All Dressed Up with Someplace to Go: Costumes |
CHAPTER
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IN THIS CHAPTER
This chapter is all about costumes. Now you may be thinking, “How can costumes use new technology?” Many of the new technologies that costume designers and shops use is not in the actual costumes, but in how they get built. Patterning software has had huge developments recently. Let’s get started.
Interesting Quote:
It’s always a group effort.… I develop the designs by working with the director and choreographer and, if there is one, a live author. That’s how it all begins. And then you get to the actor, and they bring in their elements. It’s like cooking! I feel like Julia Child sometimes!
—William Ivey Long
The costume designer will provide the shop with costume sketches. There will be one sketch per costume or character. Each sketch should show a front and back detail as well as accessories and fabric swatches. This is the first chance the shop will have to see what they are about to build. Usually the entire show’s renderings will be posted on a wall so that everyone can reference them as needed throughout the entire process.
FABRICS
One of the first choices a costume designer will make is with regards to fabric. There are so many fabrics available today. There are also many techniques that can add additional design, texture, or color to a fabric. Let’s break it down into natural fabrics versus synthetic fabrics.
Natural fabrics can be divided into four basic categories: wool, cotton, silk, and linen. Wool fabric often brings to mind cozy warmth or being scratchy and itchy. The second one gives some people the idea that they are “allergic” to wool. Wool fiber comes from a variety of different animal coats and not all wools are scratchy. Some are even extremely soft.
FIG. 12.1
Campbell Baird’s costume sketches for a production of Carousel, mounted on a wall in the costume shop at Muhlenberg College.
The wool fibers have crimps or curls natural to the animals that create pockets, making the fabric feel spongy. This also creates a warm insulation for the wearer. Wool can absorb up to 30 percent of its weight in moisture, either from rain, snow, or perspiration, without feeling damp. All of these traits combine to make wool the most popular fabric for tailoring fine garments. Wool is also dirt resistant, flame resistant, and, in many weaves, resists wear and tearing.
Cotton is often thought of as cool, soft, and comfortable. The cotton fiber is from the cotton plant’s seedpod. The fiber is hollow in the center and under a microscope looks like a twisted ribbon. This fiber absorbs and releases perspiration quickly, thus allowing the fabric to “breathe.” “Absorbent” cotton will retain 24–27 times its own weight in water and is stronger when wet than dry. Cotton can stand high temperatures and takes dyes easily, which is often important in theatrical design. Chlorine bleach can be used to restore white garments to a clear white but this bleach may yellow chemically finished cottons or remove color in dyed cottons.
Silk is the fabric that has its own reputation. When you hear the word “silk,” what do you visualize? No other fabric generates quite the same reaction. Silk is a natural protein fiber taken from the cocoon of the silkworm. For centuries silk has had a reputation as a luxurious and sensuous fabric, one associated with wealth and success. Silk is one of the oldest textile fibers known to man. Silk absorbs moisture, which makes it cool in the summer and warm in the winter. Because of its high absorbency, it is easily dyed in many deep colors. Silk retains its shape, drapes well, caresses the figure, and shimmers with a luster all its own.
FIG. 12.2
Two of Campbell Baird’s costume sketches for a production of Carousel.
Linen is often confused with cotton, or at least being made of some part of the cotton plant. Linen is actually made from flax, or more specifically a fiber taken from the stalk of the plant. It has a natural luster from the inherent wax content. It is an elegant, beautiful, durable, and refined luxury fabric. Linen is the strongest of the vegetable fibers and has two to three times the strength of cotton. Not only is linen strong, it is also very smooth. It is highly absorbent and a good conductor of heat like most natural fibers. Linen is naturally off-white or tan. It can be easily dyed and the color does not fade when washed.
Synthetic fibers are a whole different category. Synthetics are the result of extensive research by scientists to improve upon naturally occurring animal and plant fibers. Before synthetic fibers were developed, artificial (manufactured) fibers were made from cellulose, which comes from plants. All of these developments happened during times of war. As certain materials were rationed, these developments were necessary to our culture. Rayon, acetate, nylon, and polyester are just a few of the synthetics we’ll discuss.
FIG. 12.3
Othello, as produced by the Shakespeare Theatre Company in 2005. Avery Brooks as Othello; Director, Michael Kahn.
FIG. 12.4
Othello, as produced by the Shakespeare Theatre Company in 2005. Avery Brooks as Othello and Colleen Delany as Desdemona; Director, Michael Kahn.
The Island at the End of the World
Creating the Tropical Setting of Broadway’s New South Pacific David Barbour
The production moves from words to music to action: The show begins on the terrace of Emile de Becque, the French planter who has quickly fallen in love with Nellie Forbush. To modern eyes, it’s an unusual opening for a musical, as it features long stretches of dialogue, along with four songs and a reprise.
It also establishes the characters—Nellie, the “cock-eyed optimist” from Oklahoma, whose life has been shaped by conventional values (Kelli O’Hara), and Emile, a fugitive from justice in France who has built a world of his own on the island (the opera singer Paulo Szot). The scene also establishes the deep mutual sympathy that exists between them.
The façade of the terrace is located downstage, near the proscenium; it is seen behind a wall of transparent bamboo blinds. (The show is framed in a proscenium made of bamboo blinds, as well.) “I found a lot of photo research, from National Geographic from the 1940s, for Emile’s house,” says Yeargan. “There are a lot of books about plantation houses in Indonesia; I liked one that featured very French fanlight windows [a detail seen in the façade’s three doorways]. In Michener’s book, the house is described as a kind of pavilion, but I did a façade. It’s a great place to show the French influence on the island.”
The scene ends with Emile’s tentative proposal of marriage; the action then switches to a nearby beach. The tone switches, too, with the introduction of the Seabees who populate the island, a group led by the wheeling-and-dealing Luther Billis (Danny Burstein); they raucously pay tribute to Bloody Mary (Loretta Ables Sayre), the middle-aged native who runs a lively business in grass skirts and shrunken heads. Visually, it’s an enormous transformation; the basic setting takes advantage of the full depth of the Beaumont stage, creating a vast expanse that stretches to the horizon line. The only detail is a single palm tree. It’s a big, but spare, look that goes a long way to establish the locale’s exotic nature.
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(Source: Originally published in Lighting & Sound America, June 2008.)
Let’s start with rayon. Rayon, introduced in 1910, is a very versatile fiber and has many of the same comfort properties as natural fibers. It can imitate the feel and texture of silk, wool, cotton, and linen. The fibers are easily dyed in a wide range of colors. Rayon fabrics are soft, smooth, cool, comfortable, and highly absorbent, but they do not insulate body heat, making them ideal for use in hot and humid climates.
Acetate, introduced in 1934, is low in cost and has good draping qualities. Acetate is used in fabrics such as satins, brocades, and taffetas to accentuate the fabric’s luster, body, drape, and beauty. It is soft, smooth, dry, and crisp. It breathes, wicking away moisture and drying quickly, but offers no heat retention. Acetate is an environmentally friendly fabric as it is made from wood pulp of reforested trees. Deep brilliant color shades are possible through dyeing.
Nylon, introduced in 1935, has the ability to be very lustrous, semilustrous, or dull. Nylon was intended to be a synthetic replacement for silk and substituted for it in many different products after silk became scarce during World War II. It replaced silk in military applications such as parachutes and flak vests, and was used in many types of vehicle tires. Nylon fibers are used in a great many applications, including fabrics, bridal veils, carpets, musical strings, and rope.
Lastly, there is polyester. Polyesters are the most widely used man-made fiber in the world. Polyester fabrics are used in consumer apparel and home furnishings such as bed sheets, bedspreads, curtains, and draperies. Polyester fiberfill is also used to stuff pillows, comforters, and cushion padding. Polyester fabrics can have a “less natural” feel when compared to similarly woven fabrics made from natural fibers. However, polyester fabrics may exhibit other advantages over natural fabrics, such as improved wrinkle and stain resistance. As a result, polyester fibers are sometimes spun together with natural fibers to produce a cloth with blended properties.
So as you can see before we even talk about color and pattern of fabric, there are a lot of choices to consider. What type of fabric properties are you looking for? This is a major question to be answered before you ever go shopping for fabric. And shopping might not be as much of an option depending on the costume shop’s in-house stock. Most fabrics will need to be prewashed before you cut and assemble them into a garment. This allows them to preshrink before fabrication, which basically means your sizing will be, and remain, more accurate.
TOOLS AND ACCESSORIES
Let’s talk about basic tools for a little bit. There are many small tools and a few bigger tools. The smaller tools are something that most costume shop workers will carry with them from job to job. Once you develop a preference for a specific pair of scissors, you won’t leave home without them. So here goes.
FIG. 12.5
A variety of fabric choices.
Tape measures are a very important part of the costume shop. These are similar in concept to the scenic tape measures, yet different in fabrication. Huh? Well, basically, they are a soft, flexible tape measure. People are soft and have curves, wood doesn’t.
Once you have the measurements, you work with a pattern. You will either be working with an existing pattern, creating your own, or some mixture of the two. If you have a pattern, it will give you each piece of the finished garment separately, so that you can lay them out on fabric to begin cutting.
FIG. 12.6
Organized swatch books of all in-house fabrics listing amount of yardage available.
FIG. 12.7
Tape measure.
If you are creating a pattern from scratch, you will most likely use a sloper. A sloper is a basic pattern shape in a variety of sizes. Slopers come in many different pattern shapes. They help you to get started with a custom pattern by letting you more easily fit the pattern pieces together as you are making adjustments. As you make these adjustments, a patterning template will help you to ease the transitions between pieces.
Next up are pins. This may seem obvious, but there are many different kinds of pins— some with different purposes and some that are different just by preference. A pincushion holds the pins all in one place. It is usually a soft, stuffed shape that you stick the pins into. The coolest thing I’ve seen in a long time is the magnetic pincushion. It’s sort of obvious how it works, but wow! What a great idea.
Once the pattern is created and pinned to the fabric, you get to cut it out. Scissors are not new to us, but the scissors you use for fabric are much different. Sewing scissors are usually much more expensive than regular scissors because they are made to be adjustable and sharpened as required. Cutting paper will dull a scissors’ blade faster than anything else I know of. Never let anyone use your sewing scissors to cut anything other than fabric.
FIG. 12.8
Sloper.
FIG. 12.9
Patterning template.
FIG. 12.10
Magnetic pincushion.
Continuing in some sort of semilogical order, let’s talk about thread. There are almost as many types as there are colors. Thread comes in cotton, rayon, polyester, silk, etc. You get the idea. And the colors are endless. Many different manufacturers all have their own color list. You can get almost any kind of thread in any color you can think of. The important part of choosing a specific thread is to know what you will be sewing so that you make sure to match the thread’s properties to the fabrics.
Buttons, zippers, lace, appliqués, and all sorts of other accessories will complete the costume and make it truly unique. These are some of the hardest items to find when you are looking for something very specific. Most shops will have a stock of accessories, just waiting for the right costume. It is important to store these items in a safe and organized way. If you can’t find them when the time comes, they are useless.
FIG. 12.11
Scissors.
Seam rippers are almost as important as any other tool. Once you have sewn anywhere from a single seam to a whole garment, there will always be times when you need to open up a seam. Changes happen. The seam ripper is your best tool for this since it is specifically designed for it. If you try to open a seam with a pair of scissors you will have a better shot at cutting the fabric than just removing the thread.
Once the garment is made, you will need to fit it. Tailor’s chalk is perfect for marking where you will need to adjust the fit. Of course you can also chalk to make markings before you cut and assemble. The reason tailor’s chalk is so good for this purpose is that when you no longer need the markings, the chalk can be brushed away without leaving any residue. During fittings it is much faster to mark a garment with chalk than to have an actor stand there while you insert pin after pin.
FIG. 12.12
Various thread spools.
FIG. 12.13
Buttons.
FIG. 12.14
More buttons.
FIG. 12.15
Lots of other accessories neatly stored and ready for use.
FIG. 12.16
Seam ripper.
FIG. 12.17
A seam ripper being used to open a buttonhole.
While we’re on the subject of chalk, a great use for it is to mark a hem during a fitting. The problem with hems, especially full ones, is that it is very difficult to get them even. This is even more of an issue if a skirt will be bustled. There is no way to mark the hem unless it is on the actress. Enter Mr. Puffy! Mr. Puffy is basically the chalk line of costume design. Tailor’s chalk, ground to a powder, is put into a small container with a very focused spout. There is a hose attached to the container controlled by a squeeze ball. The whole thing is mounted on a stand that is measured and marked so you know how high it is off the ground. Squeeze the ball and POOF!, your hemline is marked. I’m sure Mr. Puffy has another name, but this is the only name I’ve ever heard him called.
FIG. 12.18
Chalk comes in a variety of colors so you can easily use the color that will show up best on the fabric.
FIG. 12.19
Mr. Puffy.
Useless Factoid: Tripping
If an actress trips on the hem of her dress, she should pick it up and kiss the hem for good luck.
MEASUREMENTS
Now that we have the basic small tools covered, let’s talk for a minute about measurements. The actors must all be measured. Do not take their word for it that they are a certain size, dimension, or weight. First off, most people don’t know how to properly measure themselves for the purpose of making clothing. Secondly, we all have our own idea of what our body looks like. Just because you can squeeze into a size six pair of jeans without being able to breathe or sit down, doesn’t mean they fit! Men’s and women’s measurements are taken slightly differently. Let’s go into them one at a time.
FIG. 12.20
Mr. Puffy in use to mark a hemline.
WOMEN’S MEASUREMENT INSTRUCTIONS
Bust: The fullest point of the bust, under the arms and around the widest part of the back.
Chest: Just below the bust measurement, usually corresponds to bra size.
Waistline: The natural waistline is the narrowest part of the body. Firmly measure with your fingers on the outside of the tape.
Outer leg: From the waistline to the anklebone.
High hip: Measure around the high point of the hip bones, usually 3 to 4 inches below the waistline.
Bodice front: From the nape of the neck, down over the bust and to the bottom edge of the waistline. (The nape is where the neck turns toward the shoulder.)
Height: In bare feet, measure from the top of the head to the bottom of the feet.
Weight: Use an accurate scale, and remember all of this information is confidential!
Shoe size: Wide or narrow, plus size.
Head size: Measure around the forehead holding the tape taut.
MEN’S MEASUREMENT INSTRUCTIONS
Chest: Measure the widest part of the chest just below the armpits and around the back.
Waistline: Measure the circumference of the waist. If the actor wears his pants at or below the waist, indicate the distance from his navel and in which direction (below or above).
Outer leg: Measure from the waist down to the anklebone. Inner leg: Measure from the crotch down to the anklebone.
Crotch length: Measure from the waistline at the center back all the way around to the waistline at the center front.
Back width: Measure across the broadest part of the back from armpit to armpit.
Neck: Measure comfortably around the base of the neck. The actor should be able to move his neck and swallow.
Shoulder: Measure from the base of the neck to the outermost point of the shoulder.
Arm: With arms slightly bent, measure from the outermost point of the shoulder down to the wrist bone bump.
Height: In bare feet, measure from the top of the head to the bottom of the feet.
Weight: Use an accurate scale, and remember all of this information is confidential!
Shoe size: Wide or narrow, plus size.
Head size: Measure around the forehead holding the tape taut.
Once the actors have been measured, the next step is to keep track of which actors/ characters are wearing which costume pieces and accessories. Yup, this means more paperwork and yet another form. Small accessories can get lost so easily that tracking their use is very important.
Also, every character should have an accessory bag. This is not an item you buy. Costume shops usually make them between shows using leftover muslin. A hanger is sewn into the top of the bag and a series of pockets are created down below. This allows the accessory bag to hang with the actor’s costumes. It keeps everything in one place, which means fewer crises before the show, and easier maintenance after the show.
At one time, the cutter and draper were two separate positions in the costume shop. More and more these days, the positions have been combined. Originally, the cutter was a person who used patterns, or created patterns, and then cut the pattern from the fabric. Originally the draper was a person who, instead of using a pattern, created a design by draping the fabric onto the actor. Then marks and pinning would happen to define where the fabric needed to be stitched. This was all done on the actor, and with no pattern. Obviously this was very specific to the actor’s body. Certain designs still call for this, but not near as much as there used to be. So gradually the two positions were combined.
Interesting Quote:
The lighting can make it or break it. You pick a color and you think, “This is going to be great!” And then you get it on stage and you think, “Oh, my, what was I thinking?” Black costumes are a particular problem, due to the many colors and multistep process used to dye the cloth. Certain lights, particularly lavender tints, can pierce through black dye to reveal other colors that had been on the fabric before, ruining the effect. You have to do lots of color testing, but the whole process is “fun.”
—William Ivey Long
FIG. 12.21
Form to use when taking down women’s measurements.
FIG. 12.22
Form to use when taking down men’s measurements.
FIG. 12.23
Women’s tracking form.
FIG. 12.24
Men’s tracking form.
FIG. 12.25
Bag for accessories. These are a great way to keep everything for a character together.
FIG. 12.26
Sewing machine set up for regular stitching.
SEWING
It is now time to begin sewing. Finally. Who knew there was all this work to do before you could even stitch your first stitch? OK, so there are many different kinds of sewing machines. There are lots of manufacturers; some are simple and straightforward while others are more complicated and have specialty things they do like embroidery. If a costume shop has several sewing machines, they will most likely set each one up for a different task. One might be for straight sewing, while another is set up to only create buttonholes.
There is a stitch called overlocking that we should discuss. If you happen to be wearing a T-shirt, turn it inside out and look at the seam … most likely it was seamed with an overlock stitch. This stitch sews over the edge of one or two pieces of cloth for edging, hemming, or seaming. Usually an overlock sewing machine, or serger, will cut the edges of the cloth as they are fed through, though some are made without cutters. The inclusion of automated cutters allows sergers to create finished seams easily and quickly. A serger differs from a regular sewing machine in that it utilizes loopers fed by multiple thread cones rather than a bobbin. Loopers serve to create thread loops that pass from the needle thread to the edges of the fabric so that the edges of the fabric are contained within the seam. Overlock stitches are extremely versatile, as they can be used for decoration, reinforcement, or construction.
Let me back up for a second. In extremely complicated costumes, a test garment will be made out of muslin. The whole process of patterning, cut, sewing, and fitting is still done. Muslin is a fabric that is relatively inexpensive. Once the garment has been fitted to the actor, the muslin will be taken apart and the pieces will be used to make the real costume out of the real fabric.
OK, so … fittings. Once you’ve sewn the costume, or at least a part of the costume, you will schedule a fitting with the actor. The main purpose at this time is to have the actor try on the pieces that are ready and see how they fit. The costume designer will be on hand to oversee all of this, especially for the principal characters. This is also a time when the designer may work out any accessories or decorative items that may be needed. Be ready to help the actor get into the costume, and also take lots of notes!
FIG. 12.27
Sewing machine set up for buttonholes.
Take a look at the following sequence of photos to see how a period costume is tried on in stages. The fit is checked at each step along the way.
Once the costume has been fitted to the actor, much of the trim work can be positioned with the aid of a mannequin, and without the actor. This saves the actor time away from rehearsal, and allows the shop to keep working on several projects with mannequins simultaneously.
FIG. 12.28
Serger with three loopers.
FIG. 12.29
Serger seam close up.
FIG. 12.30
Hedda Gabler, as produced by NYU’s Tisch School of the Arts, Department of Graduate Acting and Department of Design for Stage and Film. Director, Cigdem Onat; Scenic Designer, Veronica Ferre; Costume Designer, Sarah Greene; and Lighting Designer, Dan Sheehan.
FIG. 12.31
Fitting a corset.
FIG. 12.32
Trying on a bum roll.
FIG. 12.33
Fitting an underskirt and bustle.
FIG. 12.34
Adding in the skirt and scarf.
FIG. 12.35
Blouse and decoration.
FIG. 12.36
Bustle detail.
FIG. 12.37
Pinning trim is the time when the exact placement is determined.
FIG. 12.38
Pinning ruffle.
FIG. 12.39
Costume with all trim pinned in place and ready to be sewn.
Accessories come in so many types and styles, never mind specialty items. Simple accessories include jewelry, shoes, wigs, hats, and gloves. If what is needed is basic, or easily attainable, the costume shop can provide it. Most costume shops have a stock of these types of items.
Specialty items are usually sent out-of-house to a shop that only creates one thing. Armor and weaponry are two examples of this. Costumes that need to do a “trick” may also be created elsewhere depending on what the trick entails. The other option is to rent items like this, or for that matter, rent the entire show. If you are going to rent all the costumes, the costume designer must be careful when selecting costumes to make sure they will work together on the stage. Many rental houses will allow you to make minor alterations, and this can be the key to unifying a rented design.
Useless Factoid: Knitting
It is unlucky for an actor to knit while on the side of the stage. This is because knitting needles are pointy and can rip expensive costumes, or the needle may fall on the floor and cause someone to fall onstage.
FIG. 12.40
Jewelry organized, stored, and ready for its next use.
FIG. 12.41
White heeled woman’s shoes. One of many categories of shoes a costume shop is liable to have.
FIG. 12.42
A few wigs that have been pulled for a production. When ready, they will be kept on “heads” to help keep their shape.
There are many shortcuts that can be taken to achieve a period feel without building an entire costume from scratch. For example, modern men’s shirts with a proper collar design can be altered with the appropriate cuff to work within a costume designer’s idea. This saves both time and money. If the look works, do it! There are special items that can be created in the costume shop provided enough time and budget are allowed.
One topic I really haven’t discussed is the fantasy costume. These can be done for dance, theatre, or opera. The idea is simply that you are catering to the needs of character creation in a much more specific way than usual. All of your choices from fabric, to patterns, to cutting, to sewing, to fitting will all be slightly different than making a more traditional type of costume. Each of these situations will be slightly different from any other, and cater to the needs of that individual production. With that said, take a look at the next four photos that all come from a production of the opera, The Magic Flute or as it is also known Zauberflote.
FIG. 12.43
Detail of a cuff that has been added to a modern-day men’s shirt in order to give it a period feel.
FIG. 12.44
A wonderfully done turkey hat, created at Muhlenberg College’s costume shop.
FIG. 12.45
Papageno and the three ladies from Zauberflote, at the Metropolitan Opera. Director, Julie Taymor; Scenic Designer, George Tyspin; Costume Designer, Julie Taymor; and Lighting Designer, Donald Holder. Puppet designs by Julie Taymor and Michael Curry.
FIG. 12.46
Monastatos, Papageno, and Pamina from Zauberflote, at the Metropolitan Opera. Director, Julie Taymor; Scenic Designer, George Tyspin; Costume Designer, Julie Taymor; and Lighting Designer, Donald Holder. Puppet designs by Julie Taymor and Michael Curry.
FIG. 12.47
Papageno from Zauberflote, at the Metropolitan Opera. Director, Julie Taymor; Scenic Designer, George Tyspin; Costume Designer, Julie Taymor; and Lighting Designer, Donald Holder. Puppet designs by Julie Taymor and Michael Curry.
FIG. 12.48
Papageno and flamingos from Zauberflote, at the Metropolitan Opera. Director, Julie Taymor; Scenic Designer, George Tyspin; Costume Designer, Julie Taymor; and Lighting Designer, Donald Holder. Puppet designs by Julie Taymor and Michael Curry.
SOFTWARE
Let’s finish up this chapter by talking about software that can make all of this easier. There are a number of software packages on the market that will help you through the patterning process. The software will not help you design, choose fabric, or sew, but it can be a huge aid in pattern creation. If your shop does not have a set of slopers, or someone who is able to create patterns, then this is the right path for you to consider.
FIG. 12.49
PatternMaker® screenshot of “costume” options.
Most software programs will have a series of standard patterns and/or slopers. You input the actor’s measurements, select the different pattern pieces you are interested in using, and BOING!—pattern pieces can be printed out. Well, it’s not quite that easy, but it is close. PatternMaker® is one of the programs on the market that gives you a great deal of flexibility without costing a small fortune at the same time. Take a look at a couple of the following images from PatternMaker®.
FIG. 12.50
PatternMaker® images from a step-by-step instruction for a corset.
I can tell you all about the software, but the only way for you to really get a feel for it is to try it. This is the case with any tool, not just software. The feel in your hand, or under your control, is so completely different than a verbal description. So go out there, find software to try, and decide for yourself.
