Hazel Ryan 

BA [Hons] Design for Stage + Screen Costume Design

Hazel Ryan is a costume design graduate of IADT, Design for stage and screen. She comes from a family professionally based in the main disciplines of film, and began work shadowing on productions at a young age. Hazel creates visual art through digital drawing and 2D digital fabric collage. Her work includes exploring concept and set design in order to create a well rounded universe to fully explore the dimensions of each characters profile and their relationship with their surroundings and cohabitants - all portrayed through costume design, textile and colours. She also enjoys studying historical dress.

CORALINE - live action design

My major graduate project is a design for a life action screen adaption of the stop-motion animated dark fantasy film 'Coraline'. My design concept re roots the tale of Coraline from the contemporary into 1880’s,a related timeframe. The design features a contrast between two realms and societal classes. There is a divide in classes and colours and a collection of replica neighbours who's costume bare oversize buttons and ragdoll stitches obviously made and manipulated by the other mother. The buttons eyes of the ‘other world characters’ suggest creatures with no souls, however as these characters are all golem like manipulations by the other mother in an attempt to lure in and keep Coraline ,buttons on their clothing bare very soulful realistic looking spiderlike/ blinking eyes, a big brother like feel which suggests that all these ‘other world character’ are nothing more than soulless bait.

For my chosen technical make I have concentrated on the story's protagonist. The technical design aims embody the peculiar, tomboyish, outdoorsy aura of 1880's reimagined, Coraline Jones.


The evolution of the ruff under religious reform.

This dissertation concerns itself with the ruff and examines the undergone political and religious reform. This body of work argues that the Elizabethan ‘Ruff’ and ‘Puritan collar’ are in fact the same collar, and not separate, co-existing fashion accessories of the same era. Noting key changes between the collar in question, in functionality , symbolism and visual likeness. This thesis also briefly draws linkage to the on screen portrayal of the ‘witch persona’, (the original thesis of this work) characterised by costume and draws linkage to the obvious influences of the puritan archetype/fashion aesthetic- linking the (puritan) collar in question to not only religious freedom but ideas of anti-establishment and Catholicism, political freedom in trades, and the idea of a collar inspired by an entire community of people who opposed the catholic empire, association and portrayal as symbol of dark religious dress.