Laura Rose Moran-Morris II

'Dóchas, 'The Morrigan and Tualtha' A fairytale from future earth, inspired by Irish Mythology. Tuathla, the Demi Goddess overcomes obstacles battling The War Goddess The Morrigan, in a love story crossing parallel universes. This magical fantasy world is brought to life in an immersive, outdoor promenade experience.' Laura Rose Moran-Morris   

Laura's winged costumes had elements of puppetry, for the manipulation of the wings. Both costumes were incredibly intricate and beautiful with fantastic attention to detail.

"The War Goddess is a deadly and seductive in her leather corset and laser cut feathered wings. Tauthla's magical bones shimmer and under a knotted molded leather bodice piece. A warrior deeply connected to nature, her head dress represents  this with resin cast horns and preserved flowers." Laura Rose Moran-Morris

Lily Bailie

Above: Photo: Laurence Winram

This is Lily Bailie's opulent menacing costume representing the twisted relationship between religion and violence in Northern Ireland. Golden vestments printed with the paraphernalia of church and terrorist, entwined in beguiling patterns, a soup of misused wealth and power encrusted with golden soldiers.
This is a terrifying costume full of accepted tradition and belief, with sinister almost invisible undertones of terror and war.

Eilidh Bass

Above: Photo: Laurence Winram
Eilidh Bass created two amazingly crazy costumes for 'The Magic Roundabout', as her graduation project for performance costume at ECA,  with Florence's dress featuring a mechanical revolving roundabout.

Above: details from Florence's costume, Below: Dougal. 

"I visited The Herbert Art Gallery and Museum in Coventry to see an exhibition entitled; 'The Story of Children's Television'. I was inspired to highlight the variety of design seen thoughout this genre. I wanted to recreate a bygone era. This interpretation also aims to allow both children and adults to recognise the importance of the development of children's television in our expanding multi media society. Finishing with a sprinkling of magic from Zebedee, all that is left to say is, 'Time for bed'." Eilidh Bass

Jason Hall

Jason Hall and his team work annually at the ECA fashion show working with the performance costume students to create hair worthy of their costume creations. While Rachel Gallagher and her team create the makeup. They are all fabulous, fun, creatives that bring a great atmosphere and joy to the preparation behind the shows.This is Jason's new Techno Colour Campaign.

"For this collection, we came up with the idea of creating an avant-garde shoot without the focus being on the aesthetics of the hair. A lot of the inspiration for the hair came from the things I've seen working on fashion shows all year. We intend to cover a spectrum of colours that all symbolize something to us. We chose red first as to us it symbolized strength. " Jason Hall Hairdressing 

Photography is by Lee Howell which won the gold award at BIPP National Awards this February, whilst the makeup is by Rachel Gallagher.

Lydia Hann II

Details of Lydia Hann's 'Wooden Maria' by Carol-Ann Duffy. This costume a dress has digital prints of carp hand embellished with sequins.

"Maria is a princess in trouble, running from an unwanted engagement, with the help of four impossible dresses. A 1950's crinoline provides unexpected buoyancy as she sets sail with the help of the glittering fishes. Combining digital textiles with the glamorous silhouette hints at otheworldliness, contrasting with Maria's scrappy pragmatic personality."

Matilda Barrowcliff

This is Matilda Barrowcliff's graduate collection in Menswear at ECA. 

"The faces were all icons that I think are great people who should be celebrated and who the younger generation should look up to - rather than looking up to Kim Kardashian etc. The faces I choose were Frida Khalo, Aung San Suki, T.S. Eliot and Gloria Steinmen. The faces were painted using acrylic and then hand embroidered. The work was inspired by my drawings and the use of line - line becomes very important with the use of thread. I wanted to make the clothes beautiful inside and out / kind of representing the inside and outside of those icons I painted.
I've also always been a very messy person and I wanted that mess to be made to look beautiful - inspired by Francis bacon and images of his studio." Matilda Barrowcliff.

Megan Gallacher

Megan Gallacher's 2nd year ECA costume for the 'L'enfant et les Sortileges' was a grandfather clock that featured a massive surreal collaged head piece, which managed to look incredibly contemporary whilst also reflecting costume/ animation through history.

Zoe Longbottom II

Above details of Zoe Longbottom's crocodile costume for Peter Pan and below (photograph by Laurence Winram) the full costume modeled by Bejoy Sanjeev. This costume and mask, featured clock elements to visualise the theme of time andreference time standing still in Neverland.

Zoe Longbottom I

This is Zoe Longbottom's mermaid costume for Peter Pan. Zoe's adaptation in costume is set in a post apocalyptic world, which twists the perspective of the story imagining Peter as the evil spirit who steals children and takes them to Neverland. Her mermaid was a statuesque punk of the 1980's with armored shoulder pads and the accentuated hips and skirt length carrying the impression of a tail. 

Above: detail of shoulder pad, below details of sequined tail scales. 

Fiona Cartmel

"My work is all about sustainability; everything I’ve made is from waste. I contacted loads of fashion industry companies and asked them to give me their offcuts or damaged fabrics. I’ve put them through a process to pleat them, essentially making a new fabric. I wanted to revitalise waste and show that you can make beautiful things from other people’s rubbish. Craft is a big part of my work and I used a lot of hand processes which take hours to do. The idea is that I want people to treasure fashion rather than it be something disposable.

"I’ve got six different garments under the same theme but they’re all different fabrics. This coat, for example, is made from salvaged material which companies cut off at the edges after it’s been marked by the machinery. I’ve also got garments made from plastic waste, netting and all sorts of different materials brought together. I’ve always been interested in sustainability but this project was my chance to make everything I did as sustainable as possible. I had to think about everything down to the organic threads. It’s been a real challenge but I’ve learned so many zero-waste techniques for making by doing it." Fiona Cartmel

Amanda Rathney-Quinn

A stunning bejeweled bird with jewel tears by second year ECA performance costume student; Amanda Rathney-Quinn.

"The nightingale is a minor character from the 1925 Colette and Ravel Children’s opera; L’enfant et les Sortilages. She is a frail and fragile character who sings for the dragonfly’s loss. She is specified to be played by the same actress as the princess.The unitard and cap portion of the costume is made up of a grey one-way-stretch polyester velveteen, heated from the back to created a crinkling texture across the areas of the costume I wanted to draw attention to, such as the calves and the head. The beading is made up of apatite, amazonite, pale rose quartz and opalite chip beads along with 1mm clear and peach seed beads. 34 swavorski sun-catcher are used across the torso under the ruff and at the end of the tears. The whole costume is covered with 4mm flatback iridescent plastic gems and 5mm flat back mock-pearls in iridescent pale blue and white. LEDs are used behind the eyes to give the character a slight sparkle. The overall style of the costume is based off traditional commedia dell’arte style theatre blended with a stylistic but non-abstract interpretation of a Chinese nightingale. I think the most important aspect of the costume was that it read very clearly as a bird since the opera is intended for young children, but also that it communicated the character as a pretty, sensitive and feminine figure in the opera." Amanda Rathney-Quinn.

Yan Smiley

"In this project, I explored the character of Roy Lichtenstein. Through study, I unveiled traits of ignorance, innocence, and curiosity towards the female and her body. These said characteristics are often found expressed in his work. The costume embodies this curious nature, through performance the audience is encouraged to engage in their own curiosity- whilst simultaneously realising HIS fascination with the human form. With reference to puppetry, robotics and Lichtenstein's graphic outlining, the figure is divided, disjointed, enlarged and multiplied- to create a new manufactured figure. All this is obscured by the large fluid form, with detailing inspired by his 'drowning girl' and natural landscapes. It is the human emotion and depth he could never grasp." Yan Smiley

Lydia Hann

Above: photograph by Christina Kai-lan Arbenz, Below: photograph by Laurence Winram 

Lydia Hann 's costume creations from a project based on 'Galoshins'; a Scottish folk play tied to the Halloween and Hogmanay tradition of guising. The costumes are created to look naive and homespun. Exaggerated silhouettes old knitting and masks conceal the players identity from his audience.

Above: Lydia's model Elspeth Chapman relaxing between shows in her base layer of body morphing costume.