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

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!

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.

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

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

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!

Triangle Shirtwaist Fire Victims. Remember.

Aberstein, Julia30 Adler, Lizzie24 Altman, Anna16 Ardito, Anna25 Astrowsky, Becky20 Bassino, Rosie31 Belatta, Vincenza16 Bellotta, Ignazia
 Father identified by heel of shoe.Benanti, Vincenza22 Bernstein, Essie19 Bernstein, Jacob28 Bernstein, Morris19 Bernstein, Moses
 Bierman, Gussie22Parents complained body stripped of rings.Binevitz, Abraham20 Brenman, Rosie
 Brenman, Surka (Sarah)
 Brodsky, Ida16 Brodsky, Sarah21 Brooks, Ida18 Brunette, Laura17 Caputta17 Carlisi, Josep31 Caruso, Albina20 Carutto, Frances17 Castello, Josie21 Cirrito, Rosie
 Cohen, Anna25 Colletti, Antonia (Annie)30 Costello, Della
 Crepo, Rose19 Denent, Grances20 Dichtenhultz (Fichtenhultz), Yetta18 Dockman (Dochman), Dora (Clara)19 Dorman, K
 Identified by registered letter.Downic, Kalman24 Eisenberg, Celia17 Feibush, Rose

Feicisch(Feibish), Rebecca17  Died at hospital after jumping.Feltzer40 Fitze, Mrs. Dosie Lopez24Survived jump for day, then died.Forrester, May25 Franco, Jennie16 Frank, Tina17 Gallo, Mrs. Mary23 Geib, Bertha25 Gernstein, Molly17 Gittlin, Celina17 Goldfield, Esther
 Goldstein, Esther
 Goldstein, Lena22 Goldstein, Mary11 Goldstein, Yetta20 Gorfield, Esther22 Grameattassio, Mrs. Irene24 Harris, Esther21 Broke back coming down elevator chute.Herman, Mary40 Jakobowski, Ida
 Kaplan (woman)20 Kenowitch, Ida18 Keober30 Kessler, Becky
Tag read, "B Kessler, call for her tomorrow."Klein, Jacob23 Kupla, Sara
Jumped.  Survived five days after fire.Launswold, Fannie24 Lefkowitz, Nettie28 Lehrer, Max19 Lehrer, Sam
 Leone, Kate14 Lermack, Rosie D.19 Leventhal, Mary22Identified by gold-capped tooth.Levin, Jennie19Attractive woman who died with folded armsLevine, Abe
 Levine, Max
 Levine, Pauline19 Maltese, Catherine
Mother of two victims below.Maltese, Lucia20One of three bodies identified by her brother.Maltese, Rosalie(Rosari)14 Manara, Mrs. Maria27 Manofsky, Rose22 Died at Bellevue Hospital.Marciano, Mrs. Michela25 Mayer, Minnie
 Meyers, Yetta19 Miale, Bettina18Identified by ring on her finger.Miale, Frances21 Midolo, Gaetana16 Nebrerer, Becky19 Nicholas, Annie18 Nicolose, Nicolina  (Michelina)
 Novobritsky, Annie20 Nussbaum (Nausbaum),  Sadie18Lower half of body consumed by flame.Oberstein, Julia19 Oringer, Rose
 Died at St. Vincent's Hospital.Ozzo, Carrie22 Pack, Annie18 Panno, Mrs. Providenza48 Pasqualicca, Antonietta16 Pearl, Ida20 Pildescu, Jennie18 Pinello, Vincenza30 Poliny, Jennie20 Prato, Millie21 Reivers, Becky19 Rootstein, Emma
 Robinowitz, Abraham
 Rosen, Israel17Sister identified body by ring.Rosen, Julia(widow)35$842 found in her stocking.Rosen, Mrs. Leob38 Rosenbaum, Yetta22 Rosenberg, Jennie21 Rosenfeld, Gussie22Last body to be identified.Rosenthal, Nettie21 Rother, R25 Rother, Theodore22 Sabasowitz, Sarah17 Salemi, Sophie24Identified by a darn in her stocking.Saracino, Sara
 Saracino, Serafina25 Saracino, Tessie20 Schiffman, Gussie18 Schmidt, Mrs. Theresa32 Schneider, Mrs. Ethel
 Schochep, Violet21 Schwartz, Margaret
Named victim in criminal case.Selzer, Jacob33 Semmilio, Mrs. Annie30 Shapiro, Rosie17 Shena, Catherine30 Sklaver, Berel (Sklawer,  Bennie)25 Sorkin, Rosie18 Spear
 Sprunt
 Spunt, Gussie19 Starr, Mrs. Annie30 Stein, Jennie18 Stellino, Jennie16 Stiglitz, Jennie22 Tabick, Samuel18 Terdanova (Terranova),  Clotilde22  Only victim to die on tenth floor; jumped.Tortorella, Isabella17 Ullo, Mary20 Utal, Meyer23 Velakowsky,  Freda(Freida)20Survived jump for 3 days, then died.Vivlania, Bessie15 Vovobritsky, Annie20 Weinduff, Sally17 Weiner, Rose23 Weintraub, Sally (Sarah?)17 Weintraub, Celia
 Welfowitz, Dora21 Wilson, Joseph21Found by fiance; to have been wed in June.Wisner, Tessie27 Wisotsky, Sonia17 Wondross, Bertha

Zeltner

>

30

Died of internal injuries at St. Vincent's.