Mary Rose

Mary Rose has a supernatural connection to a small island in the Outer Hebrides. At age 10, she disappears for 20 days and returns with no memory of her absence. Years later, now married and a mother, she revisits the island and vanishes again—this time for 13 years. As time passes everyone has mourned the loss of Mary Rose; until she unexpectedly reappears on the island’s shores, unaware that she even left at all.
Written after WWI, the play is seen as Barrie’s reflection on loss and grief. Though relatively unknown it captured Alfred Hitchcock's attention who wanted to adapt it into a film. Hollywood executives explicitly forbade him. However, a screenplay was written. Elements of both the script and play inspired this major.

Mary Rose standing on her island looking towards the sea
Costume for Mary Rose's trip to the island. Consisting of: a blouse, bolero, and skirt, paired with a matching hat. Photo: Kassandre Lojek-Garcia; Model: Sophie Hoper.
Mary Rose 3/4 looking towards camera holding parasol
Photo: Kassandre Lojek-Garcia; Model: Sophie Hoper.
Mary Rose seen from back looking towards sea
The godet adds in extra volume and length to the train. The crinkled embroidered cotton adds texture and interest to the design. Photo: Kassandre Lojek-Garcia; Model: Sophie Hoper.
detail of navy button brooch
Brooch made of antique naval uniform button and decorative glass flower. Mary Rose's husband, Simon, is a Lieutenant in the Royal Navy and often away at sea. She wears this brooch to keep him close to her heart. Photo: Kassandre Lojek-Garcia.
detail of pleats on skirt hem
Knife pleats made of crêpe georgette edged with satin ribbon decorate the skirt hem. Photo: Kassandre Lojek-Garcia; Model: Sophie Hoper.
Detail shot of hat
Large early 1900s hat decorated with silk flowers, feathers, lace and ribbons. Photo: Kassandre Lojek-Garcia; Model: Sophie Hoper.
detail of bodice and sleeves
Bodice made of silk with pouched front and soft billowed sleeves, a popular silhouette during the 1900s. The bolero is edged with knife pleats. Photo: Sarah Lordan; Costume Assistant: Kinga Wojtas; Model: Sophie Hoper.

"She is just as we saw her last except that we cannot see her quite so clearly."

J.M. Barrie
Mary Rose in her ghostly apparition
The organza blouse and skirt over the costume represent Mary Rose's ghostly presence upon her return to our world, inspired by Barrie's stage directions in the original play. Photo: Sarah Lordan; HMUA: Carrie Walsh; Costume Assistant: Kinga Wojtas.
Ghostly Mary Rose on the island
Mary Rose waiting on the island's shores, 13 years later. Photo: Kassandre Lojek-Garcia; Model: Sophie Hoper.
ghost over layer
The organza being see-through requires every seam on both skirt and bodice to be finished with a French seam, raw edges are hand stitched in order to create a neat finish. Photo: Sarah Lordan; Costume Assistant: Kinga Wojtas; Model: Sophie Hoper.
Design line up
Designs for all characters and scenes from the play
moment drawing of Mary rose, Simon and harry at the base of the apple tree
Moment drawing: Mary Rose and Simon celebrating Harry's first Birthday at the foot of the apple tree in 1899.
Symbolism

Barrie’s story offers ample opportunities for symbolic interpretation. Two different trees are mentioned in the text: the apple and the rowan tree. Each representing a key setting, our world and the other.
The apple tree is found in the garden of Mary Rose's childhood home. Apple blossom symbolises the transitory nature of time, a painful reminder of Mary Rose's frozen state. Barrie alludes to the fact that the tree is linked to Mary Rose as it serves as one of the final reminders of her to her family before it is cut down during the 3rd act. Hitchcock's screenplay takes a more literal approach, using snapshot scenes to show the passing of time such as the birthdays of Mary Rose's son, Harry, all at the base of the tree. Mary Rose's designs echo the apple blossom in both colour scheme and fabric choice.

The Rowan tree can be found on Mary Rose's island. Barrie writes how a young Mary Rose used to wear the blossom in her hair when visiting the island. In Celtic mythology the Rowan tree symbolises protection, especially against enchantments. Wearing sprigs of rowan was thought to protect against evil spirits. Barrie's stage directions for the moment Mary Rose gets pulled into the other world describe an "unholy organ that rushes upon the island" he describes a second sound: "music of an unearthly sweetness". Perhaps the protection of the rowan tree saved Mary Rose from a worse fate, and the sprig of rowan she wore was what allowed her to return twice.

Thesis: A Woman’s Past Time: An Exploration of Fancy Dress as a Social Practice in the Late 19th Century Through Technologies of Modernity

This video thesis explores the social practice of fancy dress, situating within the broader context of emerging modern technologies; while examining its role as both a form of escapism and a marker of social standing. Beginning with a brief historical overview, the research delves deeper into popular fancy dress manuals such as Ardern Holt’s Fancy Dresses Described. An exploration of the Folly and its visual DNA as a costume concept traces from the 18th century to the early 1900s, where a gradual shift away from fancy dress balls can be attributed to the dawn of the silver screen. While initially perceived as a frivolous pastime, fancy dress reveals itself as a complex social practice, particularly for women, offering an escape from societal constraints during a time of limited rights and growing societal pressures. The invention of photography also played a pivotal role in transforming fancy dress into a social currency, with guidebooks providing insights into how these costumes reflected one’s societal standing and cultural knowledge. The decline of prudishness in a more liberal society, coupled with the rise of cinema, contributed to the eventual disappearance of fancy dress as a form of unspoken self-expression.

https://youtu.be/4-WXWkmegvQ

headshot India de Wit
India de Wit
BA (Hons) Design for Film

India de Wit is a dedicated costume designer with a keen interest in historical costume. She brings a thoughtful and research-driven approach to visual storytelling. Her work reflects a deep understanding of character, narrative, and period accuracy, developed through both academic study and costume construction.
On set work as a breakdown artist helped her gain hands-on experience in the ageing and distressing processes that bring authenticity to costume design. India is passionate about using costume to support storytelling, deepen character development, and bring each script to life through thoughtful, purposeful design.

BA (Hons) Design for Film