What have I been up to?

What have I been up to? A lot of little projects it seems.

After delivering their long program costume, I watched Weaver and Poje's Skate Canada performance last week-end.
I was so nervous! I am accustomed to seeing costumes I have made before the public does- and any small tweaks can be made at a dress rehearsal. Not with these! I was glued to the television, looking for problems, checking that everything worked and looked OK. I did see a couple of things that needed work so they came back to me and I have tweaked them a bit more.
I do have to say that I thought they looked great, and I am very critical of my own work. They also had two personal best skates and won second place right behind Virtue and Moir (the reigning Olympic champs in ice dance).
I think they have momentum and will accomplish great things in Sochi!

Next,
I don't usually take on private clients but occasionally I do - usually when other work is in limbo or hard to come by so, I drafted a new shirt for a old client, did some alterations on a few expensive off the rack jackets for another person, and may have a commission for a suit coming up.

The other thing that has been taking up my spare time lately is putting together a photographic instructional booklet for tailoring. The idea began while I was teaching and morphed a bit over the years from a text document that would be accompanied by samples to something more visual. I have worked on in fits and starts over the years, but always was pulled away by other work.
In our work context, we spend time making samples as we change and improve and invent methods. We may be asked to do something unusual or we have come up with a way of dealing with a common technique that is more efficient. We generally make some written notes to go along with the samples, and keep them in a box at work. They can be reviewed for years this way. They have been invaluable tools for training on the job when we have a new seamster, or just to refresh the memory when dealing with little used techniques. A couple of years ago Silvia made up a booklet of photos documenting  the process of building fall front breeches, which was very nice for us to have and refer to.
Silvia's photo booklet, combined with the lack of instruction available online or in person, has led me to revive my old instructions and combine them with detailed photos in order to eventually have a pdf booklet of some of the tailoring techniques we use.

My photography skills are being put to the test! Sometimes I yearn for the days of film and a Pentax K1000. 

So I am plugging away at it, hoping to get at least sections of it done.

For now, that seems to be what is going on.

Velvet survival

 Well, it seems that I have survived the velvet  after all.
It did require a bit of careful basting, especially when dealing with the collar. I used a heavy shirt fusible in the collar stand, but only one layer of lightweight interfacing in the fall. The velvet is not overly heavy, but it has more thickness than a regular shirting. The fall of the collar therefore needed to be a bit deeper to account for the turn of fabric at the top edge.
In the top picture I still had the top collar edge  basted because I wasn't sure it would look alright with a top stitch, or would behave under the presser foot of the machine. It did in the end.

The design called for the shirt sleeves to be rolled up, but of course the backside of the velvet would show if I made a regular shirt sleeve. Instead, I made a separate tubular cuff
and attached it to the shortened sleeve of the shirt. The cuff then folds up onto itself a bit and it is tight enough not to slip down the arm.

To finish it all off, it is attached to a brief, which keeps it looking nice and tidy no matter what movement is happening in the upper body. It also prevents the shirt hem from bunching up when it is tucked into the trousers.

I didn't put buttons on it, just sewed snaps on to close it up to the mid chest line, so nothing distracts from the velvet, which is a really fabulous colour I must say. Very flattering look, deep colour, simple cut, and rich looking fabric, and not as bad to sew as I had thought.

Forgive me if I cry

Oh please forgive me if you see me crying, for I am sewing velvet. Stretch velvet....
Denise the velvet queen will be laughing, I know it! She will be thinking finally the cutter gets to share in the challenging fabric department!
I'll post again after I emerge with a finished garment. Don't tell her- it is not as bad as I thought.

The costume cutter's job description aka "There is no formula"

As a continuation of the brief discussion about the costume designer's job, I will now endeavor  to sum up what my job description, as a costume cutter / tailor is.

Before I do, I really think that the designer Dierdre Clancy really hits the nail on the head in her description of the designer's job. People mistake the designer's job and the cutter's job all the time! That won't happen anymore now that it has all been explained :)

Without further ado:

The Costume cutter's job description

Workload and Paperwork
The cutter is assigned a workload, and must manage that workload to the budget and deadlines for the show. In some theatres that means working on a single show at a time, in a rep situation like ours, I would work on three different shows at once.
This translates to paperwork!
I get a list of all my assigned characters/cast in the show and a budget breakdown to indicate what is being built from scratch, what is coming from stock, or being bought, and the estimated hours given for each item.  I then compile all the info into individual show binders, by actor or character, and get their measurement sheets or request a measurement session.
I  am also responsible for filling out costume time sheets, so I have another large binder where I list all the costume pieces, fabric swatches, and the budgeted time. As we make the costumes, the team records  how long they spend on each item in this binder. We keep running totals so we know if an item is taking longer than budgeted or is being completed with time to spare. These records are then compiled at the end of the season, and averaged out so the management staff have a basis for future costing.
I also get a list of my team members, their start and finish dates and their experience level.
I get a list of the actor availability so I can figure out which costumes I should start on first. I try to find out the designer availability as well, cause we cannot schedule fittings unless we have the designer there.
There is also a variety of paperwork indicating the key people on each show(director, designers-sound, lights, costume and set), as well as key dates, such as the first rehearsal date,  first tech dress, first preview, opening night and overall number of performances.
I also try to read the script, and make notes on the characters I have to deal with.
Once I have all the paperwork sorted out, I can move on to:

Sketch interpretation
OK, I am going to say it again: "the cutter is not the designer", but we work very closely with the designer as we are the interpreters of the sketch they provide.
We are given the sketch, the measurements of the actor, and we sit down with the designer to discuss the costume in question so we can then move on to the pattern making stage. The designer hopefully will bring fabric swatches along or may have already purchased the fabrics and trims. Most designers bring along research but cutters generally have their own collection of books and reference materials to draw from. We talk about what the director is trying to achieve, how the designs relate to that, how each costume design defines the character. We talk about fabrics, the colours and trims that may be needed, the period details, the actor playing the part, quick changes, requirements for dance or other movement, and how the costume is put on or taken off. Cutters also need to be able to estimate yardages required for a variety of different periods and garments so I keep a record book- after all you never know when you will be asked to estimate how much trim is on a 19th century dragoons coat, how many square feet of leather for trunk hose or how many yards in a floor length cloak with a 24 inch pattern repeat!
Once that is done, and usually before I have any staff in, I try to absorb all of it, figure out what costumes I should start with, and that leads to:

Pattern making
Drafting or draping. Tailors generally draft, many women's wear cutter draft and drape depending on the costume. Most of the time we are drafting to an individual's measurements not to a standard size  and grading up or down.
The cutter needs to be able to take accurate measurements and/or be able to work from provided measurements in order to make a pattern. Knowledge of human proportions, and standards are very helpful, especially in the case of less than ideal measurements.
Pattern making can be, at times, simple, or very complicated. A pattern is a two dimensional representation of a three dimensional object, and the cutter must be able to both interpret the sketch as the designer sees it, as well as be able to make it fit a particular body.
A cutter needs a working knowledge of period shapes and silhouettes, the defining characteristics of a period and how to achieve it. An ability to think three dimensionally is a must.
This is where "there is no formula" comes into play. As much as I am a tailor, I don't always get tailoring to do. I may have to make draped Greek tragedy robes, or spandex unitards with full feet and sleeves with hands, leather gorgets, fabric armour, a wearable salt shaker. In all these instances there is not a book I can turn to or a reference that will show me the absolute, step by step way to achieve these things. It is the cutter's job to figure it out. Most cutters develop their own formulas and methods for approaching these challenges. If you haven't done something before, you have to be able to draw on what you do know and modify it.
Even with straight ahead tailoring, I need to be able to modify the pattern shapes to fit an individual, from a child of 8 to a stout size 52 adult. The very few books that will help you to understand how to do this will only give you guidelines. It is a continual learning curve!

Construction supervisor 
 The cutter along with a senior stitcher usually figures out the methods of construction required, and supervises the process from first baste up or toile through to the final finishing touches.
The cutter should have an extensive background in sewing in order to supervise the construction and a familiarity with the properties of the fabrics they have been given to work with. They should also be familiar with a variety of sewing machines and their functions.
A cutter is also responsible for laying out the patterns on the fabric for most efficient use, choosing the correct support structures, and physically cutting the fashion fabric, linings and trimmings to complete the garment.
Once the pattern is made, the cutter would cut either a toile (mock-up) or cut right into the fashion fabric for a first baste up. The cutter co-ordinates the construction so that all garment pieces required are ready for the fitting. The cutter marks any alterations on each garment after the fitting and supervises the finishing.

Fitter

Once the costume is ready, a fitting is called and the garments are tried on with the designer in attendance. This is where the designer and cutter interact, determining both the technical fit as well as the design interpretation. Cutters need to have and maintain the etiquette appropriate to the fitting situation. You must be able to interact easily with the actor and designer as well as any other personnel involved in the fitting process. All the while you need to actually fit the costume, take technical notes so you can make the changes required. 

Team Manager and all round people person
The cutter is in charge of a team of stitchers, of varying experience and must distribute the workload to the appropriate person and co-ordinate the process so that all the pieces required to complete the costume are ready in a timely manner. In a large company like ours, the cutter is responsible for conducting yearly employee performance reviews.
The cutter also has to interact in a professional way with actors, designers, other artisans, management and sometimes the media.

Researcher, archivist, and jack of all trades
I think that most cutters have a lifelong interest in researching, whether it be either historical details of a period, pattern making, art, or design. We also tend to archive a lot of information, from books, patterns to sewing processes. Most of us are also contract workers so we tend to work in many venues, gaining experience and skills along the way.
Some people may say that you have to either be a control freak or an adrenaline junkie to work in this business, and that may be somewhat true!
It is certainly different everyday, interesting as well as challenging in many ways. In the end it is also satisfying, making something with your hands come to life from the page to the stage!

Ok I am sure that I will come up with something I neglected to mention that is really important, but I think I have covered the gist of it all.

Ice dance!

Well, I think I can let you know about my last project since it has now been seen in public.

Margaret (who cuts women's wear) and I just finished costumes for Canadian ice dancers Kaitlyn Weaver and Andrew Poje who are starting out their competition season this week  at the US Figure Skating Classic in Salt Lake City, Utah.

Whew! it looked like there were no costume malfunctions- hurray- since that results in points deducted!
We made two costumes for them, a "rehearsal look", with Kaitlyn in a thirties style playsuit, and the finale look which is what you can see in the video I am linking to here.
I made Andrew a pair of french blue high waisted trousers worn with a striped shirt for the rehearsal look and a black with blue striped trousers and waistcoat, with a white pinstripe shirt for the finale look.
It was very nerve wracking getting all of it together in such a short time frame and with basic/sketchy measurements and only one fitting.
    Adding to the pressure was the fact that the clothes have to not only look good, but must also fulfill a level of functionality that most clothing doesn't. He needs to be able to skate in them and do whatever the choreography requires, without any problems. I felt a weight lift off my shoulders as I watched both the practice routine and the finale and everything was fine. It always feels like flying by the seat of your pants when you take on projects like this. Yikes!

It seems like only yesterday that I was making opening ceremony costumes for the 2010 Olympics, and now my Olympic connection may continue as I wish Kaitlyn and Andrew all the best in their quest towards Sochi 2014.
I think we may have another project in the works for them.
Costumes designed by Debra Hanson.

shirt collar and deadlines

Are there any crazier people than theatrical costumers?


















If you've been wondering where I have been lately, I'll tell you. Margaret and I took on a project in a new venue for us, not sure if I can even publicly say what it is for, as I don't want to spoil any surprises, but it had a short timeline by any standards!

We got measurements August 24th. I started on patterns and cutting out on the 26th, ready for a fitting on the 31st. back the same day after 8 hours in the car and delivered half of the goods on the 4th, and the other half of the goods today, the 7th.

 It was such a nice shirt collar that I choose to stop and take a photo. I had a sample paper collar from the 1940's that I used as a reference. I liked the soft rounded corners.
So this is where I was at this morning around 11 am.
 

At 5:30, I bagged it up and went off to Margaret's house and waited for our clients to arrive.
They did, along with wine for both of us, so tonight I am putting my feet up, drinking a glass or two, then crashing.

Wishing them the best of luck in their endeavours though.
Will let you in on it all later.

Making samples

Well, since I last posted, work has been quite frantic, and although my contract has ended, my work was not finished! I could have stayed an extra week but decided that time off with the family was more important. 

I actually hated to leave the work for others to finish but I am sure Denise and Silvia will be fine without me. The garment that was in pieces was a leather doublet for an understudy. The original was made by someone else on the team, so I thought I would make a little sample of how I remember the process for reference.

Sampling for techniques is something we take the time to do when we are figuring out the best way to put things together, or are dealing with a specific fabric or when we change a previous technique. It is a great thing for new stitchers as well. 

Sometimes it is years in between making certain garments so even experienced people find a refresher helpful

In this case, I whipped up a sample since I won't be around to answer questions.
This is a leather doublet, with an interior structure of washed/preshrunk cotton duck. It has spiral boning in a few places to keep the shape from completely collapsing over time. The leather has been pretreated by our resident craftsperson who does surface embellishment and also breaks down the finished costumes. She reduced the shine of the original leather and also distressed it and painted it a bit before I cut it out.

Working with leather is not difficult but you do benefit from having a walking foot leather machine. there is the advantage of being able to use a raw edge with leather- no worries about fraying! You do have to be careful that you do not need to restitch over the same area, because the leather can and will perforate- and letting leather seams out leaves a very visible former seam line of punched holes. So it is best to make a toile and then you limit/eliminate  any changes once the leather is cut out.
The binding at the waist and the skirt are glued on, clipped and wrapped to the inside before being stitched. That line of stitching is top stitched through the binding. The stitch line to attach the skirt is done along the top edge of the binding to eliminate two lines of stitching in the same place.

The facing is leather, because we are making simple functional buttonholes, consisting of a stitched rectangle and a cut through the layers of the front. the facing has a raw edge where it is seamed to the front edge- this reduces bulk that a regular seam allowance would create.
We are lining this doublet, because it is worn open. The lining at the waistline will be finished last, by hand.

As you can see I have written all over it for reference, and after the doublet is complete, the sample will reside in our sample box, ready to be examined next time we need it.







Now, onto a mini getaway and then my next project which is a bit tentative. It may be that I have some time to do more thinking and more detailed posting. I will have to wait and see.