The Performance courses share an excellent range of facilities across the programmes, including a wig-making and hair styling studio, prosthetics and make-up studios with live ‘camera to TV’ link, a suite of specialist rooms for casting and mould making, plaster, fibreglass, latex, silicones and other resins, a sculpting studio, and several costume-making studios with pattern cutting tables, overlockers and industrial sewing machines. Students also have access to a large VAC former, laser cutter, print and dye room, a large spray booth, and additional access on site to design studios and IT suites.
Cecilia Pritchard, course leader, is an LCF alumni, and contributes with a diverse portfolio, academically and hands-on, in hair, wigs, makeup and prosthetics in film, TV, theatre and fashion. Her work stretches from Sweden, Denmark, the UK and East Asia. Working five years at the Royal Opera House in Covent Garden, Cecilia has worked closely with top international opera singers and costume designers on productions such as Madam Butterfly, Magic Flute, La Boheme, Tosca, Aida, Othello, Salome and many more. For 4 years Cecilia worked as a hair and make-up lecturer at Hong Kong Design Institute (HKDI) where she also established many international connections.
Steven Solomon graduated in 1990 and has worked across a range of industry areas. He started out specialising in body painting, air brush body art and cosmetics. Work includes promotional events for Aida, The Lion King, Velvet Goldmine. Interview with a Vampire, Reebok, Adidas and Su-do. His development work includes MAC airbrush body paint and cosmetic ranges. Fashion shows include Alexander McQueen, Hussein Chalayan, Evisu, Belstaff and Mulberry. Catwalk events include the MOBO awards, Fashion Rocks, Alternative Hair Show, Pantene Beauty. Promotional/editorial experience include Levi’s, Aveda, Toni & Guy, Cyberdog, Coco de Mer. His teatre work ibcludes La Cage Au Folles, The Turn of the Screw, Michael Clark at the Barbican and World Theatre at the Millennium Dome 1999. Music promotion/video experience include MTV, Cher, George Michael, The Cure, Enya, Tricky and The Prodigy. Advertising: BMW, Evening Standard magazine, Admiral, Direct Line, Alfa-Romeo. He has taught make-up for 22 years for London College of Fashion, Face Stockholm, Jemma Kidd Make-up School, and MAC and completed a PGCE in 2000.
Jessica Curtis trained at the Motley Theatre Design Course after training as an illustrator at the University of Brighton. She has designed for film, opera, dance and theatre both here and in Scandinavia over the last 20 years. She is currently designing the Premier of Genesis inc. at Hampstead Theatre. Recent work includes Uncle Vanya (The Almeida) Villette (West Yorkshire Playhouse), The Holy Rosenbergs (National Theatre), Hotel Cerise (Theatre Royal, Stratford East) Another Door Closed (Theatre Royal Bath), Endgame (Liverpool Everyman), Dangerous Corner (West Yorkshire Playhouse and West End),Frankenstein (Frantic Assembly, Northampton), Burial at Thebes (Nottingham Playhouse/Barbican/US Tour) and RHAPSODY (Royal Ballet at the Royal Opera House) One for the Road, Glass Cage, Follies (Royal and Derngate, Northampton) The Ryme of the Ancient Marina (Southbank Center/ Young Vic). She has also designed the Grosvenor Park Open Air Season 2013- 2016 and the opening season at the new cultural centre Storyhouse, as well as bar interiors for Underbelly at the South Bank and Hyde Park and Leicester Square.
She has taught and designed at Central School of Speech and Drama, RADA, Guildhall, Trinity College of Music, Birkbeck and RSMAD.
Lorna Campbell, alumni of the course and now a lead wig designer and creator of wig-making collective Campbell Wigs. Alongside designing and making wigs and facial for stage, screen and bespoke hair loss clients, Lorna, and her team, deliver wig making workshops to industry professionals in locations such as London, NYC, LA, Atlanta GA, and Bahrain. After graduating from The London College of Fashion, Lorna originally worked as a makeup artist and theatrical makeup lecturer at The City of Bristol College before focusing on wig design, making and educating. Alongside regular high-profile clients, work includes Idris Elba, Peter Serafinowicz, Jeff Waynes War of the Worlds, Jon Culshaw (as Donald Trump), MTV, Warner Bros, ITV, Showtime and the BBC. Lorna's teaching methods focus on delivering the fundamental traditional wig-making techniques necessary for students to take their artistry and passion further throughout their career.
Stuart Conran, prosthetics tutor began his career in prosthetics and special effects make-up in 1986 as a trainee on Hellraiser. He has since been working steadily for make-up effects companies, make-up designers & production companies on a wide range of projects and media for over 30 years. As prosthetic effects designer for Shaun of the Dead, Stuart’s other credits include Peter Jackson’s Braindead, The Descent, Attack the Block, The Peter Serafinowicz Show, Look around You, From Hell, Saving Private Ryan, The Tenth Kingdom, High Rise & Spitting Image.
Stuart was recruited in 2012 by private makeup college CMU and employed as a full-time instructor for almost 3 years in Toronto, Canada.
On returning to the UK, Stuart has divided his time between training & education, working on independent film projects and providing prosthetics for make-up designers and productions.
Employed as an instructor with Gortonstudio for almost 2 years, he has also worked for University College Birmingham, Solent University, University of Bedfordshire, University of Bolton and run various bespoke courses for Gortonstudio both in the UK and overseas.
Recent film and TV work include providing prosthetics for independent thriller series Dark Ditties, TV series Krypton, Temple, Hanna, and most recently providing prosthetics for Pennyworth.
Suzanne Scotcher. After graduating, Suzanne went on to work for Madame Tussauds, producing the wigs, hair punching and colouring new wax work for the Exhibition in London around the world which including Hong Kong, Singapore and New York. After a living in Australia and New Zealand working in the film Industry returned to the UK and spent the next 18 year working in the theatre Industry Mostly at the National Theatre which included supervising over 25 shows and NT lives which shows were film and shown at Cinemas around the world as well as National and international tours. Noticeable shows include When We Have Sufficiently Tortured Each Other (Cate Blanchett, Stephen Dillane) Phaedra (Helen Mirren, Dominic copper) One Man Two Guvnors (James Corden) Home (Michaela Cole) Man Superman (Ralph Fiennes) PillowMan (David Tennant, Jim Broadbent) and Man Of Mode (Tom Hardy).
Photo Shoots include poster for shows at the National Theatre and for British and American Vogue.
She as also Taught at Christine Blundell make-up academy, Wimbledon College of Art and for the education department at the National Theatre.
Nadia Malik is the Programme Director for the Performance Courses at London College of Fashion, UAL. She has previously been Course Leader for BA Costume Design and Making at Nottingham Trent University and Costume With Textiles at the University of Huddersfield, Head of Wardrobe at the University of Essex and lectured at various other universities.
Nadia is the Reviews Editor (Exhibitions and Events) for the journal Studies in Costume and Performance, a Fellow of the Higher Education Academy, a committee member of the Society of British Theatre Designersand a PhD candidate at Aalto University, Helsinki. Her research work focuses on Knowledge Exchange between academia and industry through experimental pedagogical practice in costume. She holds a BA in Textile Design from Nottingham Trent University and an MA in Costume Design for Performance from London College of Fashion, UAL.
Nadia’s design work has encompassed new and classic writing, opera, folk and contemporary dance, experimental site-specific devised work and live art, including international festivals. With a collaborative approach to performance devising, her work explores the human body, movement, and how costume-led design practice can engage audiences with performance. She has also curated and produced costume events.
