Clarisse d’Arcimoles

Do you believe there is a tension when artists work within a natural landscape — especially now that our relationship with the natural world is more contentious than ever?

I think so. What I like is  humans coming back to nature, inventing their own thoughts. Making birds, or whatever animal’s outfit, but for humans.

There was this moment when I was wearing this big bird outfit in Devon, and there was a pony staring at me, he did not know what I was! He wanted to come closer, and a bit closer, and then a little bit more. It was like he was saying ‘what is that, is it a bird’! I’d like to do more like that.

Did you have any moments like that with Ffern in Scotland?

The Flower Thing was amazing. I think that was what I was most excited about during this project. I could visualise it on top of a mountain, just walking. The story that Lukas made is so beautifully thought out, he really gifted me that story so that I could do something with it. I would never have come up with such an amazing idea. I really wanted to honour it with the Flower Thing. We had a chat about it and I really think he was happy with it. 

What was it like to work with the children? What excited you about their designs?

They were amazing and very patient. They are the real artists, and were really fun to work with. There is a quote; ‘no animals and no children’, but that is exactly what we have done, animals and children. Everything happens more naturally with them. 

Was it a challenge to translate their designs into practical costumes? Were there any compromises that had to be made?

We had to compromise, yes. We chatted a lot about the Book Bird for example. My idea was to make a book that was flapping at the shoulders, like a giant flapping book. But being on the trampoline, I thought okay I will make it on her head! 

Everything took so much time. It is important to mention that Ffern gave me the opportunity for days of making. That is extremely rare. It was the time they gave me to make, and spending time thinking about making was precious. A dream job I would say.

Could you tell us a little bit about some of the main costumes; the Frost Queen, the Flower Thing, the Book Bird. How were they made? What was the process?

So for the Book Bird, we went from the giant flapping book, to the small book on the head, and then finally just using a book about birds. We tore off the pages, and stuck them to our arms to look like feathers. And those feet! I made four pairs of feet, and it takes half a day to make just one!

The flute, it was just time, we spent hours and hours to make a really giant flute! Something you will see for just a second, but the time makes it amazing.

What were the kids’ reactions to seeing the costumes?

They loved them. You know they need something to play with. Amazingly, all the costumes are still in one piece! Fifteen kids, thirty hands, all touching them.

In the film, in the costumes, you captured this sense of playfulness and imagination, is this something you like to bring to all of your work? 

All my work is very theatrical. It‘s a lot about making giants, flutes, flower things, monsters, birds, and I guess now that is my signature! These giant things with added natural elements. I am very lucky to be able to make giant monsters for work. Every project makes me feel that I am lucky.