2025
Performance
Shot
Associate Costume Lecturer
Photograph
Sound Design
HMUA
Lights
Assistant and Content Creation
Editing
Technicians
The wonderful @mollysapphirepoet
@cream_and_film and @agnestreplin
cecilevandijk
@matacotta_
@bazzart
@nicsaesthetics.jpg
@cream_and_film
@_edenidea
moi
@lisaaaa.zzz, Anna, Erin and Rose
In Charlotte Higgings’ book “Greek Myths: A New Retelling”, the author writes that the word text and textile are both derived from the Latin verb texere, meaning “… to weave, or compose, or to fit a complex structure together.” It is also related to the Greek verb tikto, meaning to “engender or produce something new” (Higgings, 2021). In this interpretation of the myth of Arachne, Ofildesoie explores what it means to be too much as a womxn; too outspoken, too loud, too big, too small. In this myth, Arachne gets punished by Athena, daughter of Zeus, for weaving a better tapestry than hers. Scholars have argued that even though she is a woman, Athena represents patriarchy because she was born emerging from Zeus’ forehead, already dressed in an armour. Based on these definitions, this design represents Arachne’s desire to create a new world in which her web represents a retelling of feminist stories that have been suppressed through history. In the light of what has happened in the last elections in the US and the rise of the far right which threatens queer and feminine bodies, I see Arachne as a symbol of hope and resistance to these dominant narratives. For Ofildesoie, it is important to continue building tightly-knit communities. The cocoon she built for this project could also be a way for protecting ourselves from this world, one where it feels like we are tangled in webs of stereotypes, obligations, and laws which restrict our freedoms.
2025
Performance
Shot
Associate Costume Lecturer
Photograph
Sound Design
HMUA
Assistant
Editing
Technicians
The wonderful @jessica_chamberss
Dan Adakpor, Adam Whitcomb, Alex Marshall, Oliver Furlong, Ann Kaguima and @agnestreplin
@genevieveboiteau
@bazzart
@rebeccadoney
@genevieveboiteau, @agnestreplin
@ofildesoie
@lisaaaa.zzz, Anna, Erin and Rose
Nelly (Master’s project)
My Master’s project was based on the collage play La fureur de ce que je pense, that pieced together the works of Nelly Arcan in 2022 by Sophie Cadieux and Marie Brassard. Through her work, Québécois author Nelly Arcan gave a breath of fresh air to feminist writing by reclaiming her own narrative as a sex worker, revealing a stream of consciousness that took Quebec by storm. In 2001, when she was just 21 years old, her first manuscript was published by the editor Le Seuil in Paris (David, 3). Between autofiction and interior monologue, she narrates the story of a high-end escort who struggles with her body image and ideates her own suicide throughtout the whole duration of the book.
After publishing Putain, Arcan gained an infamous reputation from the media because she looked beautiful and the media would constantly want to talk about her looks or her job as a sex worker and never about the actual contents of her book, which were extremely revolutionary.
La fureur de ce que je pense is a text pieced together from the work of Nelly Arcan (of her real name Isabelle Fortier). In a residency at Espace Go, Sophie Cadieux had the idea to write this piece in honour of Arcan- with the help of Marie Brassard- staging/set design. They used the texts Putain (Whore), Folle (Crazy), Burqa de Chair and L’enfant de le miroir as a base to create this new text. The play is separated in nine glass rooms on display nodding to the voyeurism in the Red Light District as well as the feeling of feeling trapped in something that is not yours. Each room represents a song, representing a different version of Nelly. The play starts with the Room of Mirages which addresses the question of the body, illusion and of the image (probably one of the most important subjects for this project).
2025
Concept & Realisation
Performer
Photographer
Movement Director
Technicians
Project leadership
Costume Design for Performance
Juliette Angers @ofildesoie
@laura_andriu
@ngantonioni
Peta Lily @petalily
Lisha Zhang, Erin Jacques
Donatella Barbieri for LCF MA Costume @donatellabarbieri1
@Icfmacostumedesign
@Ictlondon
In this assignment, we had to reinterpret the 1901 opera Rusalka with a contemporary lens and design the costumes in this new context. Rusalka is the tragic tale of a water nymph who falls in love with a Prince in the human world. In order to win his love, he asks her to give up her greatest gift: her voice. When I first read the text, it was evident for me that I would interpret this opera with an ecofeminist lens. Ecofeminism is a movement from the 1980s which unites working class women, mothers and militant feminists, unifying them in relationship to the oppression of the Earth and comparing it to their own (d’Erm & Riccobono, 12). In 1974, radical feminist Françoise d’Eaubonne wrote the manifesto Le Féminisme ou la Mort which argued that the struggle of feminism is not simply about equality but also about life or death. She thus proposes an ecofeminist theory criticizing patriarchy and identifying the double subservience of women and nature against this system (d’Erm & Riccobono, 14). In this sense, my interpretation of the opera recontextualizes it in a contemporary setting where Rusalka becomes the common ground between the exploitation of the feminine body and the Earth, in this case a sea nymph stuck in plastic.
About
Archives
by Juliette Angers
Welcome to the world of Ofildesoie, a mystical space that unites the creatures hiding in the spaces in between.
@ofildesoie
ofildesoie3008@gmail.com
+447570676625