Oran O Reilly
My chosen text is John Webster’s “The Tragedy of the Duchess of Malfi” which was first performed in 1613 and was based loosely on the life of Catherine d’Aragona. In its ethos, this Elizabethan tragedy is essentially a love story, but follows the nightmarish repercussions that jealousy, lust and revenge can bring. My intention for this proposed production was to combine the operatic theatricality of show business and fashion in the 1950s and 60s, with the simplicity of the late medieval period, and in ethos it is inspired by Italian surrealist texts. To convey this I wanted to play on the distinct contemporaneous aesthetics that are inescapable in western cinema in the 50s and 60s, through the silhouettes of historical fashion.
My ideal outcome for this project was to create a costume that encapsulated the aesthetic and ethos that aligned with my vision for the proposed production of “The Duchess of Malfi.” I aimed to develop a fully realized representation. To achieve this, I selected Act 3, Scene 5 of the play, which unfolds during a religious pilgrimage. I intended to explore themes and concepts associated with religious imagery while upholding a secular costume. The choice of Virgin Mary blue symbolizes the character's imposed innocence and ‘untouched’ purity, this was made from a crépe fabric. The chiffon overcoat adds a layer of sfumato, creating the impression that the costume has been abandoned in a church for many years, accumulating dirt and smoke. The veil draws inspiration from my Italian heritage, reflecting the mantillas worn by Tuscan women in mourning. I also crafted handmade jewelry inspired by the structure of the Rosary. Additionally, to fully realise not only the outfit but the overall concept of my proposed production, I envisioned and executed an on-location editorial photoshoot shot on 35mm film. The concept aimed to convey the image of a glamorous yet fragile actress confined backstage in a theatre in ruins during the rehearsals of the “Duchess of Malfi”. To further bring this character to life, I created a fragrance inspired by her, featuring base notes of civet and amber, middle notes of hyacinth, iris, and lily of the valley, and top notes of citrus and
violet.
My Thesis examines the tropes and stereotypes associated with the costuming of sex workers in film by analysing the costuming of a film that contradicts these archetypes. This is Chantal Akerman 1975 Belgian film, Jeanne Dielman 23 Quai du Commerce, 1080 Bruxelles.
This analysis involved examining the costuming in Jeanne Dielman… (1975) as it was
presented to the audience, comparing the film with two counterparts in the sex work canon, and contrasting the film’s initial promotional materials in juxtaposition with sexual advertisements of the time. It also covers the influence the research had on me as I costumed a film that revolved around sex work.
Oran O’Reilly is a costume and fashion designer with a strong focus on women’s wear that combines traditional silhouettes and couture techniques with pop culture references. While attaining his BA Hons degree in Costume Design, he developed and launched his eponymous independent design label “Oran Aurelio”. His brand has had success in various mini ready-to-wear collections and custom work for various clients. His designs have been seen on the likes of Chappell Roan, CMAT and The Last Dinner Party. His work has been featured in numerous publications such as British Vogue, Interview Magazine and Harper’s Bazaar. He hopes to continue and evolve his craft and brand in the intersection of costume and fashion.
