Auguste Greiciute - Lady Macbeth Design Book

MACB1L9AE3TD0HY’s MACBETH RE-DESIGN AUGUSTE GREICIUTEEDINBURGH COLLEGE OF ART 2016



CONTENTSCONCEPT STATEMENT ...................................................................... 3RESEARCH ............................................................................................... 5 1930’s LADIES’ EVENING WEAR.............................. 5 ELSA SCHIAPARELLI.................................................... 7 ZAHA HADID ARCHITECTURE.............................. 9DEVELOPMENT .................................................................................... 11 SILHOUETTE ............................................................... 11 ACCESSORIES .............................................................. 13FINAL ILLUSTRATION ........................................................................ 15FINISHED COSTUME ........................................................................... 17FABRIC SAMPLES......... .......................................................................... 23

3 LADY MACBETH 1930’S Illustration of Sybilla 2015 AW

CONCEPTTHE COSTUME FOR LADY MACBETH WAS INSPIRED BY THE SU-REALIST FASHION IN THE 1930’S AND THE FLOWING LINESOF ZAHA HADID’S CONTEMPORARY ARCHITECTURE DESIGN.THE RE-DESIGN IS STILL CONNECTED TO THE PRIMARY CON-CEPT OF BYZANTINE ART AS LADY MACBETH IS WEARING ATURBAN - A TYPE OF HEADPIECE THAT WAS POPULAR IN THEBYZANTINE EMPIRE AREA AND THE 30’S ALIKE,WHICH ADDS ANEXOTIC TOUCH TO THE LOOK. THE ASSIGNED COLOUR PAL-ETTE IS THE CLASSIC BLACK, WHITE AND RED COMBINATION.THEREFORE,TO GO FOR AN UNEXPECTED TWIST I USED WHITEAS THE LEADING COLOUR WHILE RED AND BLACK DETAILSADDED THE SINISTER FEEL TO THE GARMENT. THE DRESS TAKESA TYPICAL SILHOUETTE OF 1930’S EVENING GOWN, WITH AFEW DETAILS OF TRAPUNTO ON THE TOP RFRONT AND BACK.

5 LADY MACBETH 1930’S Images from top left to bottom right: Carole Lombard, 1930’s Greta Garbo and John Gilbert, 1930’s Carole Lombard, 1930’s Helene Arpels, 1939

RESEARCH: 1930’S LADIES’ EVENING WEAR 6 RESEARCH: MAIN TRAITS OF 1930’s LADIES’ EVENING WEAR: Dangling Art Deco earrings in marcasite Halter straps tie at the neck and hang down Draped bodice, slashed to the waist at the Silk elbow length evening gloves Decorative draped panels Reversible fabric shows constrasting shade Bias- cut skirt falls into graceful folds Satin evening slippers in toning colourInformation from: modagid.ru

Photographs and an illustration of Elsa Schiaparellidesigns from 1930’s

RESEARCH: ELSA SCHIAPARELLI 8 RESEARCH: ELSA SCHIAPARELLI Elsa Schiaparelli (1890 - 1973) was Italian fash- ion designer, who is regarded as one of the most prominent figures in Fashion industry between the two World wars. Starting with knitwear, Schiaparelli’s designs were heavily influenced by Surrealist artists like her collaborators Salvador Dali and Jean Cocteau. Her clients included the heiress Daisy Fellowes and actress Mae West. The 1930’s were highly successful for the de- signer, bringing the collaboration with the two Surrealist artists in 1936 and 1937.The collabo- ration with Dali was mainly for coats and suits with bureau drawer pockets. The collaboration with Jean Coctear brought coats,evening ensem- bles and jewellery embellished with his drawings.Elsa SchiaparelliInformation from: www.schiaparelli.com www.wikipedia.com

Zaha Hadid’s designs for Australia’s Gold CoastLADY MACBETH 1930’S9

10RESEARCH: ZAHA HADID RESEARCH: Heydar Aliyev Cultural Centre, Baku,Azerbaijan.Architecture design by: Zaha HadidZAHA HADID’S ARCHITECTUREZaha Hadid (1950 - 2016) was an Iraqi- British architect. In 2004 she becamethe first woman recipient of the Pritz-ker Architecture Prize. She receivedthe Stirling Prize in 2010 and 2011. In2012 she was made a dame. In 2014the Heydar Aliyev Cultural Centre, de-signed by her, won the Design MuseumDesign of the Year Award, making herthe first woman to win the top prizein that competition. In 2015 she be-came the first woman to be awardedthe RIBA Gold Medal in her own right.Her buildings are distinctively neofu-turistic, characterised by the “pow-erful, curving forms of her elongatedstructures” with “multiple perspectivepoints and fragmented geometry toevoke the chaos of modern life”. Sheis currently professor at the Univer-sity of Applied Arts Vienna in Austria. Information from: http://www.zaha-hadid.com and www.wikipedia.com

11 LADY MACBETH 1930’S DEVELOPMENT: SILHOUETTE AND EMBELLISHMENT

The evolution on the silhouette.

13 LADY MACBETH 1930’S Hat and gloves development.

14DEVELOPMENT: ACCESSORIESDEVELOPMENT: ACCESSORIESThe accessories took a very importantpart in 1930’s evening wear. In this en-semble, accessories are used as an op-portunity to add a more exciting andcreative detail to the look. Althoughthe shape of the gloves and the turbanhat conform to the 1930’s traits, theway that they are embellished is de-signed to look modern and different.Illustration of the “Hands of Fate” hat.

15 LADY MACBETH 1930’SEmbroidereddetails stuffedwith woding TurbanPoppers Double sleevesFaces stuffedwith woding Front andPiping seam the sleevesConsealed zipper embroidered with the eye Back embroidery pattern Back Front

LADY MACBETH 1930’S FINAL COSTUME: ILLUSTRATION ANDTECHNICAL DRAWINGS



18THE FINISHED COSTUMETHE FINISHED COSTUME Model: Dayna AliPhotographer: Darja Slonova

19 LADY MACBETH 1930’S

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21 LADY MACBETH 1930’S



23 LADY MACBETH 1930’S FABRIC SAMPLES The dress was deco- rated with trapunto embroidery. The fabric was em- broidered using ma- chine free hand em- broidery, stuffed with woding and then em- bellished with beading.