Sydney-based demi-couture label Nicol & Ford was headhunted as the costumier for the Darlinghurst Theatre Company’s production of Natasha, Pierre and the Great Comet of 1812. The label operates an atelier by appointment and an online store.
In an interview with Ragtrader, founders and designers Katie-Louise and Lilian Nicol-Ford reveal the differences in designing for the stage compared to general couture.
How did the collaboration between Darlinghurst Theatre Company and Nicol & Ford come about?
We were absolutely thrilled to be contacted late last year by Darlinghurst Theatre Company's creative director Amylia Harris. While we both love a bit of musical theatre, we were not familiar with this new and exciting work, so immediately began researching to discover more. The Darlinghurst Theatre Company has a reputation for expanding the boundaries of its productions, seeking new and diverse artists outside of the usuals of the industry expanding what might be possible.
In order to commit to taking on the challenge of designing the costumes, we had a number of meetings with the production's creative leads - director Dean Drieberg and choreographer Brendan Yeates. As we came to understand their unique vision for the show, we were very excited to become involved.
How many designs did you make for the production? What were the key designs?
In total, we created costumes for eighteen characters played by twelve incredibly talented performers. As the production is based on one chapter of Tolstoy's War and Peace (1867), we loved the challenge of striving to give much broader narrative arcs to each character by really thinking through what they each represented.
The lead Natasha, played by Grace Driscoll, arrives from the country as an innocent and naive young woman and becomes the plaything of metropolitan Moscow. We decided to tell this story through taking inspiration from children's dolls from the early 19th century, creating an enormous cupcake-style costume that accentuated her child-like innocence.
Conversely, the protective matriarch Marya's costume was informed by traditional Russian textiles and late-18th-century silhouettes, a nod to her character's representation of conservative values.
One of the most fun costumes came to fruition via collaboration with choreographer Brendan Yeates, who animated the eccentric and abusive Prince Bolkonsky through a complicated puppeteering sequence performed by Tucker Worley with support by his cast mates.
What are the differences in designing for the stage compared to general couture?
The main considerations in making for the stage are the comfort of the performers and the durability of the garments. Unlike a fashion runway, where models have unique postures and movements for a brief curated moment, stage costumes for this production have required the consideration of the performer's ability to sing, dance, play instruments and work their way around the set designed by Tyler Hawkins.
Instruments, at times strapped to bodies and often taken on and off, brought new considerations to the design and construction of our garments to allow a full range of movement.
On top of the above, each costume needs to withstand the demands of a two-hour show, eight times a week.
Were there any elements that were especially tricky?
We had initially conceived of lots of metal and lace detailing on the bodices of garments throughout the suite of designs. Upon attending the first musical rehearsal, we realised that the piano accordions, cellos and guitars needed to be able to move freely without any costuming obstructing, scratching or altering the sounds of these instruments.
Similarly, when we got into the Eternity Playhouse Theatre, where the creative team were for the first time using balconies to each side of the stage, we realised that the cast had to climb up four-metre ladders to access these parts of the stage - hemlines changed rather quickly.
How long did the design process take? Were there any highlights?
We began our design work for the production almost immediately after our Afterpay Australian Fashion Week (AAFW) runway in May, allowing six weeks to work collaboratively with the creative team and cast to lock down and create the costumes.
We were able to use a number of silhouettes from previous runway work which we felt spoke to elements of each character. This decision enabled us to move quickly within the tight time frame but also assisted in infusing our brand DNA into the production outside of this specific concept.
The Powerhouse Museum acquired some of Nicol & Ford’s work for an exhibition this year. Can you share details?
We are honoured to have had our debut runway titled La Pouffe, which we presented at Afterpay Australian Fashion Week in 2022, acquired by the Powerhouse Museum for its World Pride 2023 exhibition Absolutely Queer.
Selected as one of seven artists representing the diversity of queer creative expression in Sydney, our inclusion in this project has been a career highlight and truly humbling experience.
Is there any other business news to share?
Off the back of designing costumes for the production, we are turning our sights to a ready-to-wear collection diffused from our Comet runway at AAFW this year.
We cannot wait to share this glittery and frothy exploration of regency dress with our customers when we launch the made-to-order collection in August.