Thursday, 29 October 2015

Making a Toile

In today lecture in Introductory Cut and Construction we learnt about toiles. A Toile or a Muslin is a garment test made of cheap fabric. A toile is like a test to make sure that the pattern you are using works. This prevents you from wasting your expensive fabric if you get the pattern wrong.
The toile is then tried on the actor or the person you are making it for so that it can be altered. People have different body shapes so it may need to be adjusted to accommodate a deeper back curve or broader shoulders. A Toile is useful when making a close fitting garment and also when making a garment with darts that need to be in a certain position.
Traditionally, calico is used. This is unbleached cotton. Bed sheets, spare fabric can also be used.

Tips

-When making a toile it is easier to use lighter fabrics so that the markings made during fittings are more visible.
-Using similar weight calico to your final fabric will give you an idea of the drape.
-When adding a sleeve to a toile only one needs to be added unless a tailored garment is being made.
-Use contrasting coloured thread and long stitches on the toile will make the toile easier to take apart.
-Button holes, zips and neckline facing doesn't need to be added to the neckline.
-When fitting the toile make sure that the fabric is hanging nicely and that the garments not pulling or too tight. Get the person you're fitting to move around to make sure that it is not restricting their movements.
-Mark the stitching and cutting lines and mark where the pins have been put in case they fall out when taking off the toile.
-If there are too many changes make another toile.
-The toile can be used to work out how much fabric is needed.

Thursday, 22 October 2015

Pattern Construction

In workshops I have been learning different ways to create a pattern:
-Pattern drafting a block
-Pattern drafting onto pattern paper from a grid
-Draping on a stand

Drafting a Block
A block can be constructed to fit an individual figure or to fit an average measurement that has been taken from a sizing survey. The basic patterns made by this can then be altered in various different ways in order to create different styles.











Drafting from a Grid

Drafting a pattern from a grid is usually found when creating historical patterns. These are drafted up in one size, then sized up after.













Draping on a Stand
Draping on a stand is used to create unique, elaborate designs. This method is useful for creating bodice patterns. This is done by pinning calico to a dummy that has the same measurements of the person you are making the garment for. The pieces are then laid onto pattern paper and drawn around.












Tips

-Make sure your lines and curves are smooth. This is very important because if they are not the garment will have unwanted bums.
-Use a pattern master, French curves and a flexible ruler, these will help you create smooth lines.
-Remember you shouldn't but seam allowances on your patterns. The seam allowance should be added on to the fabric, this is because seam allowance change depending on fabric, garment and production type. Theatre productions will have large seam allowances because they will be worn multiple different times and the large seam allowance allows the garment to be made bigger if needed.
-Label your pattern pieces with the name, number of cut, construction lines, fold marks, grain line, pattern size, name of the costume, actor and production.
-Cut pieces in the direction of the warp to create a stronger garment
-Cut pieces in the weft direction to create a garment with more give
-Cut pieces on a cross grain (on an angle) for better stretch and drape.
-Line garments with lining or calico for a more durable costume.

Seam sizes 

-Basic seams- 1.5cm
-Enclosed seams (collars and cuffs)-0.5cm
-Hem allowances- 1 to 5cm. These vary depending on the fabric type, the shape or the type of hem finish you've chosen to use.
-Costume seams- 3cm
-Fraying fabric requires large seams.

Research


Costume Industry Roles

Today in my professional studies session and in my costume design class we explored a range of different jobs in the costume industry.
The wardrobe and costume departments are in control of the clothing, shoes, hosiery, millinery, jewellery, armour and underwear worn by all the characters. They design, plan and organise colours, sizes, fabrics and costume construction.
The wardrobe department is split into two section; the making and running wardrobes.
Making Wardrobe is in charge of the design, purchase and construction of the costumes before the production.
Running Wardrobe is in charge of organisation, maintenance of all the costumes during a production.
This is the hierarchy of the costume industry; designers being on top and the costume daily at the bottom. Though in the costume industry the role vary and some tasks do mix.
Designers
Designer’s Assistant
Costume and Wardrobe Supervisors
Costume Makers
Costume Assistants
Costume Trainees
Costume Daily

Costume Daily

Costume Dailies are usually employed on the day that they are needed. They get their instructions from the costume and wardrobe supervisors as well as the costume designer’s assistants and costume designers. Their responsibilities mainly involve crowd fittings, working with extras and dressing the performers. As well as ironing, cleaning clothes, taking care of accessories, gloves, hats, researching and buying items.
They sometimes find costumes that will suit an actors figures and face shapes and photograph costumes.

Costume Assistants

They are employed during any part of the before production process and follow instructions given to them by costume designer, costume designer’s assistants, costume and wardrobe supervisors.
Costume assistants have numerous of different roles. These consist of researching and adapting costumes, organising accessories, fitting supervision, setting up work rooms, measuring and ordering supplies. They also carry out tasks such as pattern cutting, costume making, aging and breaking down, sourcing and buying accessories and costumes, shipping costumes, maintain costume during productions and explaining costumes to performers.

Costume Makers

Their role in the costume industry is to fit, make and alter costumes. Their main tasks are to source fabrics -if they have not been supplied, pack and transport costumes, make sure costumes fit actors, altering, explaining the requirements of the costume to actors. They also pattern cut, make the toile and construct the garment.
They have most of their work load before the production and work irregular and long hours. They are usually given a brief and costume specifications by the costume designer. The drawings given to them can range between detailed and rough sketches so they need to be able to interpret the designs.
They work with costume designers, costume designer’s assistants and costume supervisors
Costume makers need to have a range of skills. These are creativity, colour and design knowledge, ageing and breaking down a costume, corsetry, hosiery, historical costumes, knowledge of fabric quality, cutting and fitting a costumes, pattern drafting and draping, toile making, hand sewing, machine knowledge, embellishment, wigs and millinery knowledge, stamina and communication skills.

Costume/ Wardrobe Supervisor

A costume supervisor will manage and hire staff like the costume assistants, dailies and standby. They are given other tasks such as arranging transport, organising schedules, budgeting and will work with the costume designer and the whole production team.
For this job they need to have good memory, good attention to detail, leadership, management, organisation and motivation skills, work efficiently, be adaptable, be able to calm others and knowledge of health and safety.

Costume Designer’s Assistant

Their main role is to support the costume designer. They manage budgets, hire and communicate with the costume department in order to give them important details and information from the designer. They work with the designers and costume team as well as helping on set and supervise fittings. They need to be able to breakdown scripts, analysis characters, create costume plots, research well into costume construction, design and styles in order to find method which are suitable for the time period and use libraries, museums and the internet to do this research.

Costume Designer

Their job is to design costumes for all the characters in a production, budget, organise schedules, complete costume plots and breakdown.  They manage the running wardrobe and are in charge of the overall look of the production costumes. They provide the director with initial ideas with fabric samples and a colour palette in order to get approval before giving the designs to the costume team. They work with directors, production designers and photographers.
They need to be able to communicate characters through their designs and have textiles and cultural knowledge. As well as this they need to be creative and have a range of skills such as design, communication, research, organisation, garment production and motivation skills. They need to have knowledge of historical and modern fashion, work under pressure, meet deadlines, calm others and stamina.

Bowes Museum



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Recently, I have taken a trip to Bowes Museum to visit the Yve Saint Laurent-Style is Eternal Exhibition which has fifty garments displayed. I so had a chance to look at some historical garments. This is the first exhibit in the UK to show the life and work of French Fashion Designers.


1836-1838 Dress
The fabric(muslin) used is from
1790 to 1818

Yve Saint Laurent
The dress on the left is from 1800s around 1836 to 1838 and is said to be made out of a earlier dress. Small frills decorate the top arm of the sleeves and blue piping follows along the top of the dress adding a nice decorative feature. This is one of my favourite. I especially like the shape of the neckline and how the sleeve sit low on the shoulders. The dress on the right is my favourite from the Yve Saint Laurent exhibit. I love the silhouette and the dramatic drape of the fabric.
Bowes Museum also have a range of original portraiture that is great research when exploring what was worn in the past and also to see how certain fabric types are painted to aid my design presentation.


Resources: Bowes Museum

Wednesday, 21 October 2015

About

Hiya!

Hi, my name is Alysha Rankine and I am currently attending Cleveland College of Art and Design where I am studying ‘Costume Interpretation with Design’. This blog is part of my degree mainly for one of my modules Professional Studies. This module introduces me to the costume industry, its structure and the jobs within it.
Throughout this blog I will be posting about things that interest me in the costume industry, people, films, theatre production that inspire me and about what I’m learning during taught sessions.
My aspirations for the future is to become a costume maker for programmes, films, theatre and museum’s. I’m also interesting in being a seamstress making a range of dresses from bridal to historical inspired dress.
Thank you for visiting my blog and I hope you find it interesting! :D