Devil Second Fitting

This fitting highlighted how important it was to have the two previous fittings to ensure the fit near perfect as very little was adjusted during this fitting it was more about the aesthetic. With the dye work at its current stage the overall colour scheme is clear yet it is obvious all the textural work is yet to come...

Side view with cape and yolk. Shows the silhouette of the costume although in the case of the yolk particularly  the silhouette of this will alter considerably once texture is added. It is a good fit but more work is needed to make the lycra patches less obvious. The cape is a lovely size, shape and drape and the red is bold and eye catching for the Devil's final scene. 

Back close up of the cape, although there was debate as to whether this gives the right look I do feel that the lustre  of the fabric will look good on stage giving the Devil a magnificent, royal entrance and appearance when it catches the lights and moves gracefully. 

Cape from back - the shape is really nice but there was discrepancy as to whether the red and black fabric should be joined at the hem as I originally said it shouldn't. However, I can see that it can look unintentional so joining them will give it a professional finish.

Cape arms down, bird like silhouette that relates nicely to the nature theme. The bodice silhouette matches design expertly.

Rippled edge of cape looks really nice with the powerful black/red contrast

Elastic along the arms will be white and hidden as roots, but the elastic does keep it tight to the arm  so Rhiannon can manipulate it easily when moving and it looks part of the costume/creature as I wanted it rather than separate.

Overall dying is looking great to give a mouldy/mossy appearance.  Once the power net is worked into  it will give a really seamless/ creature like look. Body and bodysuit fit really well which will enhance her body movement.

Back view with yolk - the cape will be worn beneath the yolk to  prevent the cape becoming bulky and ugly as well as making the cape look like its part of her. The triangular shape works well and will look better with a softened textural edge - more like a lions mane to add to it being creature like.

Bodice taken in at the centre back to perfect fit. Fits very well around the bum.

Shoulder pad added to dramatise the silhouette further along with the hip pads.

Hand detail - thumb holes have now been cut so the  texture can cover the hands  and blend with make up so it covers as much of the body as possible. Close up  of dye work which is beautifully mottled and adheres to the design.

Back view without yolk - some darker tonal work needs to be added to blend the legs to the bodice. Hip pads create a nice shape for the texture to sit on.

Side view of silhouette

Reflection:

The Devil is coming along nicely and with Emily's textural samples I can really visualise it in the flesh as I know she has great ambition with this. It is a good fit and Rhiannon can move freely in it for her scenes of heavy, abstract movements, the cape only being worn for the final scene which has little action. The cape has the bold presence I wanted and works with the costume beneath. Shoes are an aspect to consider whether we buy fabric ballet pumps so they can be worked into to be part of the costume or whether she remains bare foot as I know this is her preference. The headdress is something I need to keep a close eye on as make-up are making it and it needs to be continuous with the costume. We will provide the materials from the costume to be used and help ensure this, but I will keep in close contact with the makeup maker to  make sure it doesn't stray from the design too far. It was also discussed that the cape fabric could be used to create a butterfly for the old man in scene 1 to relate to the Devil's final costume and true self, I shall experiment with this idea.

To Buy/Hire:

• Fabric ballet shoes