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Tuesday, November 8, 2011

Tutorial: Tiny Crocheted Bowler Hat

Okay...so this was made as a back-up plan for the clowns in Comedy of Errors.  These would look great on a headband or perched over a bun on the top of your head.  Unfortunately, I am not sure the pattern is exactly right.  I made the second, and while it looked great, it did look slightly different.  If you have time to try this, post the results and any changes you made!  Good luck.

Using F hook and cheap-o Red Heart yarn:

1.  ch. 5; loop into 1st stitch to create a ring; ch. 2; do not turn
2.  d.c. x2 in 1st chain; ch. 1; d.c. 3x in 2nd ch., then in 3rd., 4th, 5th ch.; slip stitch to 1st d.c.; ch. 1; do not turn
3.  work through front and back of chains; s.c. in each chain, slipstitch to 1st ch.; ch 2; do not turn
4.  work in back stitch of chain; 2 d.c. in each ch.; slipstitch to 1st d.c.; ch. 1; do not turn
5.  work in f/b of chain; s.c. in each ch.; slipstitch; ch. 2; do not turn
6.  work in back stitches; d.c. each ch.; slipstitch; ch. 1; do not turn
7.  work in f/b of chain; s.c. 2x, skip 1, *s.c. 3x, skip 1; repeat from *; slipstitch; ch. 2; do not turn
8.  work in f/b of chain; d.c. in each ch.; slipstitch; ch. 2; do not turn
9.  repeat #8 for 2 additional rows; ch. 1; do not turn
10. work in f/b of ch.; *s.c. 2x 1st ch.; s.c. 1x next ch.; repeat from *; slipstitch; ch. 1; do not turn
11. work in front of ch; s.c. each ch.; slipstitch; ch. 1; do not turn
12. repeat #11 for 2 additional rows; tie off

Thursday, October 13, 2011

Green Is For Thursdays: Costuming and the Environment, Series Installment 1

Recycle your fabrics!

Okay, this is an obvious one, and most costumers and home crafters already do this.  For our recent production of The Comedy of Errors, we looked to the fabric wall (see below) to supplement what we bought in the store.  I am confident (and super proud) that this helped s to come under budget!  Most of our shopping was done at our local fabric warehouse, and pulling some special, more expensive pieces from stock really helped make the costumes look expensive and unique.

Here you can see our fabric wall in the shop.  There are a few fabrics that are located in our costume stock as they have yardages that just won't fit on these shelves.  This is not an extensive collection when you consider the number of years we have operated, but it is well-organized and so can be looked through easily and hopefully used often.

The rules are: sort fabrics by color first and perhaps by type; fur, leather/vinyl/microsuede, sheers, laces, beaded and sequined, velvets, knits are all kept in separate boxes; anything over 1 yard is saved on the wall;  anything under 1 yard, but pricey or truly interesting), is organized into a box by type (fancy fabrics, cottons, wools) and then color (light/pale, medium, dark/bright tones).  We have storage for left-over trims and buttons, too.

We sort and purge our wall once per year.  Anything unwanted, we try to donate to a local school for use in their art and theater departments.

Also, see this lovely article for great ideas on how to use up your fabric stash.  http://www.embtreasures.com/articles/UnwantedFabric.htm

Also, we have been using quite a bit of yardage to make storage items for stock:  hanging shelves for hats and slipcovers for wedding dresses and other delicate items.

Lately, though, perhaps inspired by the western theme of Comedy or by my empty wallet, I have been exploring some homesteading options to use up all of those scraps that inevitably end up in the trash.   You know, all those little triangles and bits.  I think back to the Victorian crazy-quilt on my parent's bed:  exquisitely pieced together, and totally beyond my skill or comprehension.  But I am willing to try some smaller quilts--can you say dollhouse?  Also willing to explore paper-making.  I seem to recall seeing shredded fabric put into the pulp used to make homemade paper, but I can't find anything about this.

Here is one tutorial for making "fabric paper" by gluing and layering fabric, tissue paper, and small items like dried flower petals (hey!  that's recycling, too!  for those of us who receive flowers, that is).  http://www.squidoo.com/FannieFabricPaper

My favorite idea so far?  Making beads out of fabric scraps.  Yes, BEADS!  Big statement jewelry has been popular for a while now, and can be expensive (what is your time worth?).  Check this out:
http://www.ehow.com/how_6357681_instructions-necklace-using-round-beads.html

If anyone tries any of these, please post your results!  I hope to create some things for the holidays and keep my trash can free of those fabric scraps!

Tuesday, May 24, 2011

Fabric Hoarders Anonymous

Those of you who know me know that I have my own systems of organization.  I can  be quite organized and have a work table piled high during a busy show.  But I can also always be depended upon for a thorough cleaning and organization once the work is done.

However, I have a confession.  My studio at home is often a disaster.  I make a lot of excuses for this...some are valid, some are, well...complete nonsense.  The biggest excuse haunts me in a lot of ways, not just in keeping my studio clean:  I have two small children.  This means that when I am at home, I am constantly attending to their needs upstairs (my studio is in the semi-finished basement).  for a long while, neither child was allowed to go into the basement as the stairs were too dangerous ans I hadn't worked out a system for keeping sharp things out of reach.  So whenever they grew out of a bunch of clothes (which is every season) or I finished a large freelance project (twice in the fall and twice in the spring, usually), all of the "stuff" went directly into the basement--unsorted!  Almost a full year of this system made for an unusable space and never enough time to catch up in organizing.  This is the fabric portion that I face:


Yikes!

I started cleaning out the basement this week.  Half of the room is clean--the play area/guest room.  Now I tackle the studio half.  I can have the girls down with me as I clean now, so maybe I will do a little bit every night.  Besides, summertime is the best time to be down in the cool air!  What I need is a system for slogging through the bags upon bags upon bags of things that come through our house...particularly from outside projects.

The temptation is just too great...I have trouble getting rid of fabric.  I always design with several fabrics in one project, and I always acquire more fabrics than I need.  So then what to do with what is left over or not even used?  Save for another project, of course!  But then I can't keep up with the sheer volume!

This summer, I plan to come up with a way to keep the studio in usable condition as well as figure out how to pare down the fabric and store what I have.  I'll update you as to my progress...stay tuned.

Monday, May 23, 2011

Fabric Stash: The Price of Cotton

Despite the decade's recent movement toward natural fibers, this year you are going to see fashions made of fabrics other than cotton.  Get ready for polyester, everyone.

A textured woven cotton from my own collection.  I would love a wardrobe made from this bright, cheery, airy cotton...right now I have a chair covered in it!

Excessive amounts of rain in India and flooding in Australia and Pakistan has destroyed much of the world's cotton crops.  In a time when world demand for cotton is at an all time high (the USDA estimates the 2010-11 production at 115.25 million bales, up 14% from the previous harvest, and still creating tight supply-demand margins; http://online.wsj.com/article/SB10001424052748703786804576138230153490312.html), ease of availability for mills has been compromised.  For the first time in three decades, the price of cotton soared above $1 to $2.0402 in February, a 40% increase since January--amazing when you consider the 7 cent increase limit per pound per day dictated by the exchange.  Prices hit $2.44/lb in early March.

At first, the financial buzz was that retailers would have to raise their clothing prices; but in these money-crunching days, many companies are already struggling to keep consumers buying, so it seems that clothing prices will remain just about the same and stores margins will suffer.  This month Old Navy/Gap revealed that their choice to raise garment unit prices about 20% higher than last year has resulted in a first quarter drop in profits of 23%.  However, the rising sourcing costs are expected to surpass the higher ticket prices by the end of the year.  Retailers are still buying their 2011 Holiday and 2012 Spring merchandise, so Christmas will most likely be the best tell on the monetary impact for consumers and retailers.  http://www.just-style.com/analysis/gap-knocked-by-soaring-cotton-costs_id111161.aspx

What does this mean for the costume industry?  Hard to say...at Villanova, we have a huge modern show, Museum, coming up in the Spring; we shall see how the shopping goes.

What I would like to know is how these cotton prices are affecting the consumer in the fabric stores.  Is it easier to raise the prices on retail fabrics than it is to back-pedal on prices of clothing already hanging in the stores?

Cotton prices recently plunged down to $1.56 for July as demand has recently fallen to match more closely the current supply.  However, the Department of Agriculture has not changed projected demand for next year, and as mills look at purchasing next year's crops at the start of the next marketing year (Aug. 1), they find the U.S.'s largest grower, West Texas, in severe drought.  This may hurt quality of product more than quantity, but still keep availability at a low and prices high next year.  http://online.barrons.com/article/SB50001424052970203869804576327362083435884.html?mod=BOL_twm_mw

And so, after gas prices have driven up the cost of purchasing fabrics for building costumes (trucking and delivery), now the cost of cotton--a fabric that is easy to work with and maintain for theatrical costumes--will also cost more.  This will effect our shop even if we buy wools and silks an polyesters as we use muslin regularly for costume mock-ups and a cotton fabric called pocketing for interlining suits and bodices.  And what of cotton threads and notions such as boning tapes?  We also have a large period show, Carousel, to plan for.

Only time will tell, but the trickle down effect is inevitable.  If we plan to make fewer clothes to offset fabric costs, then what will the cost of ready made garments be?  even if we start pulling shows, the cost of "skins" (tees, socks, etc.) is already at an all-time high.  And then what about the labor time/jobs potentially lost?

Of course, I am taking the issue to an extreme; but it is interesting to think of our business as connected with the rest of the world rather than insular and isolated as is so common in theater and shops...

Has anyone noticed any changes in the costs of supplies and fabrics?  Clothing?

http://online.wsj.com/article/SB10001424052748703786804576138230153490312.html
http://www.ft.com/cms/s/0/ec725da0-3a77-11e0-9c65-00144feabdc0.html#axzz1Mz7WFXwR
http://www.just-style.com/analysis/gap-knocked-by-soaring-cotton-costs_id111161.aspx
http://online.barrons.com/article/SB50001424052970203869804576327362083435884.html?mod=BOL_twm_mw
http://online.barrons.com/article/SB50001424052970203869804576327362083435884.html?mod=BOL_twm_mw

Friday, May 20, 2011

Freaky Fashion Friday: The Cummerbund

IN HONOR OF PROM SEASON...



Origin:
The word Cummerband which entered English vocabulary in 1616 via languages of the Indian subcontinent such as Hindi and Urdu, is originally a Persian genitive phrase comprising kamar(waist) + band (band). (Wikipedia)
The cummerbund as we know it today developed during the British occupation of India and is based on the kamarband worn by Indian officers.  British officers adopted the waist band as a cooler alternative to wearing a waistcoat (vest) with formal dinner wear.  In the 1850's, this style made it to the UK and soon became the standard form of black tie apparel.


Pronunciation:  Hear the word pronounced here!
Alternative spellings:  cummerband; kummerbund; kamarband


Proper use:  A cummerbund is worn with a single breasted formal jacket (dinner jacket or tuxedo coat) in place of or as an alternative to the vest (waistcoat).  The cummerbund is worn over the waistband of the pants (and over the shirt), but underneath the jacket.  Pleats open upward, originally to hold theater tickets and other small items and not to catch crumbs (though this undoubtedly happened on occasion) as the legend goes.  It is considered to be a semi-formal form of dress, the black or white pique vest being most formal.


Pet Peeves:  please note that the spelling and pronunciation are not "cumberbund" or "crumberbund".  Wearing a cummerbund with a vest is the equivalent of wearing a belt with suspenders.  Alternative colors to the traditional (black, navy, burgundy) like reds or brocaides are GREAT, but matching tie to cummerbund just makes you look like a waiter or a saxophone player in a wedding band.


Sources:
http://en.wikipedia.org/wiki/Cummerbund
http://www.bows-n-ties.com/mens-fashion-tips/wrapper.php?/archives/116-The-History-of-the-Cummerbund.html
http://wellsuitedwithmytuxedo.blogspot.com/2010/11/cummerbund-potted-history.html
http://www.merriam-webster.com/dictionary/cummerbund
http://en.wikipedia.org/wiki/Black_tie
http://en.wikipedia.org/wiki/White_tie

Thursday, May 19, 2011

Green Is For Thursdays: Costuming and the Environment, Series Introduction

What could be more natural than moths?
Or mould?  Or mildew?
Or sweat?

I like to commune with nature every now and then--no really, I do:  I garden at home and don't flinch at the tiniest inkling that I have gotten poison ivy, I don't smoosh bugs ( I capture them and set them free), I lie in the grass with my kids and listen to the frogs.  And I am known for not getting easily "grossed-out" when it comes to the things the human body does naturally:  many of which I have HAD to be close to in my work as a professional wardrobe manager and now as a mother of small children.

But there are some places that "natural" becomes tricky, particularly at work.

While pulling costumes for this past season at Villanova, we began to notice more and more moth damage on our wool items--particularly vintage pants and formal wear.  And so, we are embarking on a long hot summer of separating all wool and fur items from the larger stock for treatment in the prevention of further insect damage.

Coordinating this endeavor has brought up many questions regarding the chemicals we will use on the clothing and what this means for the handling, wearing, and ultimate value of our large costume stock.  The bug experts will be using Nu Van Pro Strips, which will pose no harm to the clothing or to actors and technicians, but will most certainly be fatal to the pesky moths that have cost us some valuable resources.

In the past few weeks battling Mothra, I have been reminded of other "green" questions surrounding the theatrical costuming field.  What exactly is the process of dry cleaning and how necessary is it and what are the environmental and health costs?  What role can recycling play in costuming?  Can we choose more organic products, sustainable products, and Fair Trade products and still keep costs down?  How do we choose what to keep and what top get rid of and how do we factor in donating and selling unwanted items?  How can we keep our work areas more environmentally friendly?

I'm sure there are many more topics to discover.  This series will explore these issues of the environment and theatrical costuming and attempt to answer questions or at least gather information.

Hope you join me next Thursday!

Friday, March 25, 2011

Triangle Shirtwaist Fire Victims. Remember.

Aberstein, Julia
30
 
Adler, Lizzie
24
 
Altman, Anna
16
 
Ardito, Anna
25
 
Astrowsky, Becky
20
 
Bassino, Rosie
31
 
Belatta, Vincenza
16
 
Bellotta, Ignazia

 Father identified by heel of shoe.
Benanti, Vincenza
22
 
Bernstein, Essie
19
 
Bernstein, Jacob
28
 
Bernstein, Morris
19
 
Bernstein, Moses

 
Bierman, Gussie
22
Parents complained body stripped of rings.
Binevitz, Abraham
20
 
Brenman, Rosie

 
Brenman, Surka (Sarah)

 
Brodsky, Ida
16
 
Brodsky, Sarah
21
 
Brooks, Ida
18
 
Brunette, Laura
17
 
Caputta
17
 
Carlisi, Josep
31
 
Caruso, Albina
20
 
Carutto, Frances
17
 
Castello, Josie
21
 
Cirrito, Rosie

 
Cohen, Anna
25
 
Colletti, Antonia (Annie)
30
 
Costello, Della

 
Crepo, Rose
19
 
Denent, Grances
20
 
Dichtenhultz (Fichtenhultz), Yetta
18
 
Dockman (Dochman), Dora (Clara)
19
 
Dorman, K

 Identified by registered letter.
Downic, Kalman
24
 
Eisenberg, Celia
17
 
Feibush, Rose


Feicisch(Feibish), Rebecca
17
  Died at hospital after jumping.
Feltzer
40
 
Fitze, Mrs. Dosie Lopez
24
Survived jump for day, then died.
Forrester, May
25
 
Franco, Jennie
16
 
Frank, Tina
17
 
Gallo, Mrs. Mary
23
 
Geib, Bertha
25
 
Gernstein, Molly
17
 
Gittlin, Celina
17
 
Goldfield, Esther

 
Goldstein, Esther

 
Goldstein, Lena
22
 
Goldstein, Mary
11
 
Goldstein, Yetta
20
 
Gorfield, Esther
22
 
Grameattassio, Mrs. Irene
24
 
Harris, Esther
21
 Broke back coming down elevator chute.
Herman, Mary
40
 
Jakobowski, Ida

 
Kaplan (woman)
20
 
Kenowitch, Ida
18
 
Keober
30
 
Kessler, Becky

Tag read, "B Kessler, call for her tomorrow."
Klein, Jacob
23
 
Kupla, Sara

Jumped.  Survived five days after fire.
Launswold, Fannie
24
 
Lefkowitz, Nettie
28
 
Lehrer, Max
19
 
Lehrer, Sam

 
Leone, Kate
14
 
Lermack, Rosie D.
19
 
Leventhal, Mary
22
Identified by gold-capped tooth.
Levin, Jennie
19
Attractive woman who died with folded arms
Levine, Abe

 
Levine, Max

 
Levine, Pauline
19
 
Maltese, Catherine

Mother of two victims below.
Maltese, Lucia
20
One of three bodies identified by her brother.
Maltese, Rosalie(Rosari)
14
 
Manara, Mrs. Maria
27
 
Manofsky, Rose
22
 Died at Bellevue Hospital.
Marciano, Mrs. Michela
25
 
Mayer, Minnie

 
Meyers, Yetta
19
 
Miale, Bettina
18
Identified by ring on her finger.
Miale, Frances
21
 
Midolo, Gaetana
16
 
Nebrerer, Becky
19
 
Nicholas, Annie
18
 
Nicolose, Nicolina  (Michelina)

 
Novobritsky, Annie
20
 
Nussbaum (Nausbaum),  Sadie
18
Lower half of body consumed by flame.
Oberstein, Julia
19
 
Oringer, Rose

 Died at St. Vincent's Hospital.
Ozzo, Carrie
22
 
Pack, Annie
18
 
Panno, Mrs. Providenza
48
 
Pasqualicca, Antonietta
16
 
Pearl, Ida
20
 
Pildescu, Jennie
18
 
Pinello, Vincenza
30
 
Poliny, Jennie
20
 
Prato, Millie
21
 
Reivers, Becky
19
 
Rootstein, Emma

 
Robinowitz, Abraham

 
Rosen, Israel
17
Sister identified body by ring.
Rosen, Julia(widow)
35
$842 found in her stocking.
Rosen, Mrs. Leob
38
 
Rosenbaum, Yetta
22
 
Rosenberg, Jennie
21
 
Rosenfeld, Gussie
22
Last body to be identified.
Rosenthal, Nettie
21
 
Rother, R
25
 
Rother, Theodore
22
 
Sabasowitz, Sarah
17
 
Salemi, Sophie
24
Identified by a darn in her stocking.
Saracino, Sara

 
Saracino, Serafina
25
 
Saracino, Tessie
20
 
Schiffman, Gussie
18
 
Schmidt, Mrs. Theresa
32
 
Schneider, Mrs. Ethel

 
Schochep, Violet
21
 
Schwartz, Margaret

Named victim in criminal case.
Selzer, Jacob
33
 
Semmilio, Mrs. Annie
30
 
Shapiro, Rosie
17
 
Shena, Catherine
30
 
Sklaver, Berel (Sklawer,  Bennie)
25
 
Sorkin, Rosie
18
 
Spear

 
Sprunt

 
Spunt, Gussie
19
 
Starr, Mrs. Annie
30
 
Stein, Jennie
18
 
Stellino, Jennie
16
 
Stiglitz, Jennie
22
 
Tabick, Samuel
18
 
Terdanova (Terranova),  Clotilde
22
  Only victim to die on tenth floor; jumped.
Tortorella, Isabella
17
 
Ullo, Mary
20
 
Utal, Meyer
23
 
Velakowsky,  Freda(Freida)
20
Survived jump for 3 days, then died.
Vivlania, Bessie
15
 
Vovobritsky, Annie
20
 
Weinduff, Sally
17
 
Weiner, Rose
23
 
Weintraub, Sally (Sarah?)
17
 
Weintraub, Celia

 
Welfowitz, Dora
21
 
Wilson, Joseph
21
Found by fiance; to have been wed in June.
Wisner, Tessie
27
 
Wisotsky, Sonia
17
 
Wondross, Bertha
Zeltner
>
30
Died of internal injuries at St. Vincent's.