Claire Strickland
‘A Tribute to Oliver Messel’
My mask headpiece is a tribute to Oliver Messel, one of the foremost theatrical stage designers of the 20th century. He was also a prolific mask maker, creating incredible pieces using laminated paper and gold leaf. When I was a student in 2004, I saw some of his masks at the Theatre Museum in Covent Garden and the memory of them has stayed with me ever since.
This mask was created using traditional long standing theatre techniques, and I documented and explained the process in The Hat Magazine, in the ‘Workroom Technique’ feature. Part 1 was in issue 102 (August 2024) and Part 2 in issue 103 (November 2024).
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“My piece closely references the mask making tradition of Oliver Messel. Today, you could use various thermo plastics and vacuum forming machines to create this mask. These would speed up the process and cut out drying time.
However, I instead opted to use the same readily available and cost effective materials that Messel would have used. Many theatre makers and traditional mask makers do still use these same materials.
My mask continues the artistic heritage pioneered by Oliver Messel. I want my exhibit to highlight his legacy of craftsmanship and storytelling through costume.”
Materials and Techniques
The step by step process to make this is documented in The Hat Magazine, issues 102 and 103.
I built up layers of brown paper and scrim over a plaster cast of a person's face. The plaster cast had extra details and features added to it using an oil based clay. After letting the mask dry extensively (a key detail), I wired the mask and added other reinforcing. The front and back were in 2 different pieces, so I also joined them together.
Whilst the materials and techniques used to make this mask are labour intensive, they do create a fabulous final finished surface. It’s basically paper, and accepts inks, paints and glues in a way that plastic does not.
Millinery Heritage
“I became a milliner through mask making. In 1999 I was on a Digital Media degree in Leeds, learning how to code software and build databases. I made a mask for myself to go to masquerade party and totally loved the process of creating it. This led to evening classes in ceramics and a second degree in 3D Effects for The Performing Arts at The London College of Fashion. From there I found hat making classes with Jane Smith and fell in love with hats.
The Heritage of hat making is important to me because when the traditions of the past inform and shape new technologies, it makes them better. Knowledge, skills, materials and expertise should remembered, celebrated and used.
My mum and dad worked very hard running two of their own businesses as Electrical Contractors and Electrical Wholesalers. I don’t come from a family or school where the creative industry was talked about as an option for where you could work and earn a living.
However, my mum and dad are the people where my creativity started. My mum is always knitting and sewing in her spare time. My dad used to build model airplanes when I was a child and I used to sneak into the garage and look at all the glues and tools.
They have also always encouraged me to go for what I want to do and not settle for the safe option.”
About Claire Strickland
Claire Strickland is a theatrical milliner based in London. After training in sculpting, design and fabrication for theatre and performance, Claire graduated from The London College of Fashion and has been making hats and headdresses for stage and screen ever since. Claire also trained on a 5 year apprenticeship in the millinery workroom of Lock & Co Hatters.
Claire has 20 years experience of working within a team to realise a costume designer's vision. Her creations have been seen in Doctor Who, Bridget Jones's Baby, Madame Tussauds, The Globe, English National Opera, London's West End and Secret Cinema. In the last few years she has started working ‘inhouse’ in film for companies such as Netflix, Apple TV and Universal.