Testimonial for Andie

‘Andie has an infectious energy and enthusiasm that she brings to her creative endeavour as well as a voracious curiosity to seek out innovative approaches to costume design and narrative.

She fearlessly orchestrates complex and ambitious projects whilst remaining a fabulous team player. She was a pleasure to work with at LCF.’

Charlotte Hodes - Professor of Fine Art


I whole heartedly recommend Andie Scott as a designer, designer/maker or collaborator. She brings creativity, ensemble spirit, acuity of imagination, diligence in preparation, reliability, knowledgeability, resourcefulness and flexibility. She has a tremendous work ethic and wide range and experience of construction and making, plus awareness of the processes involved in creative discussions and realisation. Added to that, Ms Scott brings attention to detail and a sense of humour equal to her depth of human experience – qualities I believe are vital for good stage creation and design no matter what the theme or project.

 Peta Lily - Performer, Theatre Maker, Director, Devisor, Dark Clown Researcher  http://www.petalily.com/



Our amazing set & costume designer @andiescottdesign has a new website to display her astonishing talent. Andie's #FromIbizatotheNorfolkBroads design is here https://www.andiescottdesign.com/from-ibiza-to-the-norfolk-broads … & navigate from that to all her other amazing work! Love you Andie!

Adrian Berry - Writer and Director


Responsible the designing of the set, costume and aesthetic of From Ibiza to the Norfolk Broads. She is exceptionally talented, a beautiful person and has a vision that is second to none. xx

Alex Walton - Actor


If you're looking for a costume and set designer check out Andie Scott. She is really great; always supportive, collaborative and extremely creative. A real gift and always a pleasure to work with!

 Chiara Zubiani - Circus Performer 


My costume designer's  one of the most talented, creative and passionate person I know! Check it out. <3 Andie <3

 Karine Friez - Balloon Artist and Contact Juggler


Amazing costume design. Well done Andie Scott xx

Christina Amico  - Stage Manager


Wow awesome

Claudia Hughes - Contortionist


love seeing The excursions of Mr Broucek

Black Sifichi - Photographer and Performer





From Ibiza to the Norfolk Broads 


‘Misfit teen Martin goes in search of his absent father and his pop idol in a sharply observed, compelling one-man show

Lyn Gardner’ https://www.theguardian.com/stage/2017/jan/18/from-ibiza-to-the-norfolk-broads-review-teenage-david-bowie-oddity


‘Andie Scott’s stage set – costumes worn by the late David Bowie suspended along the walls in translucent covering – makes one assume that From Ibiza to the Norfolk Broads is going to be a tribute act. Got that wrong – although The Thin White Duke is an essential element Adrian Berry’s play is a harrowing and riveting study of a mind that is, well, under pressure….. From Ibiza to the Norfolk Broads achieves two of the things that Bowie managed throughout his career – it confounds expectations to be a complete surprise and is of very high quality.’



‘On a simple set (designed by Andie Scott) of varying decking levels and a couple of black boxes of different sizes surrounded by walls of what seems like semi-transparent strips of wrapping material, giving us the sense he is inside a box, Alex Walton, directed by writer Adrian Berry, tells Martin’s story…..A fascinating exploration of a disturbed mind, intelligently written superbly performed’ http://www.britishtheatreguide.info/reviews/from-ibiza-to-t-sunderland-stag-14020


 Mary's Hand

'Special mention must also go to Andie Scott and Sophie Meyer for their stunning creation: Mary’s costume takes on a life of its own, undergoing an unravelling transformation in parallel to its wearer, it’s a stunning piece of work and through Di Sherlock’s masterful direction, becomes a real highlight of the piece.'



'McCaldin’s regal dress,meticulously designed . It is so life-like that it takes the performance back to the Tudor era, as if the Queen herself was standing right in front of us.'



'Her beautiful dress, recreated from a portrait of Mary by Hans Eworth, is practically a character in itself.... layers of the outfit are gradually peeled back – so that at the end Mary stands only in an undershift, having it seems defined herself independently of her office.





S'he starts the opera wearing a spectacular reconstruction of the dress she wears in her coronation portrait. As more of her thoughts and feelings are exposed, so she sheds the outer layers of her outfit. As this is a new opera with, I hope, many more performances to come in future, I am actually aware of 'spoilers' - and even though many facts of Mary's life are on record, the interpretation and insights of the opera's final scenes are deliberately delayed and worth experiencing unforeseen ("You shall hear how nature did play false / when last I play this card"). So, without going into too much detail - more than just a simple show of 'undressing', the costume in which we last see Mary has its own powerful symbolism (sacred? medical?), as much as the surface robes we see her reassemble, empty of their wearer. 





Miss Havisham’s Expectations

‘The iconic Miss Havirsham look, a skeletal old lady in a decaying wedding dress, is created beautifully. And the costume design was my favourite part of this show; the two ‘Estella’ dresses are quite breathtaking, glistening like sweetie wrappers. ….’


‘Enter Linda Marlowe in decaying wedding dress, made up like someone who hasn’t seen the sun for decades. The colourlessness is accentuated in the design work (Andie Scott), with a white, silvery and transparent set presented against a black background.’


'Boasting a minimalist yet imaginative and effective set...'


'The stage is largely kept simple, and this works, allowing it to become the location for any number of schemes and memories.'