Sophie Hoper
I chose Kristin Cashore’s award winning fantasy novel “Fire” as text for my Major Project. It tells the captivating story of Lady Fire, the last human monster in the fictitious kingdom “The Dells”. Fire’s vivid red hair, her exceptional beauty and her mind manipulating powers make her a desired ally as well as a target. When the Dells find themselves on the brink of war, Fire is summoned to King City to put her powers into service of the young King Nash. Leaving her modest life in the countryside behind, Fire begins a journey where she needs to fight her enemies as well as her own fears.
The crafted garment is Lady Fire’s ball gown for the Winter Gala at the palace, a crucial turning point in the story and the first time Fire uses her supernatural beauty to her advantage, enhancing it with a red tailored gown. I wanted the dress to be inspired by Fire’s flaming red hair, so I used a layer of shimmering silk organza on top of a deep orange taffeta to create depth and different hues of orange. Gold work embroidery in shades of red, orange and copper mirroring Fire’s luscious plaits as well as the roots and branches of her favourite tree with autumn leaves cover the bodice of the dress and the detachable collar piece. Fire is a passionate musician and the violin is her favourite instrument. In her challenging daily life, music offers her comfort and tranquility.
Underpinnings include a bright orange tailored corset and a petticoat made from 50 meters of fine tulle. I chose a soft tulle skirt as it creates volume, while still allows for smooth and flowing movement.
For my thesis I’m exploring the role of movement in costume design and its impact on the audience’s perception in film, as well as the actor in relation to the moving costume. Costumes are not static elements, they exist in direct correlation with the moving body. This study examines how costume movement enhances the narrative and emotional depth of a film while considering construction techniques and fabric choices as well as the actor’s influence on costume movement.
By analysing key moments in film, where costume movement plays a fundamental role, this thesis investigates how the costume designer intentionally craft garments to interact with motion. Case studies include Cinderella (2015), Crimson Peak (2015), The Cell (2000) and Snow White and The Huntsman (2012). These films illustrate how costume movement can define a character’s identity, evoke supernatural effects, and ease a character’s on-screen transformation.
Through this research, I highlight movement as a crucial component of costume design as movement functions as both a visual and narrative tool within the craft of costume design.
Born in 1995 in Prien, Germany, Sophie Hoper’s passion for costume sparked when helping out backstage at her ballet school. To gain a fundamental understanding of costume construction, she completed a three-year apprenticeship in bespoke men’s tailoring at a theatre in Austria.
As a costume assistant at Theater Freiburg, the Stuttgart Ballet, and the Salzburg Festival, Sophie gained hands-on experience in costuming across various performing arts, working with renowned costume designers such as Jürgen Rose, Victoria Behr, and Salvador M. Andujar. During her studies at IADT, she designed costumes for several student short films produced by the National Film School (NFS) and the University of Television and Film Munich (HFF Munich).
