It’s a sad commentary about my life that I am sitting here in mid-December still trying to finish writing all the demos I did photo work for during 1776 last spring. Life’s been a little crazy lately. Great/fantastic/amazing (grantasticazing?), but crazy. Anyhoo… One of life’s great mysteries seems to be “How do you alter a hat?” I’ve talked about straws, which are basically a “just add water” operation. Reblocking felts is slightly more dangerous exciting, because you get to play with steam. Ready?
Category: Demos
Sometimes, in theater, you need a specific period shoe and you don’t have the time to order it from the internet, the money to order it from the internet, or an actor who wears a size you can order from the internet. (In this case, it was an “all of the above” scenario – I had a Benjamin Franklin who wore something like a 13EEE. This is hard enough to find in a modern shoe at community theater prices. As for replicas, you can forget it!) This is not a demo that will show you how to make an exact replica. It’s more of an act of desperation, which might possibly inspire others to do a better job than I did. ;) I just needed something good enough for stage at the “this ain’t broadway, sweetheart” level.
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Somewhere in the Victorian era, people started coming up with ideas for making corsets more comfortable to wear. Gigglishiously ironical though that may sound, some great innovations came out of it. One of my favs is the single layer corset – no lining, no interlining, just a base layer of fabric and some boning. If you do outdoor events in the summer, it’s a trick worth adapting. (“It’s period! It’s just not quite your period, dear rennie…” says the voice of evil. Heh. ;) )
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The first steel, front-fastening busk was invented in 1829. (Waugh, 79) They’re nifty little beasties, especially at the end of the day when you would really, sincerely like to be OUT of your ding-dang corset. I’ve hear rumors that they can be used to get into a pre-tightened corset, as well, but I’ve tried, and I’m clearly missing a clue or two there. :/ The clue I do have is in how to insert the little buggers. Interested?
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Oh, the medieval romance of the sleeve with the little pointsy-doo that falls gracefully over your hand… So lovely. The problem is that half the time something goes wrong and you end up with a sleeve that looks like it’s flipping you off – the point doesn’t follow your hand (unless you put a loop on it), it doesn’t lie smoothly, it wrinkles at the wrist… It can look so sweet, but it can go soooooo wrong. Here’s a drafting trick I picked up in a Bridal Couture class a few years back.
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Sometimes, you need to hem something so it won’t show through from the front. In a perfect world, you’re working with two layers of fabric. But what happens if, oh, I dunno, you’ve got yourself a crazy corset that’s mostly lined, except for the gussets? Then you need to know how to blind-hem with only a single layer of fabric.
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So, I’m making up a Regency style corset and it has gussets at the bust and hip to give it shape. I’m lining the corset, but I’d like to do the gussets as single-layer pieces. If you find yourself doing something equally silly, here’s how to slam a gusset in between the two layers in one go.
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Ok, so you know I’m gonzo about le moulage, right? It’s basically a princess line dress, with no ease. That makes it a pretty accurate model of a specific human’s torso. But what the heck do I do with that information? I’m working with two remote clients right now, and they’ve sent me back their moulages (with notes – nothing is perfect the first go). For Haley, I need to draft a regency style corset for her Elizabeth Bennet inspired dress. Here’s how to go from Moulage (or any other princess-line sloper you’ve got handy) to the least moulage like thing I can think of – an 1820s corset. ;)
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I’m saving the best for last – I loved the way this costume turned out! It is, by far, the most wack-a-doodle set of design decisions I’ve ever made. I really wanted to do a rather prim dress for the Countess, what with how she’s rich and all. At the same time, there’s only so much “prim” you can use around a Steve Martin script, and the character is fairly exuberant. So she needed a costume with enough detail to be lavish, enough joy to match the character, an olde-timey silhouette, and it had to come from resale. You know, no bigs….
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So, for the next installment in the series, I’ll tackle the character of Germaine in Picasso at the Lapin Agile. (Wowza, did that sound pretensious…) The rough inspiration for the costume was, “How would Miss Piggy do Steampunk?” This one is slightly more complex than the Admirer, but still pretty easy to wrangle out of resale…
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