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I'm at Notting Hill Carnival and I've had the challenge | 0:00:34 | 0:00:38 | |
of designing my own carnival costume. | 0:00:38 | 0:00:40 | |
But the story doesn't start here, | 0:00:40 | 0:00:42 | |
It starts two weeks ago when I visited Mahogany. | 0:00:42 | 0:00:46 | |
Hello, I'm Kirsten. | 0:00:48 | 0:00:49 | |
-Hello, Kirsten. -Nice to meet you. | 0:00:49 | 0:00:51 | |
Clary is head costume designer here. | 0:00:51 | 0:00:53 | |
I need to get... Well, not quite that, but I need a carnival costume. | 0:00:53 | 0:00:56 | |
You've come to the right place. Let me show you... | 0:00:56 | 0:00:59 | |
Look at all the colours, ooh, I like these. | 0:00:59 | 0:01:01 | |
You can see the movement actually in the photographs that you've taken - | 0:01:01 | 0:01:05 | |
-All these swirls. People can really dance with them on. -Absolutely! | 0:01:05 | 0:01:09 | |
There's no point if you can't move it in. | 0:01:09 | 0:01:11 | |
So can I get a costume like that? | 0:01:11 | 0:01:13 | |
Right, I'm looking forward to this bit. | 0:01:13 | 0:01:15 | |
Let's get some ideas down. | 0:01:15 | 0:01:17 | |
So, think about someone dancing - their legs open... | 0:01:17 | 0:01:21 | |
-OK. -..Their shoulders... | 0:01:21 | 0:01:22 | |
-Baggy trousers? -Definitely. | 0:01:22 | 0:01:24 | |
I think this design should be inspirational, | 0:01:24 | 0:01:27 | |
so let's use some good words like, | 0:01:27 | 0:01:28 | |
-inspire, achieve... -I've got an idea for a word actually. | 0:01:28 | 0:01:33 | |
-Have a go. -See if it fits. | 0:01:33 | 0:01:34 | |
Is this going to take ages to do letters? | 0:01:34 | 0:01:36 | |
No, it won't take ages. We've got lots of help. | 0:01:36 | 0:01:39 | |
A whole crew! | 0:01:39 | 0:01:40 | |
It's going to be my big bling ring! | 0:01:40 | 0:01:42 | |
Should it be like a diamond? | 0:01:43 | 0:01:45 | |
Like with prisms, triangles... Would that work? | 0:01:45 | 0:01:47 | |
I am happy with that! | 0:01:52 | 0:01:55 | |
Now we've got to go and draw it up real size. | 0:01:55 | 0:01:58 | |
Is that my hair? | 0:02:02 | 0:02:04 | |
This bit's now finished | 0:02:08 | 0:02:09 | |
and as you can see, I've chosen the word creativity. | 0:02:09 | 0:02:12 | |
-Here you go, Kirsten. -Thank you. | 0:02:18 | 0:02:20 | |
This is great, everyone is helping out so we're really cracking on. | 0:02:20 | 0:02:24 | |
Keep going, girls. Nearly there. | 0:02:24 | 0:02:25 | |
Ladies, you are going so fast here. | 0:02:25 | 0:02:29 | |
-Do you think I've got rhythm? -Yeah. -Want me to dance next year? | 0:02:31 | 0:02:34 | |
No! | 0:02:34 | 0:02:35 | |
I want to be really blinging, | 0:02:39 | 0:02:40 | |
so these guys are busy cutting out sparkly bits, | 0:02:40 | 0:02:43 | |
Selena, how are we going to put it together? | 0:02:43 | 0:02:45 | |
Well, basically we're going to transfer all this bling | 0:02:45 | 0:02:48 | |
-onto this diamond here. -The bling onto the ring! | 0:02:48 | 0:02:52 | |
Just as important as the design | 0:02:54 | 0:02:56 | |
is making sure your costume fits, which is where Daniel comes in, | 0:02:56 | 0:02:59 | |
welding the frame. Hi, there. | 0:02:59 | 0:03:01 | |
-Hi, how you doing? -I've been sent for a fitting. | 0:03:01 | 0:03:04 | |
That's the piece of steel we'll work with, | 0:03:04 | 0:03:06 | |
I'll just check it to see how it fits onto your body. | 0:03:06 | 0:03:09 | |
That's quite a snug fit. | 0:03:09 | 0:03:10 | |
That's the one. Brilliant. | 0:03:12 | 0:03:14 | |
-Ooft! -Ooh, that's all your gym for the week, I think. | 0:03:14 | 0:03:16 | |
So does my costume fit onto that? | 0:03:16 | 0:03:18 | |
Yes, we try to make it so it breaks down smaller | 0:03:18 | 0:03:21 | |
-so you can get through the doorway, otherwise it'll be too big. -Ah-ha! | 0:03:21 | 0:03:24 | |
There you go. | 0:03:28 | 0:03:30 | |
-Careful, it's quite hot. -Cheers. | 0:03:30 | 0:03:32 | |
Yee-ha! | 0:03:32 | 0:03:33 | |
Nicola, that looks fantastic! I like the glittery bits and everything. | 0:03:39 | 0:03:42 | |
Thank you, Kirsten. | 0:03:42 | 0:03:44 | |
Right, do I shimmy in? | 0:03:44 | 0:03:45 | |
Shimmy in! | 0:03:45 | 0:03:46 | |
I can't believe it! | 0:03:46 | 0:03:47 | |
-Oh, it's really light. -It is. | 0:03:49 | 0:03:51 | |
It's lovely, let's get the hat back on. | 0:03:51 | 0:03:53 | |
-Just tie a loop at the front. -Yeah. | 0:03:53 | 0:03:56 | |
-And you're ready. -I'm ready to carnival! | 0:03:56 | 0:03:58 | |
-You're ready! -I'm ready! | 0:03:58 | 0:04:00 | |
# Are you ready to rumble? | 0:04:01 | 0:04:03 | |
# Get ready to rumble | 0:04:03 | 0:04:04 | |
# Get ready to rumble | 0:04:06 | 0:04:08 | |
# Get ready to rumble... # | 0:04:09 | 0:04:11 | |
Wow! | 0:04:11 | 0:04:13 | |
# Get ready to rumble... # | 0:04:15 | 0:04:17 | |
This is unbelievable! I can't believe I'm in this. | 0:04:24 | 0:04:27 | |
I've found my rhythm, it's all right! | 0:04:27 | 0:04:29 | |
What an amazing experience - | 0:04:33 | 0:04:36 | |
taking my costume from design through to carnival. | 0:04:36 | 0:04:39 | |
We made it! Phew! | 0:04:39 | 0:04:41 | |
Ha! You got me! I'm not really a puppet, | 0:04:56 | 0:04:59 | |
it's me, Mike. | 0:04:59 | 0:05:00 | |
I'm not a puppet, but I've come to the little angels theatre | 0:05:00 | 0:05:03 | |
to meet puppeteer, Roger. | 0:05:03 | 0:05:05 | |
Roger, you've made some of these puppets, | 0:05:05 | 0:05:07 | |
-will you introduce me? -Yes, | 0:05:07 | 0:05:09 | |
this is a traditional style marionette, um, | 0:05:09 | 0:05:12 | |
from the story of the Snow Queen. I think his name is Kai. | 0:05:12 | 0:05:16 | |
And he's jointed in a way that will allow him to move | 0:05:16 | 0:05:19 | |
just like a human being. So his arms can go up and down, | 0:05:19 | 0:05:25 | |
His legs... There's a special leg bar that comes out | 0:05:25 | 0:05:28 | |
so he can do a nice walking movement. | 0:05:28 | 0:05:31 | |
And any time you tilt the control, | 0:05:31 | 0:05:34 | |
-the head will move. -Wow! | 0:05:34 | 0:05:36 | |
So, that's a traditional style marionette, | 0:05:36 | 0:05:39 | |
-Would you like to hold that while I get another one? -Yeah. | 0:05:39 | 0:05:42 | |
Lets see... He had his fingers in here like that... | 0:05:42 | 0:05:45 | |
hold that one out for the legs,. Twisting at the same time, | 0:05:46 | 0:05:49 | |
It's complicated. | 0:05:49 | 0:05:50 | |
Roger, this is a lot harder, you made it look so easy. | 0:05:50 | 0:05:53 | |
This one... These are much simpler puppets. | 0:05:53 | 0:05:56 | |
It's still a marionette because it's operated from above with strings. | 0:05:56 | 0:05:59 | |
It's the ghost and he has very simple movements, he just whooshes around. | 0:05:59 | 0:06:03 | |
He's great. | 0:06:03 | 0:06:05 | |
-Woooo! -Argh! | 0:06:05 | 0:06:07 | |
He is certainly spooky. | 0:06:07 | 0:06:09 | |
If you hang on to that one as well, Mike, | 0:06:09 | 0:06:11 | |
I can show you a completely different type of puppet. | 0:06:11 | 0:06:14 | |
Not a marionette, this is a rod puppet. | 0:06:14 | 0:06:17 | |
-She's Cinderella. -She's beautiful, look at the detail on her face. | 0:06:17 | 0:06:21 | |
The thing with a rod puppet, as opposed to a marionette, | 0:06:21 | 0:06:23 | |
you can get graceful movements, | 0:06:23 | 0:06:25 | |
and these are a lot simpler to operate. | 0:06:25 | 0:06:28 | |
-Better for beginners? -Much better. | 0:06:28 | 0:06:30 | |
They're amazing, do you think I can actually make one? | 0:06:30 | 0:06:33 | |
Yes, actually we do need another puppet made for the show tonight. | 0:06:33 | 0:06:36 | |
-Really? -Shall I show you how to do that? -Oh, that'd be great. | 0:06:36 | 0:06:39 | |
All right, Roger. What are we doing? | 0:06:41 | 0:06:43 | |
Well, it would be good to make maybe a puppet like this. | 0:06:43 | 0:06:46 | |
-That looks like you! -He does, he does look like me. | 0:06:46 | 0:06:49 | |
What we want to really think about is the sort of character | 0:06:49 | 0:06:52 | |
that we're going to make. | 0:06:52 | 0:06:54 | |
The character we really need for this evening's show, | 0:06:54 | 0:06:57 | |
-is a damsel in distress. -OK. | 0:06:57 | 0:06:58 | |
So we need to think about what sort of movements that puppet would have. | 0:06:58 | 0:07:02 | |
So it's got to be able to go, ahhhh! And, oooooh! And, help! | 0:07:02 | 0:07:06 | |
-That's exactly it, all those sorts of things. -OK. | 0:07:06 | 0:07:09 | |
With the evening's performance only a few hours away, | 0:07:09 | 0:07:12 | |
there was no time to waste. | 0:07:12 | 0:07:14 | |
Roger's main material is corrugated cardboard | 0:07:14 | 0:07:16 | |
and the place to start is with the head. | 0:07:16 | 0:07:18 | |
-Slide those together. -OK. | 0:07:18 | 0:07:20 | |
So you're sort of doing, like, a real face. | 0:07:20 | 0:07:22 | |
What's next after this? | 0:07:22 | 0:07:24 | |
Tape it down to the head. | 0:07:24 | 0:07:26 | |
-Can you use newspaper for this? -Newspaper is good. | 0:07:28 | 0:07:31 | |
One last little piece? | 0:07:35 | 0:07:37 | |
-Yeah, I think so. -Just leave it to dry now. | 0:07:37 | 0:07:39 | |
Yeah, we'll leave it to dry. | 0:07:39 | 0:07:40 | |
Now it was time to make the body which meant more cardboard, | 0:07:40 | 0:07:44 | |
more cutting and more taping. | 0:07:44 | 0:07:45 | |
So from here we can work out what sized limbs we want. | 0:07:45 | 0:07:49 | |
So just roll it up... | 0:07:49 | 0:07:52 | |
Yup. | 0:07:53 | 0:07:54 | |
Next it was time to tape the limbs together so they would work | 0:07:54 | 0:07:58 | |
just like elbows and knees. | 0:07:58 | 0:07:59 | |
..Bend, but won't go further over. | 0:07:59 | 0:08:01 | |
That's great! | 0:08:01 | 0:08:02 | |
Then it was time for the mechanics which involved lots of holes | 0:08:02 | 0:08:05 | |
and tying lots of string. | 0:08:05 | 0:08:07 | |
Obviously these are really sharp, so get a grown up to help you. | 0:08:07 | 0:08:11 | |
We need quite a long piece of string for this. | 0:08:11 | 0:08:14 | |
And it was not just about the mechanics. | 0:08:14 | 0:08:16 | |
We needed to remember what type of character we were making | 0:08:16 | 0:08:19 | |
and how that character would need to move. | 0:08:19 | 0:08:22 | |
So the figure's complete and she's all jointed. | 0:08:22 | 0:08:24 | |
Now, I've got to sort out rehearsals, see how that's getting on, | 0:08:24 | 0:08:28 | |
-But, it needs painting and hair. -OK. | 0:08:28 | 0:08:31 | |
-And some sort of costume. -All right. | 0:08:31 | 0:08:34 | |
Hah! | 0:08:42 | 0:08:44 | |
Hey! Hey, Roger, what do you think? Am I ready to perform tonight? | 0:08:45 | 0:08:49 | |
She's really good but I don't think you're quite ready to perform. | 0:08:49 | 0:08:53 | |
First you've got to go out on to the street and discover how she moves. | 0:08:53 | 0:08:56 | |
-OK. Find out her true character. -Yes. | 0:08:56 | 0:08:59 | |
Well, I guess I'd better get to know you better. 'I guess so' | 0:09:01 | 0:09:04 | |
I think I'll call you Betty. Let's go hang out, Betty. | 0:09:04 | 0:09:07 | |
Cheers! 'Cheers. Hmm, tasty.' | 0:09:08 | 0:09:11 | |
Then it was curtains up for Betty's big performance. | 0:09:13 | 0:09:16 | |
'Well, I guess I better get home before it gets too dark. | 0:09:16 | 0:09:18 | |
'La-da-da-da... Ahhhhhhhh! | 0:09:18 | 0:09:22 | |
'Get away, you evil thing! | 0:09:22 | 0:09:23 | |
'Ahhhhhh! | 0:09:23 | 0:09:25 | |
'Oh, oh, what's that?' | 0:09:26 | 0:09:27 | |
'Keep out of my forest.' | 0:09:27 | 0:09:30 | |
'Oooh, you're so scary with your big long legs! | 0:09:30 | 0:09:33 | |
'Ahhh, someone help me!' | 0:09:33 | 0:09:35 | |
I think Betty was the perfect damsel in distress. | 0:09:35 | 0:09:38 | |
And the crowd loved her too! | 0:09:38 | 0:09:40 | |
I'm on a quest to find a partner for my posterior. | 0:09:49 | 0:09:53 | |
My first date is with a loud Brazilian called Banquet. | 0:09:53 | 0:09:56 | |
She was created by famous designers and brothers, | 0:09:58 | 0:10:01 | |
Humberto and Fernando Campana. | 0:10:01 | 0:10:03 | |
Whenever it provokes a reaction, | 0:10:03 | 0:10:06 | |
good or bad, this is good because you are doing something. | 0:10:06 | 0:10:09 | |
The most sad thing is whenever nobody pays attention. | 0:10:09 | 0:10:15 | |
The world's become so sad, so boring. | 0:10:15 | 0:10:18 | |
It's important to bring this kind of beauty inside your house. | 0:10:18 | 0:10:23 | |
Next up, the Well Tempered chair - | 0:10:27 | 0:10:29 | |
An '80s icon designed by Ron Arad. | 0:10:29 | 0:10:32 | |
I wanted to do a piece | 0:10:34 | 0:10:37 | |
with sort of, minimal effort. | 0:10:37 | 0:10:39 | |
and with nothing hidden. | 0:10:39 | 0:10:40 | |
What you see is what there is, there's no hidden part. | 0:10:40 | 0:10:44 | |
There was a uniform response to it. | 0:10:44 | 0:10:46 | |
The people that sat on the chair had a sentence: | 0:10:48 | 0:10:53 | |
"Actually, it's very comfortable." | 0:10:53 | 0:10:56 | |
She's definitely one of a kind! | 0:11:02 | 0:11:05 | |
Part chair, part three-legged table. | 0:11:05 | 0:11:08 | |
I found the two bits very close to each other - | 0:11:08 | 0:11:11 | |
one in Hackney and one in Victoria Park, | 0:11:11 | 0:11:14 | |
Um, I therefore call it Vicky. | 0:11:14 | 0:11:17 | |
The bottom piece is actually a table, | 0:11:17 | 0:11:18 | |
a little coffee table, | 0:11:18 | 0:11:20 | |
um, with one leg missing, | 0:11:20 | 0:11:23 | |
but what interested me was this idea that, um, | 0:11:23 | 0:11:26 | |
without a table, you don't need chairs, somehow. | 0:11:26 | 0:11:28 | |
In our culture we use chairs because we invented a table, or vice versa. | 0:11:28 | 0:11:33 | |
So it's the question, was the table there before, or the chair? | 0:11:33 | 0:11:36 | |
Yeah, it's schizophrenic, maybe a split personality. | 0:11:36 | 0:11:39 | |
Um, but at the same time, | 0:11:40 | 0:11:42 | |
it's quite a comfortable chair | 0:11:42 | 0:11:44 | |
even though it doesn't look particularly stable. | 0:11:44 | 0:11:47 | |
MUSIC: "Laura" by Scissor Sisters | 0:11:54 | 0:11:56 | |
Definitely not your average chair, Laura is a bench - | 0:11:58 | 0:12:02 | |
and a reincarnated cow. | 0:12:02 | 0:12:03 | |
Made out of foam and a real cowhide, | 0:12:03 | 0:12:06 | |
she certainly makes a statement. She was designed by Julia Lohmann. | 0:12:06 | 0:12:10 | |
I think Laura is quite beautiful. | 0:12:11 | 0:12:13 | |
She's a dark brown, chocolate brown cow bench. | 0:12:13 | 0:12:16 | |
And she's quite slender. | 0:12:16 | 0:12:19 | |
She doesn't have any visible scars. | 0:12:19 | 0:12:22 | |
When an animal gets killed, | 0:12:22 | 0:12:23 | |
What they do is they chop off the head and the feet first, | 0:12:23 | 0:12:27 | |
that's why the cow benches don't have any head or any feet. | 0:12:27 | 0:12:31 | |
I get the foam, I basically carve it, | 0:12:31 | 0:12:33 | |
and then I always step back, I try to make it really cow-like. | 0:12:33 | 0:12:37 | |
When it's carved I upholster her with one cowhide. | 0:12:37 | 0:12:41 | |
I, um, | 0:12:50 | 0:12:51 | |
took some bandages | 0:12:51 | 0:12:52 | |
and put foam on the chair wherever I thought it was nice and comfortable, | 0:12:52 | 0:12:57 | |
and I wrapped it up into bandages so it was covered. | 0:12:57 | 0:13:01 | |
You know, this is the kind of chair I could get quite attached to. | 0:13:01 | 0:13:05 | |
It's comfortable, practical, and just quirky enough. | 0:13:05 | 0:13:08 | |
It's quite easy to produce, especially for an upholstered chair, | 0:13:08 | 0:13:12 | |
um, but as well, just the way it looks. It's a bit street, maybe, | 0:13:12 | 0:13:16 | |
but it's also very accessible for most people. | 0:13:16 | 0:13:19 | |
It's different but not to strange and too... | 0:13:19 | 0:13:25 | |
Dangerous or too scary! | 0:13:25 | 0:13:28 | |
So which will I choose to take home? | 0:13:30 | 0:13:33 | |
The brash Brazilian? | 0:13:33 | 0:13:34 | |
The '80s power dresser? | 0:13:34 | 0:13:36 | |
The split personality from Hackney? | 0:13:36 | 0:13:38 | |
The morbid cow? | 0:13:38 | 0:13:40 | |
Or The Mummy? | 0:13:40 | 0:13:41 | |
Subtitles by Red Bee Media Ltd | 0:13:47 | 0:13:50 | |
E-mail [email protected] | 0:13:50 | 0:13:53 |