SADIE O'NEILL PORTFOLIO
Costume Construction
As part of the course, I took part in weekly practical costume construction workshops that helped me develop essential skills and knowledge for working in a costume or wardrobe department. These sessions gave me hands-on experience with sewing techniques, garment construction, fitting, and working with different types of fabric—all of which supported and strengthened my overall design process.
Each week focused on a specific aspect of making a garment to fit an actor or actress, allowing me to understand how to translate design ideas into practical, functional costumes suitable for performance. Through these workshops, I gained a deeper appreciation for the technical side of costume-making and the collaborative nature of working in a theatrical environment.
To support my learning, I completed weekly tasks such as sewing samples and small construction exercises before each session. These tasks helped me practise new techniques and build confidence in my making abilities. Overall, the workshops were a valuable part of the course, helping me connect design with construction in a meaningful and practical way.
Learning the Machines
During the workshops, I learned to use a sewing machine, an overlocker, and an industrial ironing board—key tools in achieving clean, professional costume finishes. My previous experience with textiles at A-level gave me a strong foundation, making it easier to build on existing skills and adapt quickly to the equipment. This helped boost my confidence and efficiency in a costume department setting.
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The Making Process
This was my first time using pattern sheets properly, and it was a great learning experience—I found it really interesting to see how the pieces came together. The making process itself was straightforward and not overly complicated, which made it enjoyable and allowed me to focus on improving my technique. I really enjoyed creating this costume and found the whole process rewarding. It’s made me want to explore more costume construction in the future.
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The Waistcoat
I was really pleased with how the waistcoat turned out. In the future, I’d like to challenge myself by using a patterned fabric that requires careful alignment, so the design flows seamlessly across the finished garment. It’s a skill I’d love to develop to take my costume construction to the next level.
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Process Evaluation
For my final university project of 1st Year, I thoroughly enjoyed the opportunity to create a design brief tailored to my own interests. Being able to develop a costume from a concept I was already passionate about allowed me to work with a greater sense of purpose and creative autonomy. This project built on a previous exploration I undertook during sixth form, where I created a devised performance called The Devil’s Bargain, centred around the seven deadly sins. With only four actors, we were required to multi-role, which sparked my initial interest in transformable and reversible costumes. I was fascinated by how costume changes could happen fluidly on stage and enhance the storytelling without interrupting the flow of the piece.
That moment became a key influence in my design thinking. During my sixth form drama scholarship interview, I even referenced this idea when asked how I might stage a production with only one set or limited costumes. From then on, I knew this was an area I wanted to explore further, and this project offered the perfect opportunity. I decided to focus on Hamlet, continuing the work I had begun in a previous module. The period in which I had set my version of Hamlet suited the reversible costume concept well, allowing me to embed both historical and modern influences in the garment’s construction.
One of the core requirements of this project was to incorporate the Theatre Green Book: Sustainable Productions, and I found this both inspiring and challenging. I aimed to apply circular design principles by using only second-hand or discarded materials and designing the costume for adaptability and longevity. I drew heavily on my research into pioneering designers like Vivienne Westwood, Issey Miyake, and Bethany Williams, who have each shaped sustainable design in their own right. Their approaches showed me that sustainability is not a limitation, but a driver for innovation—something I attempted to embody in every part of the jacket’s creation.
The final reversible frock coat, designed with six wearable configurations, not only visually represents different characters but also maximises material use. With detachable cuffs, sleeves, and other modular pieces, the costume promotes reuse and minimises waste—aligning with the Green Book’s call for low-carbon, adaptable theatre production. I particularly enjoyed exploring the narrative potential of materials, thinking about how their past lives as shirts, bedsheets, or curtains could add layers of meaning to the final garment.
Overall, I believe the project was a success. My initial designs clearly conveyed the concept, and the final piece brought my ideas to life, despite some technical challenges such as learning to shrink patterns and working within tight time constraints. If I had more time, I would refine the construction further, but I am proud of how much I achieved. This project deepened my understanding of sustainable design, allowed me to grow technically and creatively, and affirmed my commitment to designing with purpose and responsibility in performance contexts.
