Beatrix Potter’s collection of classic children’s short stories are filled with tales of animals with human traits and have been charming children for generations. I have reworked the tales, updating the setting from rural to urban. I believed that their wholesome country aesthetic and richly detailed characters, set in a completely different time and place would offer a lot of design potential. There was something that appealed to me in the juxtaposition of the animals being in the city. The design intention was fantastical, being a combination of historically inspired dress but with a distinctly modern twist, which the move from the countryside to a city helped encourage. The half human, half animal inspired costumes allowed scope with colour, pattern and textiles. Moreover, this was designed for a family audience, as all generations could enjoy the stories, aesthetic and endearing characters. In deciding upon a time and place to set these stories, I wanted to choose a time could fit in with the fantasy aspect of the project. For me, the Roaring Twenties has always come across in film, literature and television, as a time of excitement, magic, creativity and imagination. I decided to base my project in Paris, as of all the major cities involved in the Roaring Twenties, I felt that Paris would lend itself well to the aesthetic of the watercolour illustrated stories and the general style of the characters. I chose to design this as a mini-series, with each of the tales zooming in on a particular character’s story. Changing them into a short television series allowed me treat each of the 21 tales as an episode of a series. The reworked tales echo the historical social structures of the 1920s, and also the rough plot or moral of the original tales. I analysed the characters' traits and personalities and paired them with figures of the 20s based off of their characteristics, thus helping to inform their clothing, status and placement in a different time period. I decided to create the episode for Jemima Puddleduck, but had to analysis more than just the one of Beatrix Potter’s tales as characters from other stories made short appearances.
Scooby-Doo is an American animated franchise comprising many animated television series produced from 1969. This Saturday-morning cartoon series featured teenagers Fred Jones, Daphne Blake, Velma Dinkley, and Norville “Shaggy” Rogers, and their talking brown Great Dane named Scooby-Doo, who solve mysteries involving supposedly supernatural creatures through a series of antics and mis-steps. There have been three series, several films, theatre and musical productions, theme park rides. The show has been a hit success; it is funny, silly, formulaic and appeals to children and, for reasons of pure nostalgia, their parents. I’ve been watching Scooby Doo for years - first as a child on Saturday mornings and then as a young teen seeing the films in cinema. But as an adult I haven’t partaken in the wonderfully spooky and fun world of the mystery machine for a while. Older teenagers and adults have admitted to enjoying Scooby-Doo because of presumed subversive themes which involve theories of drug use and sexuality, such themes were pervasive enough in popular culture to find their way into Warner Bros.’ initial Scooby-Doo feature film in 2002, though several of the scenes were edited before release to secure a “PG” rating. Thus, I redesigned a an episode into a new film that would be for an adult audience. I wanted the film to be artsy, and to have a strong 60s aesthetic running through it. The 60s patterns, colours, music, and culture should be apparent within the film. Likewise, 60s fashion is the base of my costumes but I over exaggerated it and heavily characterised the gang, with them being involved in different subcultures of the 1960's.