http://www.stumbleupon.com/su/1IBQB9/www.mymodernmet.com/profiles/blogs/strange-sculptures-made-of/r:f
so i was perusing in the grocery line waiting to check out and saw an ad in people’s magazine for a new show called scoundrels, now i have not watched this show, nor do i know anything about it, but i found the ad very intriguing if only for the sheer use of the costumes, so simple an advertisement but you get such a clear sense of who the characters are. i love the playfullness with prison wear, i couldn’t find a picture of the exact ad so this will have to do, here it is, two i found:
so, since i had the joy of working with a bunch of stage blood and costumes this past month both at my full time job at the new school for drama and a show i designed with milk can, i felt it only appropriate to discuss it. oh blood and mess you scare me no longer….
My fellow colleague and i discussed the best blood mixtures and did a series of tests on the type of fabric in white to see which would work the best. the mixture that our genius props master came up with was:
paramount theatrical blood
palmolive dish soap (tide works well too, but our stage manager is allergic to tide so we used this instead)
vodka (to help thin it out)
instant coffee/water ( to change the tone and make it a better blood color)
smidge cornstarch (slurry if desired for non-opaque)
this gave a really realistic consistency and thickness. Thank you to our props master Rachel baron! She truly rules. she also discovered that glad press and seal makes for awesome custom made concealable blood packets.
now this mix does not work for everyone, and there are packets your can also buy. this just worked for these productions. it seems it continued to be a theme for younger directors to wants to have Gorey blood in productions. i don’t know if its the influence of our dependency on film or what but its def a trend…. we (prop, designer and i costume director) did come across a play that required the eating of nails and blood then death in a wedding dress, since we went with a rental wedding dress i was not comfortable in the possibility of ruining someone else’s property, so we suggested going the kabuki route and using red china silk and making the death more theatrical and beautiful. We accomplished this by sewing the red silk to the inside lining of the very large skirt of the dress and having the actress reach back and pull it over her head when sitting on the floor and collapsing. when the actress actually grabbed the right layer (I’m telling you this dress as most wedding dresses do had like 15 layers of crinoline) if was so effective! we only had once or twice during performance that the wrong layer was unfortunately pulled and you didnt’ get the nice pop of color. but you learn and live right?
do you have any stage blood/costume stories to add?
This website i got from a facebook group that i am a part of:
The History of Folkwear (the company)
In the mid-1970s, three California women founded Folkwear to share their passion for finely crafted ethnic clothing with other lovers of fiber and fabric. The garments they collected during travels to other countries served as models for the earliest Folkwear patterns, including #105 Syrian Dress and #106 Turkish Coat. As the three began collecting vintage garments in addition to ethnic, the pattern line expanded to include all types of historic styles from all around the world.
During the recession of the mid-1980s, Folkwear’s business health suffered along with so many other small businesses. The company was sold to The Taunton Press, publisher of Threads magazine, and by the early 1990s most of the original patterns were back in print and new patterns were under development.
In 1998, Taunton decided to focus on its core book/magazine publishing business and sold the Folkwear division to Lark Books, publisher of Fiberarts magazine and assorted craft books. Kate Mathews, former Fiberarts editor and author of several Lark sewing titles, was hired to manage Folkwear. In 1999, Lark Books was sold to Sterling Publishing, a large New York book distributor, which then sold Folkwear to its manager in April, 2002.
Folkwear is again an independent, woman-owned firm, just like it was in its earliest days. Through it all, the company has retained a loyal group of fans who keep the passion for vintage and ethnic garments alive!
A friend sent this to me today and i thought i would share. Looks alot like the big bold costumes with blocks of color and shapes of the 70′s eh?
What she sent:
What if Shakespearean costumes were designed by an artist who drew superheroes? That would never happen, right?
In 1969, Sheldon Feldner contacted Marvel Comics, asking if one of Marvel’s artists would be interested in designing costumes for a production of William Shakespeare’s play Julius Caesar by the University Theatre Company at Santa Cruz at the newly-built Cowell College of the University of California at Santa Cruz.
As luck would have it, the Kirby family had recently moved to California, and Stan Lee recommended that Feldner contact Jack Kirby.
Jack Kirby {wiki} was the creator of such characters as Captain America, The Fantastic Four, and the X-Men. But he went to work designing not only the costumes but also a poster for the student production. His sketches, and some pictures of the actual costumes, are posted at the Kirby Museum.
Measurements Blog:
While going through some measurements for a show I’m working on it occurred to me that a blog on the subject of measurements for actors perspective might be helpful. Here are some things I’ve noticed in the years and also the needs of the shop:
Now let’s talk a bit about proper undergarments. When you are coming into a shop to be measured it is important to wear the right clothes. #1 take all bulky items off that may be altering your shape and empty pockets. This will help give a more accurate measurement. #2 Now for what’s underneath. Women please wear a good fitting bra with proper support. Wearing a sports bra or a strapless bra alters the size of your bust either by constricting it (the dreaded “uniboob”), lowering where they normally sit, and may even alter your posture. (This also goes for fittings if you have a question talk to your costume designer or shop manager about what undergarments to bring/wear) Please also wear good relaxed underwear, wearing constricting tights may also alter your shape it can change your shape. Also if you are wearing any control tops or minimizers let the person taking your measurements know (especially if you have a preference to wearing these on stage)
Now that you are properly dressed to be fitted, there is some basic information about yourself that you need to know. Throughout your career you will be asked this information regularly so it is important that you learn these things now:
1. Do you have any allergies? This means fabric and cleaning, and jewelry allergies. . I.e. Wool, certain detergents, perfumes, dyes, nickel.
2. Do you have any piercing? Example: cartilage, lobes, belly button, face, and others. Also if you’ve had something recently done that is not done healing we also would like to know.
3. Do you have any tattoos that may be visible onstage and need to be covered up?
4. Your height and weight this also helps us remember your body builds. (Most actors include this on their resume, get to know your typical weight during a show if you tend to fluctuate a lot)
5. You shoe size. This is important as shoes often provide the basis for how we carry ourselves. Please know this! Start to know what size street shoe, heel, dance shoe, and boot. Because different brands may fit differently think about what is in your own wardrobe what is your most common shoe size? Do you also require special orthotics? Do you have bunions? And do you have especially narrow or wide feet?
6. Hat size?
7. Tights? Both in dance and reg sizes. (A-Q, s-xxl)
8. Glove? Do you have a large had or small fingers?
9. Dress size? 0-22 and xs-xxl?
10. Bra? Know your size and your cup size.
11. Shirt size. This may be in numbers or xs-xxl
12. Pant size. Men example- 30/32 women example- 9/10
There may be more specific question pertaining to the type of show you are in. But these are the basics to know. I promise you will win your shop over when these are correct. It not only makes you look good and aware of your own body needs but it saves time in returns and remakes in the long run.
Some tips for taking measurements if you are not able to be fitted in a shop:
Measurements should be taken over your customary undergarments. Pull the measuring tape snug, but not too tight, always around the fullest part of each body area and keep the tape parallel to the floor.
Bust—take this measurement over the fullest part of the bust and across the widest part of the back.
Waist—To locate your waistline, tie a narrow string around the waist and let it settle into the natural waistline as you bend. Take the measurement along the stringline.
Hips—Take the measurement around the fullest part, which is usually 7″ to 9″ below the waist.
Figure Variations
The total measurement around the body does not describe how the fullness is distributed. For example, a bust measurement of 36″ could mean you are flat chested with a large rib cage, or conversely, you have a full bust and a small rib cage.If your fullness is not evenly distributed, ask me for more specific measurements.
If you do weight lifting ask me for more specific measurements regarding the upper torso. Early garments are not cut to accommodate a muscular figure. Areas to check are the upper arm girth, across the upper back (the yoke) and the neck circumference.
If you have noticed any fitting problems when trying on modern clothes, ask me for more specific measurements. For example, you may want the measurement from neck to waist.
Ease: The measurements I give are the actual measurements of the garment. They do not include the amount of ease you need to breathe and move in a comfortable manner. I give a garment waist measurement of 28″, the garment would comfortably fit someone with a waist measurement of 26″-27″.
The amount of ease needed is a matter of personal preference, so take a minute to think whether you like a tight or loose fit. The general guidelines are:
1 1/2″ to 4″ bust ease
1″ waist ease
2″ hip ease
After moving to the city in march (my husband is a grad student at the new school for creative writing) and officially working in the city since late august i’ve been learning some things. Being a “young designer” in the city is tough. This is an understatement. From what I’ve found from my job searches a lot of work that is advertised is for low or no pay. Take it from someone who spends a least 2-3 hours a day researching jobs. being paid 200 to design a show with more than 20 characters with no assistance or a shop (all up to you and your home) is not what i had in mind when I got my MFA. Not that i’m totally against low budgets, i still will take the occasional project for cheap if i feel passionate about the work. With that being said, I thought i’d take some time to talk about my experience so far, and maybe at least hearing from another person who’s trying it, will help. So what’s the key to staying a float? i am by no means an exert, just trying to get by here’s advise that was given to me:
#1 remember your path is your path. you shouldn’t compare your success to the success of others. remember your age. some of the greats didn’t really get started with really steady work till their mid thirties. it may take you longer or you may get lucky. but remember that on top of your talent it’s also about being in the right place at the right time! I moved to new york because its always been my dream to try it for little while just to have the experience. my husband and i saved money. this is really important, rent is expensive and being out of work while still finding a job and trying to make connections comes with a price. i also have to remind myself that although i do things fast and am hard working, i’m only 27 and am still developing my career. things take time….it’s a mantra i’m learning to deal with.
#2 The biggest help is having other skills. In addition to design, what are your skills? can you drape, first hand, craft, assist, sew, wardrobe, manage a shop? These not only add to your skills in a costume shop, but add to your worth as a designer. You learn communication skills, appreciation for others, and learn from the best. i’ve learned how to think about a design, disect a concept, and that the little details make a huge difference. having a strong background in costume technology and management has really helped my budgeting skills, my time management, and my eye as a designer and i have those people who i worked along side to thank for that. i teach sewing and millinery lessons out of my house when in off times, i also take on person build projects off craig’s list, and sell jewelry.
#3 ever heard it’s who you know? they are right. as much as i hate to admit it, this is really important. believe me, after my undergraduate professor passed away (i will miss him) and my graduate advisor retired completely, i was lost… no one taught me how to network, or how important it is to be your own advocate. This was something that wasn’t stressed as much. i had to, and am still learning these things. a good attitude and a good work ethic also help a lot. make an impression, and keep it! send holiday cards, but be genuine, send thank you cards, keep in touch. you never know who in 3 or 4 years may remember your specific skills and think wow so and so would be perfect for this. Its a game of chance and place. and make friends with the assistants they will be your contemporaries down the line.
#4 have a good attitude. keep working at it. your hard work is bound to pay off. just keep plugging.
#5 go see theatre. try and see what the current trends are. keep up with names. and experience art that is happening. my husband and i are gonna try to see more of what’s out there. i’ve seen only 7 shows since i’ve been in the city and with as much as is available in such a condensed area that is a shame.
more to come later….
If you need a multiple of paper collars for a period show, can’t afford premade ones, are dealing with opera sizes, or are unable to get them shipped to you I’ve got a solution. Whatever your reason, I learned a while back a great way to make them.
(examples of different paper collars)
You can go to your local art store and find canvas paper and use that as your material to transfer your pattern. Usually I have found you can get a pad of 20 sheets for under $20.00 which usually comes to $1.00 or less a collar. What is great about this paper is if you use the coated/treated side as the right side of the collar (the part that faces the audience), it is easily laundered and make-up is easily removed which tends to be the largest problem with paper collars and white collars in general with theatre. We all know what a pain that becomes. You also get more length and it tends more to be forgiving and curve if you cut your collar on the bias. If also helps if, say, your actor doesn’t fit any of the sizes provided for period paper collars.
extra info:
This section is from the “A Complete Dictionary of Dry Goods” book, by George S. Cole.
Paper Collars. A collar for men, made of paper, cut to fit the neck, and covered with thin muslin, by pasting. Since the introduction of celluloid the paper collar has rapidly declined in popularity, At present the annual product amounts to 1,500,000 per year. Twenty years ago paper collars were universally worn, their very cheapness inducing extravagance in their use, and the industry was a large and flourishing one. Fortunes were made by many manufacturers, but there is not one made now to where in 1875 there were a hundred. Paper cuffs have likewise fallen a prey to man’s indifference.
You can also purchase them at the following link, I am sure there are more, so feel free to let me know and I will add them:
amazon dry goods- order a catalog http://www.amazondrygoodscollarsandcuffs.com/
I went to see Mary Stuart last week. Rightly so, Anthony Ward won best costume of a play at the 2009 Tony’s.
It was a beautifully simple and well constructed design. What started out as a budget constraint (not allowing the full use of all the cast in Elizabethan costume) turned out to be a unique choice. Only our two queens are in Elizabethan dress and the rest of the cast (all men w. the exception of Mary Stuart’s lady in waiting) wear suits.
Snippet taken from Wmagazine.com (Photos: Joan Marcus; Sketches: Anthony Ward. Article By Dana Wood April 22, 2009 http://www.wmagazine.com/w/blogs/editorsblog/2009/04/22/once-in-a-while-something.htm
According to Ward, who was also responsible for the look of the original London production at the Donmar Warehouse, budget constraints even dictated the limited number of costume changes for female leads Janet McTeer (Mary Queen of Scots) and Harriet Walter (Elizabeth). In total, Elizabeth wears just three gowns, and Mary just two. What few dresses they do wear aren’t piled with jewels either. For Mary, who has been ruthlessly liberated from all earthly treasures and imprisoned for nearly 20 years when the play opens, bijoux simply aren’t an option. But even the all-powerful Elizabeth isn’t all rocked-out. Rather, for much of the first act, Ward lets a gown of Chinese brocade create the grandeur. “It’s like a gold medallion on a black duchesse satin,” he explains. “You get that notion of clusters of jewels, but in a rather simple way.”
As for the gents, Ward says he and director Phyllida Lloyd kicked around a few ideas before returning to those dapper suits (a mix of off-the-rack, custom, Versace and Sean John). “We wanted it to feel like a modern political play,” he says. “And having the men—or bureaucrats, I should say—dressed in suits, you really get the sense that they’re diplomats manipulating these two iconic women. But I’ve done it in a really lean way.”
In fact, the entire vibe is unexpectedly lean, from the wardrobe right down to the bare bones set. And after years of tricking-out such big Broadway productions as Gypsy and Oklahoma, Ward says he’s thrilled to be attached to this stark incarnation of German playwright Friedrich Schiller’s 1800 drama.
Which isn’t to say that he hasn’t been completely crazed, minimalist production notwithstanding. After all, he’s in charge of the entire visual presentation, not just the garb. “In England, we tend to do both,” he says. “In a way, you’re creating a three-dimensional painting.” Besides, he admits, his seamstress skills are a bit sub-par. “I couldn’t cut to save my life,” he says. “If it were left to me, everything would be falling apart.”
I absolutely love it! If you go to the site listed above you can also view his sketches (didn’t want to post them in case of copyright issues) enjoy!
It was absolutely amazing to see. The rain onstage made the scene all the more stunning!
Tonight I saw a production of blithe spirit (w/ angela lansbury very good show) and i noticed a detail on rupert everet’s characters costume that as a costumer made me giddy. In the picture below you may not be able to tell but, his character was mourning the death of his second wife and so he was in a dark suit and on his suit sleeves he wore black fabric bands. 
And this made me think of other mourning rituals that relate to dress that i find interesting. To take the most well known example: In the Victorian era following Prince Albert’s death, Queen Victoria wore her widow’s weeds for the long remainder of her life until 1901, when the Edwardian era began. Many who saw themselves as high society including those in the lower classes followed her example. The middle classes in particular, to remain in fashion. People would use black edged stationery, envelopes, notepaper and visiting cards. They tied little black or purple ribbons around dressing table bottles and the like and added similar purple or black ribbons even to the clothing of infants. Prayer books and bibles had to be bound in Black morocco leather and handkerchiefs edged in black.Women would even have social societies where they would meet and work on covering items in black fabric, black our jewelry, and also do black tattings. Men also could provide a visual key to their stage of mourning by how many folds their pocket squares held. 
but lets remember that lack of color is not the only way of showing mourning. In some asian cultures white is used to show mourning. In the jewish culture not only is color appropriated but also the texture of fabric is considered. Coarser fabrics rather than richer and softer luxurious fabric are prefered. I could go on about different cultures sicietal rules and rituals on funeral and mourning wear but instead here are some good references:
Fashionable Mourning Jewelry, Clothing, & Customs, by Mary Brett
Jet Jewellery and Ornaments by Helen Muller
The Victorian Celebration of Death by James Stevens Curl
Clothing Matters: Dress and Identity in India by Emma Tarlo
as always, when i am introduced to new sources i will add them in topics