environments. "It's truly invaluable for them to immerse themselves in a live project and apply the skills they've acquired within a real-world context," Chapman elaborates. In total, 43 costume students and 15 hair and make-up students were able to participate.
During the initial phase of the project, costume design students had the privilege of collaborating with the esteemed Tony Award-winning costume designer Gabriella Slade, renowned for her work on the musical Six, alongside director Matthew Eberhardt. The process began with a director’s briefing led by Eberhardt, meticulously delving deep into his creative vision and visual inspirations behind the production. Most importantly, it was about decoding the unfamiliar and bizarre form of a libretto, an integral part of any opera performance which most students encountered for the very first time.
Under the mentorship of Slade, the students proceeded to craft costume designs for two distinct casts: the green and the blue. Chapman sheds light on this unconventional approach: "Normally, a designer would oversee the entire production. However, because our course emphasises the development of design makers, we wanted each student to exert some influence over the design of their individual characters." The students were organised into explicit groups, with each dedicated to designing for a specific character or collective, such as Prince Charming or the courtiers.
Selecting which character to design for entailed a rigorous process, as described by BA Costume Design student Aiyana. It involved extensive research spanning the history of fairy tales, various renditions of the Cinderella narrative, design motifs prevalent in 1950s British fashion, and even the opulent Baroque styles of the 1800s. This thorough research helped assign each student a character that best aligned with their portfolio, serving as an endless wellspring of inspiration throughout the design process, despite adapting to a multitude of design changes along the way.
The contrast between the extensive research phase against the compressed production timeline proved to be an invaluable lesson for students preparing to embark into the professional realm. "Often, students are given between eight to twelve weeks to design and realise, but it was truly beneficial for them to grasp the reality that such ample time isn't always afforded within the industry," Chapman reflects.
For the very first time, students of BA (Hons) Hair, Make-up and Prosthetics for Performance were also welcomed into the project. The Course Leader Tanya Noor articulates the ultimate objective: "The end goal was for the students to apply all hair and makeup for the show within a live environment." With the director and designer each possessing their unique vision, the students embarked on their journey by conducting character breakdowns and delving into diverse adaptations of Cinderella. Their research extended to exploring the hairstyles and makeup trends of the 1940s and 1950s, as well as delving into the rich history of the venue itself, seeking elements that could be reflected in the final designs.
Reflecting on the process leading up to the live performance, BA (Hons) Hair, Make-up and Prosthetics for Performance student Iga Paterewicz looks back on the intensive journey: "We dived straight into research on popular hair styles and makeup of that era, followed by hands-on experimentation and lessons, and design meetings where we collaborated with costume tutors to ensure coherence in our designs." While costume design students engaged in more physical work for the project, Paterewicz notes that the focus in her course was primarily on designing, experimenting, and conducting fittings.
To craft their distinctive appearances, the characters underwent meticulous breakdowns into various styles. For the male characters, their look hinged largely on their hair length. This meant they could sport either a short, refined Cary Grant style or opt for the more rebellious quiffs reminiscent of Elvis Presley or James Dean. Similarly, the female chorus singers were categorised into three distinct styles based on their hair length and texture. However, factors like quick changes necessitated careful consideration when selecting between the elegance of Grace Kelly waves or the sophistication of a French chignon updo.
The principal characters' looks were tailored to reflect the nuances of their personalities. For instance, the stepmother and stepsisters exuded a harsher aesthetic, while the fairy godmother and her spirits emanated softness and ethereal beauty, accentuating the fantastical elements of their characters. This meticulous attention to detail ensured that each character's appearance harmonised seamlessly with their role within the production.
To maintain a cohesive aesthetic across the diverse array of students, collaboration between the costume, hair, and makeup courses was essential. "We collaborated closely with the director and the designer, while also remaining open to embracing the fantastic ideas contributed by the students," says Noor. This flexibility was crucial as the intensive production phase unfolded between January and February, mirroring the rapid pace of the industry environment.
“It was a crazy, fantastic experience for the students,” reflects Noor. Despite the fatigue induced by the distance between London and Birmingham, with students catching the 6am train to arrive in Birmingham by 9am and commence the day's activities, everyone rallied together to prepare for rehearsals, dress rehearsals, and the costume parade.
"They just did the incredible job," Noor enthuses, recalling how six students managed hair and makeup for a cast of over forty in just two and a half hours. “It was really fast paced, with lots of adrenaline, but most importantly about learning teamwork and how things work backstage in theatre.”
BA (Hons) Costume for Performance student Aiyana-Monet Ashie-Rochester emphasises the invaluable benefits of project: “It’s really good to have your foot in the door and to be able to take the skills that you learned in year one and put them into practise.” She believes this hands-on experience will serve as a vital steppingstone towards readiness for professional internships in the future.
Despite the project presenting its fair share of challenges, the students discovered reservoirs of capability within themselves that they hadn't previously recognized. Reflecting on the experience, Paterewicz expresses pride in the remarkable teamwork displayed by all involved, particularly during the crucial two hours leading up to the show. "Our most significant task was in those two hours right before the show," she recalls. "It would have been impossible for my friend Benedetta and me to handle all the work alone, so other students who had their own characters to look after stepped in whenever they could. And in moments of rest, we gladly returned the favour."
Participating in a demanding project like this can be a significant confidence booster. "I've gained an immense amount of determination to push through challenging tasks,” Ashie-Rochester reflects on her experience. “It was truly difficult to create three garments within three weeks, but looking back on it now, I'm incredibly proud of myself for enduring that pressure."
The culmination of stress on the day of the performance was another hurdle that the students successfully navigated. "The high-pressure, fast-paced environment of the performance day gives you the confidence to know that you can function effectively and be productive under such circumstances," Noor comments.
With the first fitting having taken place just before Christmas, the production opened to standing ovations on the 29 February and ran until 2 March. "The audience response has been overwhelmingly positive, with many people praising the exceptional quality of the costumes, as well as the meticulous hair and makeup styling," Chapman joyously shares. This reception underscores the immense talent and dedication of the students, as well as the collaborative effort that brought the production to life.
Director Matthew Eberhardt shares his admiration for the students' professionalism, kindness, and creativity in a heartfelt letter addressed to all participants following the performance. "Paul and everyone at RBC are thrilled with what was achieved, and I feel very fortunate to have been a part of this wonderful project," he expresses gratefully.
Reflecting on the project, Noor highlights its value in allowing students to expand their creativity while respecting the director's vision. "It was a really valuable exercise for them to be able to stretch their creativity but within the director's visionary boundaries," she remarks. Looking ahead, she eagerly anticipates many similar projects in the future.
Written by LCF Newsroom Content Creator, Una Lote Andzane, BA (Hons) Fashion Journalism and Content Creation.
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