In this class project, we had to find an image from a period with body modification and create the proper undergarments and overdress to replicate the image.
From Harpers Bizarre
with quilted cover and ruffle to minimize transitional lines
Made from synthetic hair cloth, Prussian tape, and boning
after pre-shrinking with the iron, quilted at 1” increments
Bust and hips were corded to add curves to a straighter figure. This was often done historically to pad a corset slightly. Each bone and gusset terminates in a flossed design
Class projects from Millinery I and II taught by Brian Russman
Hand sewn strip straw dyed to coordinate with feathers
Block carved from insulation foam, then sealed with sculpt or coat
pulled in two pieces with straw quill work decoration
Flowers from silk chiffon, sinamay, tulle, and beads
Sprung steel wire covered in velvet and satin rouleau. Wrapped joins then beaded
Mock-up
Ribbon flowers made mostly from instructions found in The Artful Ribbon
Covered in iridescent taffeta and lace
Pulled in one piece using two hat blocks nested together
Inner brim lined with lace to echo exterior detail
These projects represent a sampling of artistic painting and dying techniques. Color matching and distressing are not shown
Silk velvet devoré ombre dyed, and embossed
Based on David Wenzel’s illustrated cover of The Hobbit
In Process…
Drop nested stencil with two sheets to make up pattern
Diamond Pattern with two screens
Close-up of pattern
Prepped screen using photosensitive screen emulsion. The coordinating screen was made using Speedball screen filler
In process geode painting
Hot wax process with five color levels using fiber reactive dye
Miscellaneous costume crafts from embroidery to armor making
Pulled veg-tan yoke with tooled designs. Woven strips with rivets for body, 4-in-1 chainmail sleeve with scale-mail cap
In process… veg-tan yoke pulled and partially cut to shape
Project set up
Mold of vintage hair pin with re-sculpted tip
Replica of original motif
Casted motif as functional item
Silicone casting internally and externally colored
This production, designed by Marla Parker, was an updated retelling of the classic story. The designer wanted to evoke the period without being slavish to realism. D’Artagnan’s costume was meant to feel like the countryside with quilting to imply the rolling hills and furrowed ground. The fabric was a raw silk edged with suede over slot seams. The interior is cotton with all edges finished so it could be removed on stage.
Photo credit: Louis Stein
Samples of various quilting, cording, and binding processes to see which would read best from stage
by Marla Parker
by Marla Parker
First mock-up fitting with hem tape to illustrate design lines
This class project involved designing and creating a tutu for a classmate
Quilted cotton bobbinet
Cut, dagged, and ready to get shoveled and sewn to the knickers
with first three layers of net
with penultimate layer getting sewn on
Plate is made up of computerized embroidery and machine free motion embroidery on tulle stabilized while in process with a water-soluble interfacing.
This suit was loosely based on a 1940’s style suit. There are built-in gussets in the pants and arms to allow a full range of movement while dancing.
Jacket had some initial pad stitching and under-structure.
I had to make significant changes to the sleeves from the first fitting, so I decided to make these out of muslin to make sure the pattern alterations were correct.
Some small shoulder alts
mostly completed pad stitching to get the proper roll for the collar
Tie made to coordinate with suit. Made during a weekend workshop with Micah List, owner of Neck and Tie Co.
In this production of Euridice at American Players Theatre, the designer (Elizabeth Caitlin Ward) wanted the three stones to be dressed in latex that matched the color of the set. As First Hand, researched the process of making clothing out of latex, the possible safety concerns, and led the team that ultimately constructed the three trench coats.
The first step was to line the areas that would be glued with masking tape to prevent them from curling as the solvent interacted with the latex.
First, areas to be glued, had to be wiped with mineral spirits to clean any oils or powders off the latex. Then, rubber cement was applied to both seam allowances of the pieces.
Often, multiple hands were needed for curves or easing in fullness
Terminal ends got a reinforcement triangle to help prevent seams from opening up
Any areas that would have a lot of strain- pockets, buttons, belts- were lined with canvas. The canvas had to be permeated with liquid latex and then glued down to the latex sheeting.
I was a draper for this show and recreated a rented garment so the character could have essentially two costumes that were the same in different colors
I used the scallop from the edge of the fabric to follow the line of the blouson bodice to mask the seam and control where the fullness lay.
