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May. 28th, 2016

design

Millinery: Esparterie Resources Cont’d

After my prior post on resources for working with esparterie [1], some helpful milliners and scholars commented or PM’d me with two other titles of books which feature chapters or sections on the material.


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Madame Eva Ritcher's lovely author photo

The ABC of Millinery by Madame Eva Ritcher was published in 1950, and positions itself as an introductory handbook for “every woman” with an interest in learning millinery techniques. I absolutely adore the photography in this book—glamorous images of various hats created and modeled by the author, interspersed with detail shots of various techniques she describes in the book.

However, I’m not entirely convinced that Ritchie is using the word “sparterie” to describe the two-ply material composed of a layer of esparto and a layer of crinoline. Based on her description of it—a material sold in rolls, in both black and white—and the detail shots throughout the text, it appears that she’s using the term to refer to what I know as buckram: a single-ply woven material stiffened with starch. Nowhere does she mention the technique of skinned joins, nor does she discuss any precautions for avoiding damage to the esparto straw layer as in other references like the Denise Dreher book. And, in all of the detail shots, the material she’s using is clearly one-ply and looks to be standard buckram.

Ritcher's book has great illustrations and as a handbook for basic buckram structures, straw, and felt, it’s a solid resource with lovely period examples, but as an esparterie reference, it’s puzzling at best when taken alongside the other available information out there.



Hats on Heads: the Art of Creative Millinery by Mildred Anlezark was first published in 1965, but went through several reprinting in the 1990s. It’s clear that Anlezark is talking about a two-ply straw/cotton material in her book, because she gives an excellent descriptive definition of it in her “Materials” section, though she describes the straw layer as hemp instead of esparto, and cites it as coming from Hong Kong instead of Japan or Spain.

As the book contains no close-up photographs of the material Anzelark calls “willow,” I have no way to know whether the use of the word “hemp” is a misnomer (and thus what she’s talking about is similar to the vintage esparto-based willow I’ve acquired from the estate of Madame Sheeta), or if it’s a different esparterie substitute which is/was literally made from hemp instead of esparto grass.

Anlezark’s book has several sections which deal with using the material—Moulded Willow Brim, Willow Crown in Two Sections, Willow Breton, Willow Brims, Willow Pillbox, and Willow Whimsy. In none of them does she mention the skinned join technique, or any techniques which take advantage of the two-layer nature of the material such as the edge-wiring technique mentioned in the Denise Dreher text in which one cuts away some of the esparto layer but leaves the crinoline layer longer to encase the wire after attaching.

For the most part, Anlezark treats it like other one-ply foundation materials in terms of the methods described. The “Moulded Willow Brim” section is interesting for how it addresses creating a brim foundation with a rounded edge by folding the willow back on itself, but I’m not sold on her using the material in the most advantageous way to do this, because she doesn’t have you drop the wire inside the fold to obfuscate its presence when covering, and she doesn’t address techniques for grading the headsize opening when you’re working with four layers of material before you’ve even set your crown on.

There’s a lot of other information in this book on both structured and soft stitched hat styles in a range of materials, so it seems like a solid reference book in general, but IMO there are better references for working with esparterie/willow out there which cover a broader range of techniques specific to it as a medium.


Thank you so much to those who pointed me toward these and several prior-mentioned books: Dirk Seegmüller, Rachel Worboys, and leebee7.

I would love to hear from anyone else who knows of books in any language which feature information on working with this material. I feel certain there have to be some French resources i’ve yet to locate, and probably Spanish and Japanese as well. My goal is to wind up with a series of posts which are easily findable via online search-engines, evaluating and comparing primary source material on the subject of esparterie techniques.


[1] A.k.a. willow, spartre, sparterie, spatra, esparto-cloth…how many names does this stuff have? Geez. :)

May. 15th, 2016

mee

Madame Sheeta's Millinery Legacy - Resources for working with esparterie/spartre/willow

Esparteríe has long been a research interest of mine, pretty much ever since i heard about its existence in my very first millinery class (1992), but actively since I took the position of crafts artisan at PlayMakers Repertory Company and discovered the four sheets of it in the stock here. Now that our graduate program at UNC-Chapel Hill is the proud owner of 77 more, thanks to what i’ve begun to think of as the Madame Sheeta Legacy, I set about collecting the extant documentation i know of for working with it. That’s the subject of today’s post.

First, let’s take a look at written references, millinery manuals which address techniques for working with esparterie/willow/spartre/etc. You can find the term popping up in many glossaries of millinery materials, but if a reference only mentions its existence and features no additional information on working with it, i’ve put it aside. We know it was once a commonly used and beloved millinery material, but what about the HOW of its use?


The book i used as my guide back when i made the brim block from a portion of one of my sheets in 2010 was Denise Dreher’s From the Neck Up: An Illustrated Guide to Hatmaking. This book is also the required textbook for the graduate level course i teach in theatrical millinery at the University of North Carolina at Chapel Hill—it’s worth owning for many other reasons beyond its sections on esparterie, which she refers to exclusively by the term “willow.”

It’s clear that esparterie was already scarce when Dreher wrote her textbook, because she starts out advising milliners not to use it as a flat-pattern foundation material or as a blocking material, but to conserve it to use exclusively as a material shaped in the hand, free-form. She goes on to talk about the material’s properties and specific techniques for working with it—how to activate the willow with moisture/steam without damaging it, how to patch a damaged area, how to create a skinned join, how to wire an edge.

Specific instructional sections follow: Shaping the Sideband in Willow, Shaping the Tip in Willow, Shaping Narrow Brims in Willow, Shaping Wide Brims in Willow. She goes on to discuss both sizing and Spartalac as stabilizing products, though the information about Spartalac only serves to help a modern milliner conjecture as to what might serve as a good substitute, since that’s not a product one might run out and buy anymore.

All this information fills about five pages of her book (pages which are 8.5” x 11” in size and printed with two columns) and includes a few black-and-white photographs. Unfortunately, because the book is printed on essentially card stock, the quality of the images is not great. Nevertheless, if you have a sheet or few of esparterie and want to read up on it before working with it, Dreher’s book is a great reference.

Eve Borrett’s How to Make Hats is the second book i’ll mention. It features a 17-page chapter called “Tackling Esparterie and Shape Making.” Borrett essentially covers much of the same ground Denise Dreher does (and not as clearly), but i mention her book because it has an excellent hand-drawn diagram of a skinned join, which makes the process for it much clearer than simply relying on the description and fuzzed-out photography in the Dreher text.

A Textbook of Model Millinery by Ethel Langridge was a pearl of a find. It includes a ten-page chapter entitled “Esparterie Work, including Shape-Making,” full of detailed hand-drawn illustrations concerning a process called “taking the print” of a hat or a block. This involves using the esparterie (or as Langridge tends to call it, the spartre) to make a topographical copy of an existing hat or block, in order to create replicas of it or commission a wood block copy. The book includes a black-and-white photo printed on good-quality glossy paper depicting examples of these esparterie hat-prints. Langridge has stitched them in contrasting thread, as i have done in past posts, to better illustrate the type/size of stitches used in reinforcement sections. This is a technique i’m very excited to practice using the esparterie we acquired from Madame Sheeta’s estate, and be sure i’ll document it fully here.

In Studio Secrets: Millinery by Estelle Ramousse and Fabienne Gambrelle, there’s no specific technique documentation of esparterie work, but there are some beautiful, high-quality, full-color photographs of the surviving esparterie blocks in the studio of Madame Galanter, a Parisian milliner who’s been in business for decades.

There are also some photos of esparterie shapes in Paula Reed's biography Philip Treacy, which features text in both English and Italian. You can also see some of Treacy's esparterie block maquettes in two earlier blog posts of mine: Photoessay Part 1 of 2 - Philip Treacy's Hat Blocks, and Photoessay Part 2 of 2.

And, in L'arte di fare i cappelli by Anna Maria Nicolini there’s a chapter on esparterie work also written in both English and Italian. There’s not any new material there, but the bilingual nature of the book and its full-color photography make it worth a mention in this post as well. Milliners more comfortable with Italian than English would find it to be a good starting place for the basics, perhaps?

At one point, an Australian company called Ascot School of Millinery was offering a DVD of a master class in hand-formed esparterie, but they seem to have gone out of business or otherwise disappeared from the internet. All that remains is this preview video which has some spliced together fast-motion examples of the artisan working. If anyone reading has information on how to contact the folks at ASM to obtain a copy of the DVD in question, or owns a copy who might speak to its contents, please do drop a comment on this post!

Should you know of a reference book in any language which features well-documented instruction on working with esparterie/willow/spartre/espatra/etc., please do leave me a comment with the title and author name! I’d also love to see links to any other resources—photos, videos, etc. If you're hosting an upcoming workshop in working with esparterie (such as the one at Millinery Meetup 2016 with Jane Stoddart, please do also drop a comment!

Thanks to Dirk Seegmüller of Les Incroyables for his invaluable input in tracking down some of these sources.


ETA: Many thanks to milliner Rachael Worboys, who has drawn my attention to the book Hats on Heads: The Art of Creative Millinery, by Mildred Anlezark, with several sections on esparterie. This book was published in New South Wales, Australia, and i've requested it through Interlibrary Loan, so as soon as I receive that, i'll report back here my thoughts on how its contents compare to what i've already mentioned above!

May. 5th, 2016

mee

Museum of Science Fiction Replica #2: The Matrix

You may recall that last year, i wrote up our first costume replica project for the Museum of Science Fiction, the flight attendant costume from 2001: A Space Odyssey. Today i've got the next project installment to share, the Neo costume from 1999's The Matrix.

This one came about because a donor gave the museum a pair of Airwalk buckle boots which were purportedly used in the making of the film, and they wanted to create an exhibit around those boots, a display of the full costume look for the character of Neo (played by Keanu Reeves). Here's what we did:

First up, I created a Pinterest board for research images for the project, and rising second year grad student Erin Torkelson began to add specific screencaps to it, on top of all the extant imagery i found for the costume. Erin also worked with the folks at the Museum to set up a conference call with the film's costume designer, Kym Barrett, who generously took the time to talk with us about the original costumes. She gave us a lot of wonderful information about her concept for Neo's clothing, and also told us some fun facts, like that there were over 20 versions of the iconic Neo coat, made up in many different types of materials so that they would behave differently in various conditions--linen ones, wool ones, screenprinted ones, coats designed to be shot underwater, etc.

So ironically, our conundrum was, how do you make a replica of a costume for which there is no single costume to copy, something for which there were numerous iterations, all both identical and yet very different, and for which the icon itself doesn't exist other than as an impression in the mind of the viewer? (Isn't that so perfect, given the film in question?) So as we determined in our conversation with Kym, we were making a representation of the icon, a costume which anyone who walked into a room with it would know from 50' away: "That's the Neo costume from The Matrix."

We worked with a friend of mine, Katie Straker, who is an employee of Mood Fabrics, to swatch wools for the coat, and our assistant costume director, Jenn Guadagno, drafted the pattern for it following traditional tailoring methods. She then supervised its construction with a team of our graduate and undergraduate students serving as her first-hands and stitchers:

IMG_0818.JPG
Rising second year grad Michelle Bentley works on sewing the coat lining.

There's one close-up shot in the film where we thought we caught a glimpse of the digital drift imagery on the lining of the coat, and sure enough, when we asked Kym Barrett about it, she confirmed that that was true.

So using a still from the film, MFA '16 grad Erin Abbenante did the digital drift textile design you see here, which we had printed at Spoonflower.


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Rising third year grad Emily Plonski adjusts the capelet at the shoulder seam before the sleeves go in.


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Look how beautiful that turned out!


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Local news WRAL did a feature on us! Here they're filming rising third-year Max Hilsabeck working on the gun holsters, which were patterned and overseen by rising second-year Erin Torkelson.


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The donated boots were definitely not the ones worn by Keanu Reeves in the film--they were likely a stuntman or distance double or similar, because among other things they did not feature the iconic chainmail toecaps of Neo's boots, so famous from the giant closeup shot in the film. MOSF wanted theirs to have that aesthetic element though, so above you see a sheet of chainmail and the boot in question.


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Here's the finished toes! I worked on these with rising third year grad Emily Plonski and rising second year Robin Ankerich.



UNC undergraduate Glennda Campbell sewing one of our custom printed MOSF labels into the completed coat


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Obligatory mirror selfie with Neo in the PlayMakers Repertory Company fitting room. When the WRAL camera crew looked at him and said "It's like he looks MORE real than the one in the movie," I knew we'd succeeded.

You can see this costume debut on display at the upcoming MOSF extravaganza, Escape Velocity, coming to DC In July!

Apr. 24th, 2016

frippery

Madame Sheeta's Millinery Legacy - Part One

Back in 2010, i wrote a post in this blog about making a brim block out of esparterie, the rarest millinery material out there. At the time, i had four vintage-1950s sheets of it, which i had found in the bottom of a drawer upon beginning my job at PlayMakers Repertory Company and UNC-Chapel Hill. Because esparterie (aka willow, spartre, esparta, sparterie, espatra, etc.) is so rare, that comprised the one and only time i'd worked with it. I'd also provided a portion of a piece to one graduate student once who wanted to form a top-hat sideband with it as part of my millinery class.

Then, a couple weeks ago, thanks to that post, I was contacted by a woman whose dear friend had passed away; she'd been a milliner in the 1940s and 50s. Was i interested in acquiring 77 sheets of esparterie in nearly-new condition, salvaged from this milliner's studio?

After i stopped jumping up and down and freaking out, i composed a grateful reply and--to make a long story short--the deal was made. The willow arrived and this marks the first of several posts i'll be making regarding it and Madame Sheeta, the talented milliner whose legacy now includes the preservation of the art of esparterie in academic and theatrical millinery practice. I intend to document my own use of the material, that of my future students, any workshops i might conduct with it, and to write about this extraordinary woman herself, to whom I owe this amazing good fortune. (An interview with Madame Sheeta's friend and former millinery student is in the works.)

Before i proceed here, too, i should say that this esparterie is not for resale. It was provided to us as a tribute to Madame Sheeta, and is to be used for theatrical and educational purposes only. My millinery students will have the opportunity to work with it, and if we host any future workshops with it which might be open to more general enrollment, i will post about that here in labricoleuse first.

For now, though, I'm starting out by writing about the material from an investigative standpoint, to document techniques for others who might acquire or currently possess sheets of it on their own recognizance. Inevitably when i talk to fellow milliners about esparterie, there are a few folks who say they have a sheet (or five, or a dozen) but are waiting to use it, or afraid to use it because it's so rare. And friends, I HEAR YOU. Back when i made my block in 2010 with it, i was terrified. It was worse than cutting into a piece of $500/yd lace because of the rarity of the material. A mistake with esparterie isn't just costly, it might be irreparable. Now though, i have the luxury to experiment. I can practice with it. I can learn from the material, and i can document it here.

There aren't many sources of information on working with esparterie, but so far, the best one i've found is Denise Dreher's From the Neck Up: An Illustrated Guide to Hatmaking. Dreher and others (Eva Borrett's How to Make Hats and Ethel Langridge's Textbook of Model Millinery) talk about the technique of the "skinned join," which i mentioned in passing back in 2010 and which is what i'm writing about today. These writers all suggest that you practice your skinned joins with scraps...but who has scraps of willow? [1]

Well, i can tell you that if you want to practice a skinned join but don't want to use your actual esparterie to do it, you can spray-starch a layer of lightweight buckram (the kind you get at JoAnn's or Hancock Fabrics) to a layer of raffia cloth or sinamay or toyo or similar straight-weave straw, then use that. It will give you a similar experience in the practicing, that you can then feel confident about when making a skinned join in actual willow.

Here's some visuals for what makes a skinned join:



I started with a 2.5" bias strip of esparterie, which i misted with an atomizer of water and wiped with a damp cloth on the esparto side, to moisten the material. Then i carefully separated the crinoline from the esparto on either side of my join, as above.



Here you see what's going to be my overlap for the skinned join. The crinoline layer is pulled back on each side, and i'm about to stab-stitch through the two layers of esparto, backstitching for strength. Once you do that...


...you smooth the crinoline layers back down over top of your stitching (here i did it in black thread so you could see it, because this is meant as a teaching tool). In this way, you wind up with a really smooth join.


A few more bonus images...


Box of esparterie when i first opened it.


These 30 coils of millinery wire were included in the box! What a wonderful acquisition.


Madame Sheeta in the 1940s, making a wire-frame headdress for the Sheffield Pageant.
Isn't she inspirationally fabulous?!


That's it for now. As i said, this is to be the first in a series, with future installments to include using esparterie to do something called "taking a print," forming esparterie in the hand, and a biographical profile of the extraordinary Madame Sheeta.


[1] I realize there's "paper esparterie" coming out of Japan now, and i admit i haven't worked with it, so it may or may not compare to the old-style esparterie in which one layer is crinoline and the second is esparto grass.

Apr. 1st, 2016

mee

digital textile design for Mrs Lovett

In Bill Brewer's designs for Mrs. Lovett in Sweeney Todd, her second look has a very specific stripe to it. He'd found a swatch of fabric at a New York vendor which he loved, but there were two problems: the vendor sold out of the fabric before the swatches were approved, and in order to match the fabric up the center front in this inverse chevron, one half of the skirt would have had to be cut inverted, which creates a visual anomaly in textiles with satin weaves.


Concept slide and design rendering by Bill Brewer


Image of silk yardage - the fabric we couldn't buy

In order to achieve this look, my assistant and first-year grad student Erin Torkelson took the above research image of the fabric Bill liked, rendered the stripe as a TIFF, and uploaded it to Spoonflower. We ordered sample swatches of it in a couple different substrate fabrics and Bill chose the fabric he liked best (the poly satin). He also elected to change the stripe to feature more whitespace. Then, because the stripe design is not a balanced mirror of itself, we had two versions of the stripe printed so that the skirt could be cut with that matching chevron up the front with the directional nap accommodated for.

Lovett Stripe
Lovett Stripe Reversed

Pretty cool, eh?

Mar. 29th, 2016

mee

Faceted masquerade masks for Sweeney Todd

We're working on Sweeney Todd at PlayMakers right now, which is largely why i haven't posted anything in a while. Busy! But here's a quick look at just one of the many cool costume projects we've had in-house: the animal.masks for the masquerade scene.

Our costume designer, Bill Brewer, and our director, Jen Wineman, were really drawn to the mask designs of an artist named Steve Wintercroft. Wintercroft creates masks which look like the faceted shapes of 3D digital character designs before they have their "skins"--shapes reduced to planes. When i saw the images, i was so excited about the look of that scene and i couldn't wait to start work on them. For the scene, we would need a total of thirteen different masks, so my concern was how we could make this quantity of masks from something durable enough to survive a 25-show run, but which we could produce in under a month, alongside all the other craftwork i needed to stay on top of.

Wintercroft sells his designs as PDFs on Etsy, so Bill chose 13 masks he liked and we bought the patterns. Upon looking at the structures of the masks (which based on the instructions are intended to be printed on paper or cardstock and glued together for parties or children's play) and considering how we might adapt them to our needs, i came up with our process plan:



This spreadsheet was how we kept track of the project. With 12 different processes happening to 13 different masks, you have to devise good record-keeping strategies! (This pic was taken when we were close to being done, clearly.)
I printed the patterns off onto heavy cardstock, and then several undergraduates got trained on the industrial heat press, which they used in backing the cardstock with a heavy-weight fusible non-woven felt (think Pellon). Since each mask was between 10 and 20 pages worth of cardstock, this took a few hourrs. Then my assistant, first-year graduate student Erin Torkelson, began to cut these things out and assemble them.



Erin used Fabric-Tac in a curved-tip syringe to apply the glue to the tabs of each piece.


Clamps and clips secured each join while the adhesive cured.


Once the masks were in 3D form, we painted them with two coats of gesso and a sealer called Sculpt-or-Coat, inside and out, for stability. We also reinforced some of the joins around eyeholes and ears/mouths with papier-mache.


Several more in progress...


Then all the masks were painted with grey acrylic, except the Minotaur for the character of the Judge (top row right, hiding behind the Boar), which was painted deep red to match his costume.


Then, the masks were fit on the performers, interior padding constructed and added in, and now they're off to tech rehearsal to be waltzed in!

If you want to follow these kinds of projects in real-time, find me on Instagram or Twitter.

Feb. 16th, 2016

design

Book review: Queen of the Night by Alexander Chee


Winterhalter's 1865 portrait of Empress Elizabeth of Austria
in a gown by Charles Worth and diamond star ornaments dressed into her hair

While book reviews are a fairly common feature in La Bricoleuse, i should preface this one with a bit of a caveat, because it’s highly irregular that the subject of such a review would be a novel. The book features have typically addressed nonfiction of a costume-related bent, such as Shoes: An Illustrate History by Rebecca Shawcross or The Spoonflower Handbook.

However, it is for entirely topical reasons that I draw your attention to Alexander Chee’s new release, Queen of the Night.


I was perhaps predisposed to pick up this novel—it is set in a place and time (Paris during the Second Empire/Third Republic) which are among my pet research topics and follows the tumultuous career of an operatic soprano. As I’ve worked as a costumer for companies like the LA Opera, i’m intrigued by opera history and familiar with its canon, and i do love the soaring drama of those storylines. And, well do i know that historically, the lives of opera singers often might well be the plot lines of operas themselves—the tragic death of La Malibran, for example, or the dramatic onstage shattering of Cornélie Falcon’s voice.

But whether you have any familiarity with opera or not, if you enjoy the focus of this blog, you ought to grab a copy of this book and check it out, and here’s why: costume and couture of the period is a significant thematic element. From the Parisian ateliers of Worth and Félix [1] to the subterranean storehouse of Empress Eugénie’s fur collection, there’s so much to love for the costume academic or enthusiast.

For example, when was the last time you read a contemporary historical novel in which an author acknowledged the fact that women dressed wiglets and switches into their hair when creating elaborate hairstyles? Given the general flimsiness of women’s silk slippers for society parties, you’ll appreciate Chee’s tip of the hat to special pairs of cancan boots—wooden heeled, leather uppers—transgressively structured footwear made for stamping and kicking all night. And when you hit the section in which a courtesan advises her protegée on the conversion of various types of jewelry into ready money, if you’re of my nitpicky mindset, you’ll love to see that type of information codified on the page.

In fact, clothing is often a sticking point for me in terms of the enjoyment of historical fiction—even moreso than the snark the ladies of Frock Flicks dish on with respect to film/TV—because in fiction, you have no limitations on budget and shooting schedule, nor must you contend with petulant A-list talent who insist on choosing their own jankity clothes, history be damned. There is quite literally NO REASON why an author of a novel should get the details of fashion so deeply wrong, but (speaking as someone who once put down a book in disgust when the protagonist pulled a corset off over her head like a tee-shirt) it happens. Often.

So i felt like metaphorically high-fiving Chee from the moment his narrator began to describe a custom dressform in the Worth atelier as essential to the sartorial panache of an arriviste. I loved the way at one point Chee detailed the embroidery techniques designed to hide structural seamlines on the bodice of a gown, and i wished i had a colleague reading along with me to share my thumbs-ups when he mentioned in passing the stitching of weights into the hems of voluminous skirts to influence their motion in performance. In fact, with that in mind, this would be a fantastic discussion book for a group of costumers, and an excellent audiobook to listen to while, say, tatting, pad-stitching, or tambour-beading.

And yet, i don't wish to imply that the story is merely an excuse for pornagraphically-intricate fashion descriptions--these sorts of details are seamlessly incorporated into the writing, the same as any other bit of scene-setting. It all exists in there to serve the plot, which brings me to...well, the plot in all its glorious sprawl.

I’ve read some criticism of the implausibility of the characters’ lives in a few traditional book-review marketplaces. I would argue that they are perhaps implausible to those with no familiarity with the memoirs of mid-19th-century demimondaines, courtesans, and opera singers; but scholars of those women’s lives, however, will discern the inspiration of real people and events throughout Queen of the Night. I don’t just mean the obvious ones—Napoleon III and his appetite for mistresses or Pauline Viardot-García and her “two husbands”—but the cameos of or tributes to lesser-known filles de joie like Cora Pearl, La Païva, and Mogador, too.


Should you feel the need to read a more traditional review before taking on a novel just for the clothing descriptions, take a pass through Ilana Masad's review on Electric Literature. It provides a good overview of the epic, circuitous story. You don’t need to be a fan of opera to follow along (Chee often synopsizes the storylines of the operas which feature in the soprano’s career) but if you are, you will recognize that the novel itself follows operatic tropes of melodrama and tragedy.

Like many operas, it’s long—over 500 pages—and it does shift around in time and place, so if you prefer your novels to have linear plots in which A leads to B which is followed by C, you’ll struggle. Me, i love a complex puzzle box of a book, and Alexander Chee’s Queen of the Night is one i’ll return to again, much like a favorite libretto or score.


[1] If you're a fan of Worth but Maison Félix doesn't ring a bell, check out this great feature on the FIDM blog with loads of droolworthy images!

Feb. 5th, 2016

mee

Mask class projects!

My grad students in Masks and Armor this semester have just presented their first round of projects. At this point, we've covered a range of different maskmaking media, and the students have proposed basic mask projects for which they may choose which type of media to use. These masks are meant to be fairly simple, in that they don't require a life cast or any full-head structural elements.

Check out what they made!




Fosshape/buckram/kanakelon Noh theatre mask by first year grad Michelle Bentley



Wonderflex mask by first year grad Robin Ankerich


Wonderflex Scandinavian mask by second year grad Max Hilsabeck


Embroidered textile mache mask by first year grad Erin Torkelson


Wonderflex/TerraFlex Witch King mask/helm by second year grad Emily Plonski


Hardened leather maquette and full size Bioshock mask by PlayMakers Repertory Company stock supervisor Alex Ruba

Jan. 27th, 2016

mee

3D printed St. Stanislaus medal

For our current production of Three Sisters at PlayMakers Repertory Company, we had to make the Order of St. Stanislaus medal for the character of Kulyegin.

Our costume designer, Tracy Christiansen, provided me with this great research image of what the medal looks like:

Read more...Collapse )
I did the manip using Photoshop and Tinkercad, and you can grab the file off of Thingiverse, here, if you want one of your own!

Jan. 16th, 2016

safety

Book review: Fashion Victims - The Dangers of Dress Past and Present

I recently finished reading the excellent new book from fashion historian Alison Matthews Davis, Fashion Victims - The Dangers of Dress Past and Present, and my advice to the readership of this blog is, in short, get your hands on a copy. It's fantastic.

I'm not sure which came first, he book or the eponymous exhibit which ran at the Bata Shoe Museum in Toronto recently--the book is much more than an exhibit catalogue, though it does contain a substantial number of illustrations (129 full color ones!). So perhaps the book begat the exhibit? Regardless, it's an imminently readable volume, hardcover, full-color, a coffeetable book of sorts, well worth the $40 retail price. I'll defer to a quote from the press release for an excellent summary:

A boldly gory and thoroughly illustrated history of death by clothing, from blazing crinolines to mercury-laden fur.

As a major proponent of safe work practices and an instructor who incorporates OSHA/EHS compliance topics into my classes, i found this book at turns fascinating, heartbreaking, gruesome, inspiring, and at times downright disturbing. Yes, the example cases mentioned within are sometimes horrible on their own, but more horrifying are the bits where the author discusses having lab techs at her university run tests on modern-day products easily bought in stores in your own neighborhood--lead content in lipsticks, for example, or radioactive metal used to ornament imported studded belts.

The book is structured so that each chapter focuses on a different class of danger--there's a chapter devoted to the hazards of the hatting industry, then one on flammable tutu net and flannelette, etc. As a sometime-hatmaker, the hatting chapter was particularly sad--one illustration showed examples of hatters' legible signatures as young apprentices contrasted with the unreadable trembling scribbles they signed with after a decade in the trade.

I highly recommend the book in general, but it's a particularly significant read and reference volume for those working in costume archives and in vintage clothing houses, as well as those in academia with study collections or large stocks of antique/vintage clothing.
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