Lorna studied Theatre Design ( Set and Costume ) at Wimbledon College of Art. Quite soon after college, she was designing her first films in Dublin and has continued to work since , in both film and television throughout Europe and beyond.
Her film credits include: East is East, Inside I’m Dancing, When the Sky Falls, On the Edge, Tara Road, Middletown, Intermission, Puffball, What Where, The Boy from Mercury, Shell Shocked, Killing Bono, All Good Children and Shadow Dancer.
Television dramas include: Small Island, Christopher and his Kind, The American, Five Days, The Old Curiosity Shop, Falling for a Dancer, My Boy Jack, Treasure Island, Ripper Street, Quirke, Peaky Blinders and recently Jericho.
Theatre: A Particle of Dread by Sam Sheppard , Field Day at The Signature theatre New York.
Her full IMDB listing is available here.
- Best Costume Design, Irish Film and Television Award 2015 for 'Peaky Blinders'
- Multiple nominations, including a BAFTA nomination for 'Ripper Street' and an Emmy nomination for 'Treasure Island'
- For full details see Lorna's website or IMDB listing
I credit Field Day as shaping my destiny as a Designer, having interned with them through school and then college holidays in my hometown Derry. The privilege in being able to observe great creative forces such as Brian Friel, Seamus Heaney, Stephen Rea and designer Bob Crowley at work, inspired my choice to study Theatre design.
Working with the Wizard Sam Sheppard, is a unique experience.
His Oedipus was an intense exploration of fate, destiny, exploitation and origins and he duly challenged the creative process of all collaborators, including the audience. With no conventional structure of form, it felt like everything heard and seen could be moved around to tell a version of a tale.
The leading trio are misfits in the Whitechapel world and often at odds with each other, so it was important to accentuate these differences. Reid, imposing and elegant in silhouette with bowler hat, silk tie and big collared coat, is quite modern in his dress for 1889, just as he is in his thinking. For Jackson, an American cad of dubious past and appetite for vice, a jacket of vibrant green suede with Indian markings on leather trim, richly dyed linen shirts and bold oriental silk waistcoats, isolate him in the austere greys of Whitechapel, referencing the American west and beyond. Drake, struggles in his quest for love and respectability in this harsh world that constantly beats him back down. An ill fitting suit of coarse grey worsted wool with starched collar offering aspirations of gentility. A poor man’s version of Reid. Long Susan’s vibrant aniline dyed silks suggest nobility, a willful spirit and also displacement, with links to Jackson in tone.