Pathway: EDITED: Costumes in Orlando by Andrea Paul

Postcard showing portrait of Queen Elizabeth

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 4 - Queen Elizabeth I (Quentin Crisp) in the film

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

Notes from Potter's "Orlando's clothes are like a catalogue of her life, from the relative freedom of breeches to the subjection of the crinoline..."

Page 3 of main sequence storyboards showing ladies in the Royal enclosure (England), Orlando and Euphrosyne, Sasha in front of the bonfire, handdrawn in black ink on white A4.

shows how important costume is to the story itself. Storyboards show framing of costume showing its overall importance to the composition of the shot

Orlando’s Costumes by Scene page 1, Black and white A4 computer printed, Paper

Costumes are assigned both by scene...

Page 1 of Orlando's costumes by location. Typed A4 sheet.

...and location

Video file, Digital, Selected Scene Commentary by Sally Potter

Time 4:26 "Exploding of a nostalgic myth: England's imagined history of itself, exploding it from within and looking at it ironically. Visually that was done by taking an imagined essence of each period with clues from paintings and artifacts from that time and then blowing it up. The design approach to this scene, as with each epoch, was to restrict the color palette so that all the tones, costumes, flowers whatever are based around gold." (she expands upon the design aspects of the scene)

Page 2 of early developmental handwritten notes and ideas by Sally Potter on Orlando, black pen on A4 lined paper in pad

Although not overtly about costumes, these notes by Sally Potter reveal that the visual (design, costumes etc) were an important draw for her in adapting this work for film. It 'tells through images which distill and condense a wealth of information'.

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 3 - (Tilda Swinton) in the film

overhead shot of Orlando discarding wig

Sheds her outer male "layer" ... the next clip follows this one as she reestablishes identity through her clothing.

close up of Orlando being dressed by servants, she observes herself in mirror.

Transforming into the vision of a woman... observing herself; all about the female as visually pleasing.

Black and white A4 Text Document, Digital, Finished screenplay as published by Faber and Faber

Right after turning into a woman, Orlando gets dressed with the help of servant. The experience is described as discovering the hidden world of female clothing, expressing the central role of clothes in gender transformation.

Black and white A4 computer printed, Paper, Revised draft of screenplay

In comparison to the dressing experience as a woman, Orlando is described as frantic and thus puts on clothes haphazardly.

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

Comparison of the two photos demonstrates the large part that costumes play in indicating both Orlando's gender and the time period.

1 x A4 black photograph album; 34 vellum pages; 24 x colour prints, Mixed, Presentation book containing Sally Potter's notes on the film and colour photographs of Tilda Swinton at Hatfield House

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 38 - (Tilda Swinton) in the film

1 x colour slide in transparent plastic hanging sheet, Digital, Film Stills - Scene 62 - (Tilda Swinton) and 's Daughter (Jessica Swinton) in the film