Saturday, March 12, 2011

Theatre Ghosts : Ladanaz / Fantômes de Théâtre : Ladanaz

I do often miss being Costume Designer for a Theatre troup, even an amateur one. I don’t have the time to do it right now, but I still miss it. When Nancy-Raven was asked to make costumes for a High School play (our High School, Rive-Nord), I of course offered to help (make that beg her to let me work on the project with her, as her assistant). Now, because this is a French High School, I will make the posts on this play bilingual.

Je m’ennuie souvent du temps où j’étais Créatrice de Costumes pour une troupe de Théâtre, même une troupe amateure. Je n’ai pas de temps à y consacrer en ce moment, mais ça me manque tout de même souvent. Lorsque Nancy-Raven s’est vue offrir de faire les costumes pour une pièce de théâtre d’une école Secondaire (notre école secondaire, Rive-Nord), je me suis tout de suite offerte pour l’aider (ou plutôt je l’ai supplié de bien vouloir me laisser travailler avec elle sur ce projet, comme assistante). Comme il s’agit d’une école secondaire de langue Française, tous les articles en lien à cette pièce seront bilingues.(J'espère seulement ne pas trop faire de fautes, ce serait honteux.)

I do not know the title of the play yet, nor do I know the story, but from what I hear, it is about people from all eras and cultures meeting, as ghosts, and sharing memories (someone please correct me if you have any more information on this play). Because the “memories” will be projected on the actors, and the characters are ghosts, all costumes must be beige to serve a screens (white is too hard to work with for the lighting experts). Also, all costumes have to be extremely easy to put on because actors change characters during the play, and change on stage (they all wear leggings / pants and a t-shirt for modesty’s sake). It’s a concept, just go with it.

Je ne connais pas encore le titre de la pièce, ni même son histoire, mais de ce que j’en sais, elle met en scène des gens de toutes époques et toutes cultures; c’est une rencontre de fantômes qui partagent leurs souvenirs (si quelqu’un en sait plus, je vous prie de me corriger). Puisque les « mémoires » seront projetées sur les comédiens, et puisque les personnages sont des fantômes, tous les costumes doivent être beige afin de servir d’écran (le blanc étant rendant le travail des éclairagistes trop compliqué). De plus, les costumes doivent être très facile à enfiler car les comédiens change de personnage durant la pièce et se change sur scène (tous porteront un legging ou un pantalon et un gaminet, question de modestie). C’est un concept artistique.

The first costume I made is for the character of Ladanaz, a Mayan girl. Originally, the idea was to give her a short sleeved dress such as the one worn by Zia in The Mysterious Cities of Gold (1982) (Taiyō no Ko Esuteban). After doing a little research on traditional Mayan female clothing, I discovered that they wore Huipils.

Le premier costume que j’ai complète est celui du personnage de Ladanaz, une jeune Maya. À l’origine, on voulait lui faire porter une robe simple à manches courte inspirée de celle de Zia dans Les Mystérieuses Citées d’Or (1982) (Taiyō no Ko Esuteban). Après un peu de recherche sur le costume traditionnel des femmes Maya, j’ai découvert qu’elles portaient un Huipil.


A Huipil is a highly colourful, incredibly embroidered tunic or blouse, which can be short and worn with a skirt, of long. Here is the fun part: translating that rainbow into beige. With no budget.

Un Huipil est un vêtement très colorée et brodée, portée court comme blouse avec une jupe, ou long comme une tunique. Maintenant la partie amusante : appliquer le concept beige à ce vêtement arc-en-ciel. Sans budget.

Concept Sketch for Ladanaz / Illustration Concept pour Ladanaz

Nancy-Raven and the play’s Writer/Director bought poly/cotton poplin on sale to make the costumes (again, no budget) and this is what I used for the tunic. To mimic embroidery, I added a large square at front and back made from what I believe is leftover upholstery fabric my aunt gave me when I was working on costumes for my previous play. It is beige toned and thickly woven.

Nancy-Raven et l’Auteure / Metteur en scène ont acheté plusieurs mètres de popeline de poly/coton en vente, et c’est ce que j’ai utilisé pour la tunique. Afin d’imiter la broderie, j’ai ajouté au devant et au dos un large carré de tissu que je crois être un reste de tissu de recouvrement, don de ma tante à l’époque où je travaillais sur ma pièce de théâtre précédente. Il est dans les tons de beige et tissé de fils épais.


Ladanaz' "Huipil" / Le "Huipil" de Ladanaz

Please ignore the pressing, it is late and this will get washed before the play anyways.

Veuillez je vous prie ignorer le repassage; il est tard et ce costume sera lavé avant la pièce de toute façon.

Pattern wise, it is simply two rectangles with openings at the sides for the arms and slits at the bottom for ease of movement. For the neckline, I used my own pattern of Key hole, which I normally use on medieval t-tunics. It is not necessarily accurate, but accuracy is not a goal here: suggestiveness and a feel for the approximate culture and period is.

En ce qui concerne le patron, il s’agit simplement de deux rectangles avec ouvertures aux latérales pour les bras et de fentes au bord afin de permettre une plus grande facilité de mouvement. Pour le col, j’ai utilisé mon propre patron de col trou de serrure qui me sert habituellement pour mes tuniques médiévales. Ce n’est pas nécessairement une reproduction précise d’un véritable huipil, mais une reproduction exacte n’est pas le but recherché : il s’agit plutôt de suggérer la culture et l’époque de manière approximative.

So now I have one down and two more to go, all due in two weeks! Since it is St. Patrick’s week, I’m already super busy with Irish dance shows, but I promised them to Nancy-Raven and a witch is only as good as her word. Besides, I Iove making costumes!

J’ai maintenant un costume de fait sur trois de promis, le tout dû dans deux semaines! Comme c’est la semaine de la St-Patrick, je suis déjà très occupée avec différents spectacles de danse irlandaise, mais je les ai promis à Nancy-Raven et je tiendrai parole. De toute façon, j’aime faire des costumes!

Sunday, February 27, 2011

Purple Herringbone Toddler T-Tunic

I am not the only one in need of garb for next week: my daughter needs some too! She has the light blue jersey tunic made by Nancy-Raven, but if I am to wear my houppelande, she's wearing her nightgown! (Hey, maybe I'll bring it for her to change in at the end of the night.)

In preparation for Spring Crown Tourney of last year, I had begun to make us both matching tunics from a piece of purple and black twill. Since the cars both broke down the in days before the event and it was a 3 hour drive, we didn't go. Thus I never bothered to finish the new dresses.

But today, during nap time, I finished my daughter's!

Purple & Black Herringbone Toddler T-Tunic

Honestly, I now know why this fabric was in the discount section: it is so flimsy, it is hell to work with! See how all the seems are pulling? Not my best work, but it will do. Besides, since I cut it when she was 14 month old and she will be turning 2 this week (can you believe it? I still can't!), the sleeves are this close to too tight, and they are now 3/4 length, and the tunic is about knee length now. So you see, she will probably only wear it this once.

Under it, she will wear a long sleeved white t-shirt and black leggings. I will belt the tunic with a card woven belt I made her during the last weeks before she was born; it is white, green and red, which is fine because the trim has green and red in it. Shoes wise, I guess I'll put her in her leather slippers; they are lime green with red lady bugs on the top. Modern, yes, but so cute.

By the way, the fabric isn't as dark as it looks in the picture.

Purple & Black Herringbone fabric and Trim detail

See? And the trim may not be period, but heck, I paid 5.99$ CAD (plus taxes, of course) for the whole roll! So it looks good enough to me! And eventually, I will finish my own tunic too.

Now, I still need to make my daughter a new coif, and get crunching for my own garb!

Friday, February 25, 2011

To wear or not to wear...

Baronial Investiture Anniversary (BIA) is coming up next week-end, on March 5th; this is the most important SCA event there is locally and I have a little problem: I don’t know what to wear! The new Baron and Baroness will officially make their debut, the King and Queen will be there, as well as many other out of town nobles I am sure. The new Baron and Baroness have issued a challenge to the populace for everyone to wear their best garb, and so of course, as a Costumeholic costumer, I cannot ignore the call of my passion!

I am hesitating between two outfits. The first is my Navy and Gold Gates-of-Hell. It is more fantastic than historical with its Hindu beaded appliqués, but I really like it.


Navy and Gold Gates-of-Hell

The Pros: as I am going with my daughter, I need to be able to move around easily and pick her up (she generally wants me to carry her all the time when she finds herself in an unknown situation. Plus, I love the 14th century hairstyle with the braids on the side of the face. I do need a new white underdress for it, but I have the fabric and the pattern I would use is fairly easy (Butterick 4827).

Navy and Gold Gates-of-Hell - Front Bodice Details

The Cons: It is not historically accurate, the pattern I had used (McCall's 5499) has a fairly smaller skirt than what I had expected, I did wear it once already to BIA a few years back, and mostly, it is not as impressive as my second choice.

My second possible outfit is my Burgundian Houppelande with Butterfly Hennin. I made it for Halloween 2008, while I was 6 month pregnant with my daughter and only wore it to the office that once.

Burgundian Houppelande with Butterfly Hennin

The Pros: It is much more impressive and imposing, I have never worn I it to an SCA event, and I love the way the dress trails behind me. Plus, it is much easier to pull-up my hair into a tight bun than to achieve the braided look I would do for the first outfit.

The Cons: There are many things that need fixing and I only have a week. Many of these are not very time consuming though, but all in all, it seems like a lot! The fur at the collar needs to be tacked to the dress, the hennin is too tight because I but tape over the edge of the straw cache-pot I used as a base, so I would need to open the fabric that covers it and take it off, I need a new, shorter, stiffer veil, and a better belt (although I have a gold braided pleather one I think could to the trick), and a new underdress with a lower neckline, but I don’t have time to make a historically accurate kirtle, so I would have to cheat an make a simple dress from a modern pattern (1998 2 hour dress pattern by McCall's, #9456), and I don’t know if I have the right fabric for that.

Also, I am actually quite shy, believe it of not, and this dress would get me lots of attention, that is for sure. I have to admit I fear the Costume Nazis that invariably follow the King and Queen; I know it is not accurate fabric and I did use fake fur. I just don’t want to deal with them again (last time it was because my Elizabethan necklace was made of synthetic material!). It is crazy to worry about one or two person’s negative reaction, when everyone else’s will probably be positive, right?

After all that, I don’t know if I can easily pick up my daughter, or if she won’t pull on the pins that hold the veil or the veil itself.

Butterfly Hennin close-up

It would seem like the clear choice is the Navy and Gold Gates-of-Hell… but I really wish I could wear my Houppelande. Please faithful readers, what would you do? Help me make a decision and fast! I only have a week to do everything on my list. (For those who vote houppelande, what colour would you suggest for the underdress? Should I keep it red?)

Friday, February 18, 2011

Southern Belles of Laredo

My parents have collected National Geographic issues for a very long time. They got a first subscription to the magazine as a present when they got married and have renewed is ever since. Whenever I visit, I love to flip through the latest ones that are lying around the main floor (the rest I classified for them a couple of years back, in the downstairs library). That is how I one day learned of Laredo's Martha Washington Pageant and their impressive gowns.


Once upon a time in Laredo was written by Mimi Swartz, Photographed by Penny De Los Santos, and published in the November 2006 edition of National Geographic. It presents Laredo in all its reality, with its lavish pageant and contrasting poverty. Although it makes is sad to learn of a place set in the modern world where the average income is 11,000$ (US) a year, and where the rich got richer and the poor are meant to be poor, I will focus on the amazing dresses the “Marthas” wear on their debut night.

Ready to Sparkle, Photograph by Wyatt McSpadden, Visions of Grandeur, AAA Texas Journey, February 2009

Laredo's Martha Washington Society was founded in 1939, for the ladies of the old families of Laredo. The Martha Washington pageant is their version of a debutante ball, but whereas Northern Debs wear white dresses and long gloves, “Marthas” wear “colonial” or Southern Belle dresses (many article talk of "typical 18th century" dresses, but we both know that is wrong) so adorned with beading, embroidery and ruffles, they can weight up to 80 pounds and cost 30,000$! (And you though the Say Yes to the Dress brides with their 10,000$ dresses were crazy! – Or is that just me?)

Hand Beading of a dress

There are some options for “Marthas” to cut down on the price of their dresses. One is to participate in the hand embroidery and beading of the dress they helped design. Another is to “recycle” the dress worn by their mother or grand-mother by adding more ruffles, beads, sequins and lace.

Hoop Dreams, Photograph by Penny De Los Santos, Once Upon a Time in Laredo, National Geographic, November 2006

“Marthas” must learn to walk, dance and curtsy in these dresses; they practice with their partners, wearing only their corsets and hoop skirts, before adding the weight of the gown. In a time when all girls grow up wearing jeans and tee-shirts, becoming a princess might seem like hard work!

Martha & George Washington

The ball is always held on a Friday. Influential members of society are chosen to play the parts of Martha and George Washington. They are introduced first, and then followed by the “Marthas” and their escort. Each plays a character contemporary to the President, and as they are presented to the public, their “pedigree” is announced: how long has the family been established, whether their grandfather ever played George Washington or their mother was ever a “Martha”, if they were once and “abrazo” child in a local ceremony of friendship where children are sent across the international bridge to embrace a child from the other side of the frontier, that sort of thing. They are expected to bow down very low turning their heads to the side and making their ear parallel to the floor, all the while balancing the curls piled on top of their heads.

Sparkling Splendor, Photograph by Penny De Los Santos, Once Upon a Time in Laredo, National Geographic, November 2006

Once everyone has been presented, then the ball can begin. Finally, months of practice are put to the test as the “Marthas” dance the night away with their escort.

Pageantry on Parade, Photograph by Penny De Los Santos, Once Upon a Time in Laredo, National Geographic, November 2006

Contrary to a wedding dress, the “Marthas” get to wear their dresses again the next day, when each one takes place wrapped in furs on their own personal float, for a parade in honour of the first president.

The Right Touch, Photograph by Penny De Los Santos, Once Upon a Time in Laredo, National Geographic, November 2006

You might wonder who makes these amazing dresses; the answer is Linda Leyendecker Gutierrez. For over 30 years, she has designed with passion the fabulous gowns that gives this pageant it’s character. "The girls are born, and the mothers call me from the hospital," Linda says. To the elite, she is one of the most important woman in town. "I want my daughter to steal the show," one mother told Linda, and so she creates intricate and beautiful dresses for the "Marthas". "They think they're getting what they want," says Linda, "but I lead them to what I think is right."

In the Spotlight, Photograph by Penny De Los Santos, Once Upon a Time in Laredo, National Geographic, November 2006

So tonight, have a thought for these young girls who will make their debuts in Laredo’s society, not because they need it to advance in life – they all come from wealthy families and attend Ivy league schools – but because deep down inside, all little girls want to be a princess for one night.

For more beautiful pictures of these gowns, visit the following links:

Dedicated to Nancy-Raven and her current passion for Southern Belle costumes.

Saturday, February 5, 2011

Otakuthon 2011 Costume Project: Princess Peach and Toadette

A new year means new projects, and one thing I plan for 2011 is to attend Otakuthon. I’ve missed the last two years already, in 2009 because I couldn’t imagine stopping to breastfeed in public all the time (plus figuring out a costume that would accommodate such an activity), and in 2010 because we were sick the week-end of (at least I had made no costumes for the event – I was waiting to see how it would go and I figured I could decide the day of if I wanted to go). So this year I really, really want to go. I don’t know yet if I’ll go only on Saturday, or if I’ll drag my daughter to Downtown Montréal three days in a row, but we are going. So we need costumes.

Last year I had made a list of ideas I could make for the both of us. I still like all of them, but for my daughter, they mean warm, possibly furry animal suits complete with heads (Pepe, the monkey from The Three Musketeers, or Kero from Cardcaptor Sakura) and I’m afraid these might be too warm for Montréal August weather. So I’ve had another idea:

Toadette from Super Mario

Wouldn’t she be cute? It’s basically a summer dress with, a vest and white shorts. For the mushroom head, I’ll use her bike helmet (which she likes to wear to watch tele) and make a slip-cover for it, mounted on an elastic so it can go on easily (my first helmet had one of those). The "pony-balls" will be made of Styrofoam balls covered in fabric and tacked to one another and the slip-cover. As for shoes, I’m sure I can find a pair of brown shoes her size either at a thrift store, or simply on sale at a retail store.

What about me I hear you wonder. Well, here is what I’m thinking of:

Princess Peach from Super Mario

I have wanted to make a Princess Peach costume for some time now. Besides, I look good in pink, I can style my own hair with a lot of spray net to get those flips, and it would be a fairly easy costume to make. Although Sarcasm-hime warns against the use of satin for Cosplay, I would like to make this costume out of Peau de soie (matte bridal satin). I should keep an eye out for sales!

For our first year going to Otakuthon together my daughter and I, I want to go for an easier project and I think this one would do.

Now if only I could convince Nancy-Raven or Marie-Ange-The-Celt to join us…

Princess Daisy from Super Mario

I'm sure that either one of them would look good as Princess Daisy.

(*Insert grinning face here*)

Wouldn’t that be fun girls?

Saturday, January 29, 2011

Irish Dance Steampunk Dress Designs

I am going through a Steampunk phase; that is no secret. A couple of years back I wanted to wear Kimono everyday, now it is bustles and vests.

Back in November, a the day after I came home from the
Oireachtas, I read something about one of Alisa’s projects (The Steampunk Ghost) and suddenly, a crazy idea came to me: A Steampunk Irish Dance Dress. Designs started popping in my mind, begging me to draw them out. I have made a few sketches based on these ideas.

First, whenever I imagine an Irish Dance dress, I like to begin with decorative design I will use repeatedly on the dress. Here is what I came up with:

Gear-Cross design

It is a clockwork gear with an Equal arm cross in its center; Steampunk plus Celtic in one simple design.

Now for the dress ideas I have come up with so far; I tried to follow An Coimisiún Rincí Gaelacha rules concerning dresses, which includes long sleeves and neckline coverage up to the collar bone, as well as general Irish Dance dress fashion of layered skirts and capes.

Steampunk Irish Dancing Solo Dress

This one is based on the current Solo dress fashion: a corseted bodice, over skirt panels and a flounced underskirt. You can see my Gear-Cross design on the panels and cape. What else says Steampunk other than wheel gear? Wings! The cape, which would be flat and quilted, represents a pair of wings.

Although people might not get the wing concept, this is a dress I could easily make and wear for shows and competitions.

Fabrics would be taffeta, silk, satin and liquid lame.

Steam Era Steampunk Irish Dance Dress

This second one is inspired by Steampunk outfits in general, and is what I imagine a Steampunk Irish Dancer would wear. The top part mimics a cream shirt with wide sleeves, worn under a green bodice. The bottom consists of an underskirt covered in lace flounce, with a bustled over dress gathered at the side front with ribbons. The cape is a piece of tartan fabric held at the shoulder and waist by brooches made in my Gear-Cross design.

If I were to perform Irish Dancing at a Steampunk event, I could definitely wear this, but I would not make it to compete on a regular basis (the colours are not flamboyant enough).

Burlesque Steampunk Irish Dance Dress

This third design could actually be worn as a Steampunk or even Lolita dress. The bodice consists of a Basque-like jacket with mandarin collar and diamante buttons down the front, an underskirt with 2 layers of pleated flounces at the bottom, and an apron over skirt trimmed in lace with tails trailing at the back. The cape is a gathered and holds with rosette brooches.
If I were a burlesque Steampunk Irish Dancer in a cabaret, I could wear such a dress (although I would probably need an evening bodice instead of a day one).

I also decided to make one design based on what Irish dancers actually wore in the early 20th century, since this is what lead to the costume we wear today. I have read (here) that at the time, with Ireland gaining its independence in 1921 (and half of it returning to England a year later), the Irish people were trying to rediscover any aspects of their culture void of English influence. They looked to the 12th century, before they were invaded, for such clues, and what little they found (archaeology in the early 20th century was still in its infancy) was that people wore belted Leíne (knee length unisex gowns) and brats (cloaks) back then. Therefore, the girls wore knee length white dresses reminiscent of Leíne, embroidered with Book of Kells design, with wide sleeves gathered at the wrist and a brat or shawl pinned to their should with a Tara brooch. The men of the time looked to their Scottish cousins for a "true Celtic look" and adopted the kilt, even though there is no archaeological proof that is was ever worn on the Irish isle. By the way, the brat is the ancestor of the modern day “cape” worn on the back of the dress.

Three young women wearing 'Celtic Costume'

Steampunked, this is what it could look like:

"Celtic Revival" Steampunk Irish Dance Dress

This is a white dress with stand-up collar, back buttoned placket closure, and Gigot sleeves. It is gathered at the waist with a kelly green sash finished with tassels. The skirt is decorated with popular Steampunk motifs such as a skeleton key, topped with a shamrock motif, clockwork gears in a Triquetra (made of zigzag ribbon to simulate a chain pulling the gears) and of course, my gear-cross motif. In the 1920’s, all the designs were hand embroidered by the dancer – they were given to her as a reward for winning a competition; the designs around the bottom of the skirt would be hand embroidered to feel period. The brat is tartan, but in the colours of the Irish Flag (born in 1916) and is pinned not by Tara brooches, but by Gear-Cross gold brooches enamelled in green. A winged Gear-Cross brooch is pinned at the neck. I have incorporated the Irish Flag colours as well as Irish symbols as much as I can in this design to give it a true patriotic feel.

I don’t know if I will ever make any of these, but it has been a fun exercise in creativity. Next up: Asian Steampunk! It's been developing slowly in my mind since New Year...

Tuesday, January 11, 2011

Winter Themed Yukata

Some of you may know that I am also on DeviantArt. One of the groups I belong too, KimonoDreams (for Kimono lovers!), was holding a design contest around the theme “Winter”; entries had to be original creations or design, for Kimono or accessories, of any medium. Many entered drawings, a few entered Kanzashi and one entered a doll. The contest had been running since November 20th, and I wasn’t going to enter, but when I received a “5 days left” reminder last week, something clicked and I changed my mind. I figured it would be the perfect kick in the butt for me to start a prolific costuming year – and clean out my project bin.

Winter Yukata and Obi fabrics

So on Saturday night, with 2 days to go, I cut both my Yukata and Tsukuri Obi, I sewed the Yukata on Sunday afternoon while my daughter was napping and made the Tsukuri Obi on Sunday night, after she had gone to bed (yes, being a parent, you have to work around your child’s sleeping schedule to work on your costumes). Monday, I took pictures and sent my entry in (1h30 before Contest closing – reminds you of anything?), and today, I am sharing my first 2011 project with you.

I used Printed Quilter’s Cotton to make my Yukata: it is a lovely two tone blue chequered print with snowflakes in each square - Perfect for the Winter theme. And of course, I got it on sale! As for pattern, I used the same one I always used, a modified version of
Simplicity 5839 (I used the pattern as a block long ago, made my own pattern and have been using it ever since for all my Yukata – I should post instructions one of these days).

Winter Yukata - Flat

For the Tsukuri Obi, I found white tone-on-tone chequered jacquard in the decoration section – on sale too! Since I own a Tsukuri Obi, I measured it and based my own on these measurements. The bow is made of two rectangles, overlapping at the center fold and loosely tacked together in the middle. The ribbon to tie the bow around my waist was tacked to the bows. For the hook, I used an old metal hanger which I cut with bolt cutters (breaking a nail in the process). I then bent the ends and inserted them in my top bow’s fold. Finally, I wrapped the knot band around the bows and hook and hand sewed it tight and shut.

Tsukuri Obi Belt and Bow

In my second attempt at Kitsuke, I put both Yukata and Tsukuri Obi on last night for a quick photo shoot.

Winter Yukata - Front

Winter Yukata - Back

Please excuse my bare arms; I have yet to make a Yukata Juban.

(Note to self: must make more under things for all projects to be worn correctly).

Pretty Snowflake

It is a winter themed project after all!

Kneeling - A Japanese Must!

For those of you who have watched the making-of of Memoirs of a Geisha (2005), I concur with what the actresses said: it is an art to learn to kneel (and walk) in a Kimono.

Of course, as my entry for the contest, I made a lovely montage:

This has got to be the fastest costume project I have ever made: 48h from cutting to photo montage! Let’s hope it is a sign of projects to come.