Rebecca-Scarlett Jenkins

It was worth standing in the freezing cold to see this magical dress change colour

Some of the Looks pre-show

This week I am finishing my Internship at Richard James, Savile Row as their studio and design assistant. These images are from backstage at the AW16 LCM Fashion Show at Satoria Bar Ristorante, where I was a backstage dresser. 

Looks on the Rails

My dressing station

Other backstage pictures: 

Thought I’d give tie dying a go to prepare for Bestival’s ‘Summer of Love’ theme this year. I was very happy with how they turned out! 

I am currently on a work placement at Richard James, Savile Row doing archiving, production, design work & styling leading towards their Men’s Collection show after Christmas. The occasional making task puts me back in my comfort zone but I am working on some very exciting projects for RJ and am gaining so much experience in a new working environment. 

Menswear portfolio photographs from A Christmas Carol with the Dorset Corset Theatre Company.

Bob Cratchitt’s Waistcoat

Fred’s Waistcoat

Here are some photos from filming and my own images after the dress was finished. Toile, two fittings, lots of decoration and three and a half weeks later, the dress was ready for filming! 

Some images from pattern drafting to decoration: Some fabulous teamwork with Ylana! 

This was my final University project and a piece I am very proud of. I teamed up with another AUB maker Ylana Lovell. The dress we made was an 18th Century Ballgown for Cinderella’s Stepmother. This is the design by Fiona Rigler and the film was ‘The Glass Slipper’ directed by Mark Sephton.

The piece is copper in colour: which represents ‘Cu’ the metallic element that is malleable to touch. The Multiple surfaces within the piece capture copper’s ability to be manipulated and show that it is product of metamorphosis, or in this case ‘Metalmorphosis.’ 

This garment has been shortlisted for the World of Wearble Arts Awards 2015 and has now been sent over to Nelson, New Zealand for another round of judging. 

Spreading metres and metres of copper lame across the studio, prepping it to be sent off for pleating. 

Spot welding the architectural crinoline together: using crinoline steel.

Fitting for the under-bust corset: choosing the shape and marking with pins.

Drafting the bodice on the stand over the under-bust corset.

Bodice/crop top and layer one of the pleated skirt coming together.

Applying the panels to the yoke over the bodice/crop top.

Here are a series of close ups of fabric manipulation techniques I used throughout the piece.

Beautiful Vintage tie fabric from Molly's Den 

Homemade buttons on a single breasted Waistcoat

Velvet lapel & Step collar on a Victorian double breasted waistcoat with velvet covered buttons

Black tailcoat for a young actor playing: The Undertaker's Apprentice in the production