I quickly managed to use different tools and materials in Adobe Photoshop, as I already had some experience with the program. I knew how to move elements, apply filters, and experiment with layers.

Challenges:

One main limitation was my fear of experimenting. Due to my perfectionist mindset, I focused too much on making everything look ideal and didn’t develop my ideas further. So I only stick to one piece instead of exploring more options. My tutor advised me to be less focused on perfection and more open to experiments and risk taking in the future.

So Poppy asked each of us how we imagined it and combined all the ideas on one large sheet of paper. For example, I described my soul as sharp, sparkling, consisting of many "sharp" shapes. We combined all our descriptions into one common outline. This idea was inspired by the art works of Marie Toyen, her bold abstraction and surreal forms.

Consequently, we cut out different shapes from paper and collaged them into a composition on a large sheet that was attached to our inside part of the costume.

I was able to experiment with paper in creative ways, exploring how it can enhance the appearance of a mask using simple and accessible materials.

Challenges:

One of the cons was the lack of time to experiment with other materials and techniques. Our group had limited time to finish the mask, so we had to rush and couldn’t add more symbolic or cultural elements. I also didn’t manage to fully complete one of my individual masks :(

I strongly think this workshop became a useful starting point for ideas for my future scarf design. Creating the prototype gave me more confidence in my ideas.

Challenges:

I stuck to only one idea like combination of eyes and hands, instead of experimenting more freely with other possible designs. Sadly, I also ran out of time and couldn’t fully finish my final outcome, as I was rushing to complete it :(

I was deeply inspired by her visual language and I will continue exploration of this artist in future. I would like to explore how a mask or layered costume could similarly represent multiple personalities or shared identity, just like Zürn’s overlapping faces.

We took:

1. Newspaper.

2. A glass of warm water.

3. Flour.

4. Foil (to create the base for our first eye)

First, we formed the shape of the eye out of foil, then covered it with layers of papier-mâché, dipping newspaper into the mixture of water and flour and covering the base. After that, we left the blank to dry so that it would harden and hold the shape.

Consequently, we connected these strips in the centre with a strong metal bolt that we found in shop. This structure reminded me an octopus (long cardboard legs that diverge downwards and create the volume of the future dome). To strengthen the top of the structure, we made a cardboard cap that fixed the entire dome and allowed us to try it on a person. But we still was afraid that hat will not hold the entire cardboard shell.

Next, we added large sheets of paper on top of the cardboard to see the overall silhouette. After several attempts, we finally covered the frame with black fabric (even if it didn’t look neat)

Each of us expressed ourselves way more differently. Poppy and Yuna stuck stickers and additional materials on the eyes and lips. I focused on the shape — my eyes and eyelashes were shaped like flowers and the sun, reflecting my temperament. (Because I like to shine)

After attaching the eyes and lips to the costume, we noticed that there was a lot of empty black space around them. To fill it, we decided to use paper cuts that we had made at our 3D mask-making workshop. We chose different strips of paper in variety of colours and covered the empty areas with them. It was a successful detail for the composition as I think.

1. Black fabric

2. Light white fabric (for decorative elements)

First, I cut out hands from the light fabric and gave them different shapes (sharp, rounded and softer) to better convey various emotions. Then I took the black fabric and cut out a very long base in the shape of a scarf. Next, I painted the fabric hands and used a glue gun to attach them to each other in a row.

One of our biggest advantages was our flexible communication between Yuna and Poppy. We worked well as a team and had many open discussions. We shared ideas, talked about what we liked and didn't like, recommended research and materials to each other, and this created a very dynamic working process :)

We did a LOT of experiments, tried different materials, and took some risks, which gave us a lot of knowledge about what works and what doesn't in costume making.

And we were able to connect with all the artists we found. Their ideas were not copied, but became an inspiration for our work. We were even able to integrate what we did in the workshops into the overall costume, even if this was random decision.

Challenges

One of the biggest challenges was that our costume turned out to be quite unstable and heavy. It can easily fall apart because the base is made of cardboard and there are many additional details on top, such as the eyes.

It is also difficult to see inside the costume, so the person wearing it needs help from someone else to navigate and move around. :(

I would rethink the design of the costume itself. Right now, it is quite fragile because of the cardboard, and the heavy decorative elements make it really unstable to me. I would make the internal frame out of a more durable material.

Perhaps I would complicate the design and add not only eyes, but also a nose or ears to experiment with volume. But it is important not to overload the structure, so a balance is definitely needed here.

In the first and second tutorial, we discussed what additional elements we could add. If we want to interpret ourselves in costume, we can experiment with adding materials to the eyes and lips, such as stickers, pages from books, flowers, or any other details.

At the second tutorial, we were advised to look at the work of other artists, such as Marie Toyen, to better understand how to work with shapes and possibly develop abstract ideas. We also discussed the development of a frame for the costume and how to strengthen this unstable construction.

Alexander Adams (2021). Toyen, Magnetic Woman. [online] alexanderadamsart. Available at: https://alexanderadamsart.wordpress.com/2021/11/05/toyen-magnetic-woman/.

Basel, A. (2018). Billie Zangewa – the fierce feminine | Art Basel. [online] Art Basel. Available at: https://www.artbasel.com/news/billie-zangewa-the-fierce-feminine-art-basel-miami-beach-2018?lang=en.

D., M. and L., W.S. (2004). Henri Matisse. The Metropolitan Museum of Art Bulletin, [online] 61(4), pp.25–41. Available at: https://www.jstor.org/stable/3269127.

Eames Fine Art. (2024). Henri Matisse. [online] Available at: https://www.eamesfineart.com/artists/47-henri-matisse/ [Accessed 16 Nov. 2025].

Joicey, C. (2023). Kaffe Fassett: colour and collaboration | Art UK. [online] artuk.org. Available at: https://artuk.org/discover/stories/kaffe-fassett-colour-and-collaboration.

natashamoura (2022). Who was Unica Zürn? [online] Women’n Art. Available at: https://womennart.com/2022/03/09/who-was-unica-zurn/.

Rmg.co.uk. (2025). What is the ‘Man in the Moon’? [online] Available at: https://www.rmg.co.uk/stories/space-astronomy/what-man-moon.