Press Call at the Portrait Gallery

Now that things are revving up for the ECA fashion/costume/textiles show, it's all starting to feel a lot more real. Graduation is imminent! There are only three weeks left to do ev er y thing!!

Part of the lead-up to the show was a press call which took place day before yesterday. All graduating costume designers (post and undergrad both) took one costume to the Scottish National Portrait Gallery where they were modeled for invited press. The location was stunning and some really lovely shots of some of the costumes ended up in the papers and there was a nice little segment on STV as well.

I was rather excited to see my fairytale wedding dress for The Girl in the Edinburgh Evening News the next day!

If you're in Scotland at the end of the month you can still get tickets to the catwalk show, which will be April 23-25. The fashion design portion of the show is quite interesting as well, but let's be real. Costume is where it's at. ;) And there will be some seriously amazing work on display... everyone's stuff is so different and exciting!

I took some of my own pictures on my iphone at the press call... I only wish I had had a better camera with me to capture it with!

An end is in sight

Contrary to what the utter lack of posting lately has indicated, I have in fact been very very busy making and designing things. That said, I very much do NOT recommend going through a bad depressive episode during grad school. That way lies misery, guilt, and sorrow. However, thanks to the wonders of modern medicine, I have been able to pick myself up these past couple months and have made real progress towards my final MFA degree show.

Naturally, however, the catwalk show which occurs before the degree show is only four weeks away and there is still SO MUCH to finish! With depression somewhat subdued, I am no longer spending my days struggling to get out of bed, but instead spending my days convincing myself that I don't need to pick up a million new hobbies and projects immediately...

After May I can sew for myself and pick up tablet weaving and make all the bath bombs and perfumes and incenses that I like (and post some of the many, MANY blog posts I have already planned and sort of drafted). For now I have a design book to finish, and a hussar inspired Queen and an 1820s Devil to make.

Til then, here are a few pictures I snapped behind the scenes at a recent photoshoot (for show promo etc.). I had chosen two costumes in the photoshoot, both of the same main character from my story The Girl Without Hands. My two lovely models, Poppy and Charlotte, are both undergraduates in the Performance Costume programme at ECA. I can't wait to post some of the resulting official photos later... they turned out beautifully!

In my little corner

The large majority of my time these days is spent in my little corner of the room for the performance costume 4th years and masters students (of which there are two), trying to make up for an unfortunate lack of real productivity earlier this semester.  At the moment I have quite a lot of projects 'in progress', and am slowly chipping away at the list of things to get done.

First priority for the rest of the semester is finishing all the final costume illustrations for The Girl Without Hands.  I've decided to do them on illustration board, and start with a pencil drawing which then gets set with fixative and varnished so that I can paint on top.  I just do a simple wash of acrylic to tone the board, and then use thin layers of oil paint on top.

(this one was sort of at the half-way point here)

I've also started mocking up and making costumes for the main character, and am aiming on having three toiles and at least one finished final costume by the turn in date in May.  In spite of not having masses of time at my disposal, I'm still doing quite a bit of hand stitching on the final pieces... such as the shift currently on the stand.  After all, there's nothing quite like focusing on hand work for some quality stress relief!

in the sketchbook

Since I'm currrently off Learning And Looking At Things in Germany, I figured that it might be a good time to post some of the sketches I did for various 'Girl Without Hands' characters. Most of these are just my initial impressions/ideas and most likely will not really resemble the final designs/illustrations much at all, but at least it shows a bit of what's been tumbling around in my head.  For working out ideas I like to scan pencil drawings into the computer and then mess around with color in photoshop... though I don't think I'll use this sort of technique for the final illustrations.

And tomorrow I get to look at original 19th century pieces of German folk costume... so hopefully I'll soon have a bunch of new research to incorporate!

Doll progress progresses

While I have not yet finished the costume for the doll/tiny mannequin, a great deal of progress has been made.  Although incomplete, it is now in the general shape of a dress, with the general idea of fabrics and textures. I didn't get any fabrics especially for this project, and just relied on scraps that I had on hand. In this instance: silk georgette, stretch velvet (backed with cream taffeta to give it stability), and bits of antique lace.  A rough approximation of the sleeve is just pinned on, and the whole dress requires a LOT more beads, not to mention she still needs a headdress as well.

I won't be able to work on it for at least another week though, as I am leaving tomorrow for a research trip to Germany to study traditional 19th century Bavarian folk costume up close and personal.  I'm spending a week in Munich, and am going to several museums/institutions in the vicinity.  So exciting!  And for those of you who know the city, please let me know if there's anywhere or anything in Munich that I shouldn't miss seeing while I'm there!

Doll-sized costumes - trial and error in miniature

It's often easier for to work out a design and fabric choices in 3D than solely through sketches, and since I wanted to play around more with the 'wedding scene dress' from my last post without spending a bunch on money on a full scale costume, I decided to make up the design in miniature.

Initially I was going to drape it on one of the half scale mannequins stocked in the university's pattern cutting room, but when I went to get one I discovered that every single tiny mannequin was already checked out by other students.  Obviously, the next logical step was to make my own.  The next couple days were filled with making a wire mesh framework and then sculpting a head and shoulders on top before crafting a stable base for it to stand on.

The mesh form may look innocent... but that stuff chewed up my hands like you would not believe.  I don't know if there's some secret to working with it of which I am unaware, but by the end of the day my hands had been bleeding in at least five different places and my fingers looked like someone had taken a teeny-tiny cheese grater to them.

Then Super-Scupley moulded on top of the mesh base, baked, and painted with acrylics.  It's been ages and ages since I last sculpted anything, and final result is not quite as I'd have desired, but the point of my making this was to be able to work with the costume and not to make a beautiful doll, so I sucked it up and went with it.

I really wanted the doll/mannequin to be stable on its own, so I didn't even bother with legs and feet and instead formed a base of more wire mesh which I then covered with muslin.  Since just getting this far had already taken almost three days, I decided that arms were also not important at the moment, and moved on to the clothing.

Unfortuntely, I didn't take pictures of today's progress but as you can see from yesterday's bodice, she is no longer naked!  More to follow...

A lightbulb. It has gone off.

I had a personal revelation of sorts today in regards to my creative process, and why and when I'm actually being creative instead of just copying history in appropriate ways and places. 

Since starting the programme here, I feel like I've been flailing around a bit trying to figure out what I'm doing and why I'm doing it.  (in regards to my actual work, not career path)  It's sooo easy just to stay in the historically-accurate-clothing comfort zone, but I didn't come all this way just to do what I already know.  Of course, leaving the comfort zone is much easier said than done, and for the last month or so I feel like I've been just spinning my wheels and not really getting anywhere.

Then today I began really thinking about projects and drawings I've done in the past where I feel like I was actually achieving a level of originality, and I realised that in all of those cases I was pretending the characters were all for a video game.  This seems rather strange considering how much of a gamer I am not... in fact the only video game I've ever played all the way through was Fable.  The first one.  When it first came out years ago. 

Here's a little compare and contrast...

This sketch is one I did a weeks or two ago of ideas for the main character's wedding scene.  Pretty much straight up historical.

Then this evening I decided to approach the same character's costume in the same scene with the 'Video Game as influenced by History' approach, and ended up with this:

Without color (and in a not-very-well-lit phone pic) it's hard to properly tell what it is I see in my head, but I think this is definitely an approach I should try out.  Whether it works well in the long run or not I have no idea, but for now it seems to be worth exploring.

1825 Dress-Coat test run

I ought to have posted this earlier, since I put together this muslin/toile of the 1825 men's coat from Cut of Men's Clothes shortly after scaling up the pattern a couple weeks ago.

The only adjustment I made was to the collar at the center back, as the collar was originally too large to fit into the neckline properly.  The collar is too large in the diagram in the book as well, so it wasn't just me being sloppy with the scaling things up... as it was, I had to take a total of nearly four inches out of the collar for it to work properly.

The coat is quite small, too.  As a matter of fact, it fits me pretty well which makes me wonder about the person who owned the orginal!  Perhaps I'll have to make myself a tailcoat sometime in future...

Silver Hands

A slight change of pace today.  As the name itself implies, The Girl Without Hands features a main character who looses her hands (through a foolish deal with the Devil that her father made).  A little later on she receives silver hands to wear... eventually getting real, human hands again thanks to her goodness and the kindness of an angel.  I'm thinking of turning the angel into a female scientist in my rendition of the tale, but that's really by the by.  What really matters right now is that I'm planning on creating silver hands as part of the overall costuming.

I've spent some time looking at 19th century prosthetics, as well as metalwork from the 18th and 19th centuries plus some pieces of contemporary haute couture which thematically works.

I love this utterly creepy Victorian prosthetic arm.  I don't believe I want to make on myself that is articulated, but I still am fascinated by this piece.

At the moment I'm looking at a couple different techniques for making the hands, although it'll probably be a little while until I can get into the metals studio and try them out.  I'm interesting in trying both electroplating and electrotyping to create metal hands based upon life-molds taken from the model (whoever that turns out to be).

Electroplating permanently bonds a coating of metal to whatever it is you've properly treated and immersed in the chemical bath, while electrotyping adheres to the agent itself and creates a copy from a mold.  Since I want to create metal hands that are essentially wearable in glove-like fashion, whatever it is I make will have to be hollow.  Electrotyping seems like it would be an ideal solution in this instance, although the technique was maining popular during the Victorian era.  To create something like that through electroplating, I believe I would have to create a cast of the model's hand and arm out of wax, which I could then coat in metal using the electroplating after which I would melt the wax out.

I have no idea yet which techinque might be more appropriate or yield better results... if I want to do raised relief decoration on the silver hands (which I would like to do), it seems as if doing that on a wax cast would be the easiest way.  But I think I won't know until I get in the studio and actually try it all out.

Or I could do a combination of metalwork and stitchery... like these killer shoes by Alexander McQueen.

Oberbayern Tracht from the 1810s and 1820s

I found some really wonderful prints yesterday when digging around on the internet on the website of the Trachten Informationszentrum, which apparently is an institution not terribly far from Munich which specializes in fashion and folk costume from the Oberbayern (Upper Bavarian) region.  Their website contains a very small selection of their entire collection, which is comprised of over 4,000 items of clothing, 20,000 images, and an extensive library.

I think I need to go there.  According the website they are open to the public every Thursday, but are very open to setting up private appointments on other days to look at things. Hopefully I'll be able to take a trip sometime in the next month.

The first two prints are from 1813 and are by Ludwig Emil Grimm... and yes, that is Grimm, as in Ludwig was the younger brother of Jacob and Wilhelm Grimm.  Very, very cool.

1813 - Baierische Bäuerinnen vom Schliersee

I love almost everything that these two are wearing... the strange little pantaloon type things (also worn by the men in the print below), the decorated back of the bodice, the almost gauntlet-like sleeve things, the overall silhouette... I have a feeling I'll be drawing heavily from this sort of style in my designing.

1813 - Baierische Baueren vom Schliersee

1817 - Eine Bäuerin von Holzkirchen

 1818 - Ein Bauer von Flintspach

1825 - Bauern-Bursche & Bauern-Mädchen von Brannenburg

Making for the men- an 1825 dress coat

When it comes to constructing costumes for the 1820s (and really, for the majority of all time periods) I'm far more familiar with women's clothing than with men's.  To start to gain that familiarity with the shape and inner structure of men's clothing, I'm putting together a muslin of the 1825 Dress Coat from the book Cut of Men's Clothes.  I'm not sizing it in any way, just scaling up and making a mock-up in the original size.  The idea is to be able to understand the garment so that when I get around to making the actual pieces for my project, I'll know how and where I want to deviate.  The coat is actually really small; it might even be a decent size for me!

I scaled the pattern up by hand, which was super easy to do once my tutor told me a little trick... since the measure at the side of the page isn't a nice and neat 1/8 to an inch, draw a grid (or partial grid) over the pattern and then cut the scale off the side of the page to use as a sort of mini-ruler.  Such a common sense solution.  I couldn't believe I'd never thought of that before...

The muslin is currently all cut out and partially constructed, and I should hopefully finish putting together tomorrow.

Royalty and Riches - journal entry from 27 Sep, 2013

So what were German nobility wearing at this time period (1819-25)?  It varies a little bit, but for the most part it seems as though they were following the same fashions trends found in France and England with only very slight differences.  I love the crazy amount of glorious silver or/and gold embroidery on a lot of these...

Therese of Saxe-Hildburghausen, Queen of Bavaria, by Joseph Stieler

1823 - Worn by Oscar I of Sweden and Josephine of Leuchtenberg for their wedding in Munich

Could anything possibly look more fairytale than this ensemble?  I kind of doubt it.

1819 German Court Dress

 1823 - Princess Augusta Amalia of Bavaria

 1820s German Court Dress

 1825 Queen Pauline of Württemberg

1825 Ludwig I of Bavaria

 1825 King Ludwig I of Bavaria again... this time all decked out in his regalia.  Check out those shoes!