This production was a dynamic blend of creativity and sustainability, as we meticulously crafted a Victorian-inspired world for the stage. Collaborating closely with set designer Nerys Akers and director Sean Linnen, we embarked on an extensive journey of brainstorming and meetings to bring our collective vision to fruition.

As the costume designer, I prioritised the use of recycled materials and ethical practices throughout the design process. Utilising recycled cardboard for large-scale designs and sourcing fabrics from charity shops, I endeavoured to minimise our environmental impact while maximising creativity. Working alongside a dedicated team of four costume assistants, I provided them with detailed designs, reference images, samples and mood boards, ensuring a cohesive and unified aesthetic.

I collaborated with fellow students who were talented and skilled makers in their respective fields. Kate Turton, an incredibly talented tailor, crafted the Marley ghost costume. For the fabric I upcycled an old pair of curtains in a baroque print which I sourced from a second-hand shop. Kate crafted the suit for me and also broke it down to look used and worn. I was mindful of the quick change required by the actor during the performance, so we used Velcro with fake buttons for easy removal.

Additionally, I collaborated with puppetry student Abi Stushnoff who made the three large Phantom puppets. Abi fully supported my sustainability ethic and made the puppets with papier-mâché then scrimmed and painted them. They worked seamlessly on stage and truly showcased Abi’s talents, bringing Christmas magic to the production beyond what I had envisioned.

Given the extensive hair, wigs, and makeup needs for the production, I took it upon myself to contact Jane Beard, a lecturer at the college who oversees the hair and makeup course. I collaborated with her students, who created beautiful wigs for us and even crafted beards for the “Ghost of the Christmas Present” They provided invaluable assistance with costume adjustments, makeup advice, and tips on fastening the wigs. This collaboration was immensely appreciated, as it added a professional touch to the production that I couldn’t have achieved alone. I am incredibly grateful for all their hard work and contributions.

One memorable creation was the costume for the ghost of Christmas past, constructed from recycled lace curtains and adorned with bridal offcuts and buttons I had collected over the years. Despite the challenge of adapting the costume design for a male actor, I remained faithful to the original design, making subtle adjustments to accommodate the change in casting. The result was a stunning transformation scene, coordinated seamlessly with Nerys to match the set’s bedding, creating a visually striking moment on stage as the ghost made his entrance on stage from under the bed covers.

My personal favourite design was the costume for the ‘Ghost of Christmas Present’ it was largely inspired by a festive, flamboyant Christmas tree meets Victorian Father Christmas. It was my most extravagant design, and I really allowed myself to have fun with it. I wanted a shiny pop of green to fill the stage and evoke humour and fun from the audience.

To enhance the character’s presence, we gave her large platform shoes, embellished to add height and boldness. The addition of a bright red beard and wig completed the look. Initially uncertain about the character’s gender change from male to female, I decided to stay true to the original design, and I’m glad I did. Stella, the actress, truly pulled it off, and her big entrance on stage was a memorable moment. I sourced lots of green fabrics from a closing down sale and utilised as many scraps as possible to create this garment, adding splashes of shiny metallic fabric for extra flair.

Mindful of the need for quick changes in a small cast production, I designed the clerk characters with chunky knitted scarves and an earthy tones palette, these Clerk characters doubled up as storytellers and narrators throughout the performance. Collaborating with a local knitting group to create the scarves using donated wool, we brought to the production a sense of community and craftsmanship.

For a bit of Christmas fun at the end, I decided to dress all the cast in festive Christmas jumpers. I sourced them from secondhand shops, ensuring that the designs were fun, and the colours complemented each other. It was a delightful touch to see Scrooge in a “Bah, humbug” jumper at the end, which elicited a laugh from the audience.

Sourcing additional costumes from Marigolds and Bristol costume hire, meticulous documentation ensured smooth returns. Despite the challenges, organising and managing the team was a rewarding experience, witnessing my designs come to life through the dedication and teamwork of everyone involved. Overall, it was a project filled with passion, creativity, and the joy of collective collaboration.