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!