Fynn// This body of work is for a theoretical feature film funded by Netflix to produce a feature that allows Shakespeare to become more accessible to younger audiences through a platform that they are most likely to use.

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This project required 8 final designs of the different Shakespearian characters along with fabric samples, justified by relatable research with the designs showing the character of the person that they relate too. The designs that I created pull different aspects of fashion from 1860 to Present day as this is when the London Underground was first started. Theses costumes along with the set design produce a feeling of heightened reality where everything is relatable and can easily be recognised but due to the vibrant colours and way that in one design can incorporate several different periods. This means that characters dressed in Victorian, 20’s, 50’s as well as 70’s, 80’s and contemporary clothing can stand side by side without it looking out of place. As a backdrop to these characters extras dressed in ordinary contemporary clothes will be sitting on the train and passing through but not lingering very long on the platform giving it a superstitious and mythical aura which the original city of Ephesus had being a city of paganism and witchcraft.


Also required was a scale model box, due too me designing for a film I made a 1:100 scale white card model box of the main platform where most of the action will take place because of this film genre it needs an increased complexity compared to a theatre set and thus high attention to detail. Trains will be running through the station of Ephesus on their way to Syracuse, they are 1996 deep tube rolling stock that is easily recognisable due to them still being used on the Jubilee Line, i have however altered the colouration so that they fit in with the platform I have designed. The platform is shorter than modern platforms only being able to hold three cars rather than the modern severn but this allows easy movement of the characters around the space. To add to the platforms air of mystery i have inlayed the Nazca lines of Peru into the floor as well as constellations of stars into the ceiling in gold, with these as well as the materials that i have chosen to use for the platform produce a well thought out and complete world for the play too take place.


Final in the set box i have added the different shops and building from the play to the station itself so that it still has the feel of a traditional play but as a film interpretation. Therefore I have included Angelo’s Goldsmiths shop, the Priory, the Courtesan’s Boudoir and the Phoenix into the stations architecture, all made in high detail pushing the abilities of laser cutter as far as I could to produce stunning and complex designs made from paper layered together one on top of the other creating the depth and complexity that I initially drew.


Throughout this project I have pushed what has been possible in the time, from the designs to the set and have been able to deliver on time producing effective and powerful work.

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