Tag / wardrobe

by Vanessa Nirode

What I Do At Work: Part XX

The TV business is uglier than most things. It is normally perceived as some kind of cruel and shallow money trench … a long plastic hallway where thieves and pimps run free and good men die like dogs…

– Hunter S. Thompson

I’ve had a couple extremely busy and rather annoying weeks at work. This past week, I altered somewhere close to twenty-five suits. That’s twenty-five suits while also doing a ridiculous number of fittings and a whole slew of other alterations as well. None of that is necessarily annoying on its own. What is annoying is when people aren’t good at scheduling and neglect to take into account the time it’ll take to complete an alteration.

As a TV and film tailor, I’m often the one who has a particular garment last, right before it goes off to set for an actor to wear. Which means, if someone didn’t schedule a fitting early enough or if they showed up late to a fitting, or they forgot about a fitting altogether, I’m the one who is under the gun. And I’m also the one who’ll get blamed if the clothes aren’t ready on time. Seems rather silly but that’s the way things normally work (no one ever said the film and TV business was a pretty or fair place).

As Hunter S. Thompson said, "The TV business is uglier than most things. It is normally perceived as some kind of cruel and shallow money trench through the heart of the journalism industry, a long plastic hallway where thieves and pimps run free and good men die like dogs, for no good reason."

As Hunter S. Thompson said, “The TV business is uglier than most things. It is normally perceived as some kind of cruel and shallow money trench through the heart of the journalism industry, a long plastic hallway where thieves and pimps run free and good men die like dogs, for no good reason.”

Often when I tell people that I work on television shows and movies, they say something like, “Oh that must be so much fun!” I suppose it has its moments but after the couple weeks I’ve just had, none of those moments seem all that fun.

So what can be done when you find yourself in work situations that are less than ideal? Here’s a short list of the things I do, or at least try to do when things are chaotic and disorganized around me.

Ask lots and lots of questions

 If I’m in a fitting and I know the actor is scheduled to work the next day and the designers are putting multiple outfits on him, I ask things like, “So, this is what he’s wearing tomorrow?” or “For the courtroom scene, he should wear this?”

The only way you’ll be able to ask lots of questions, is if you read all the paperwork. Which leads to the next thing on the list (which perhaps should be the first thing…)

Read all the scheduling paperwork production puts out

For every episode, the assistant directors put out a schedule called a One Liner. A One Liner is organized by shoot day, starting with shoot day one. It lists every scene to be shot that day, and which actors are in that scene. Every actor in a show is assigned a cast number and that’s how they’re listed on the One Liner. At the end (or beginning) of the One liner, all the characters are listed in numerical order so you don’t have to know off the top of your head what number each actor is. It’s called a One Liner because the scene descriptions are traditionally one line.

You probably already know this but, tv shows and movies are not shot in the order of what you see as the final product. Also, remember that sometimes things change at the last minute. Double check everything. Read the daily call sheet. Check in with the Wardrobe Supervisor to make sure they have everything they need for the next day.

Some TV and film tailors rely on the Wardrobe Supervisor or Costume Designer to let them know what garments to complete when. I like to be a lot more proactive than that, mainly because I hate last minute, “Oh I forgot I needed this tomorrow. Can you alter this before you leave?”

These types of requests at the end of a ten hour day can often be avoided if you’re informed about the schedule and who works the next day and ask questions early on. People get tired and overwhelmed and forget things (I do sometimes, too!) but one thing I dislike a lot is when someone else’s forgetfulness or disorganization means I have to stay at work late. Because, believe me, most Costume Designers, after dropping a big late afternoon alteration in your lap, aren’t going to hang around at work with you while complete it.

So, I just try and stay super organized and prevent those types of situations. Also…

Know when to say no

This is always difficult for me (and likely for most people) but, if a designer puts, say,  a suit jacket on an actor that doesn’t fit him in the shoulders (and it’s a contemporary suit they just purchased in a store), the answer to, “Can you move the sleeves?” is, “I can but it’ll look a lot better if you buy a suit in the proper size. And we really don’t have time for that extensive of an alteration.”

Same goes for men’s shirts that don’t fit correctly in the neck. Buy a shirt in the proper neck size.

There are a lot of things I like about the film and television business but, one of the things I don’t, is the delusion that making TV shows is akin to something as important as curing cancer or launching rocket ships. TV is great and all but, it’s not world and peril stuff.

Which is always something worth remembering.

by Vanessa Nirode

Sewing on Trucks, Cycling with Sewing Machines

This past week, I got a call to tailor and do some fittings for my friend Matthew, who is the Costume Designer for TBS’s Search Party. I love working for Matthew. He’s sweet and fun and his design choices are quirky, a lovely mix of vintage and high end with a bit of funk blended in.

Search Party doesn’t have the budget for a full time tailor, so Matthew only calls me in for days when he’s doing a lot of fittings or he has a pile of alterations that he needs completed for the next couple weeks of filming.

Day playing

Day playing, which is what we in the film business call working for a day or two on a show when extra help is needed, can be an enjoyable experience (it can also be annoying but I try my best to avoid those types of day playing gigs). Search Party is pretty much always a positive experience, mainly because of Matthew and the people he has working for him.

So, I was happy to get the call, even though it involved going all the way to Red Hook (a neighborhood in Brooklyn sadly lacking in convenient public transportation access) and sewing on a cramped Wardrobe Truck.

The inadequate subway connection was easily solvable: I’d ride my bike just as I do most places in the city, except that I needed to bring a sewing machine and basic sewing supplies with me. Tailor day playing assignments almost always involve dragging your machine and kit through the streets, and usually not on a bicycle.

I discovered that my favorite freakishly lightweight Brother sewing machine fit perfectly into the backpack.

I discovered that my favorite freakishly lightweight Brother sewing machine fit perfectly into the backpack.

But, a few months ago, I received an unexpected gift from REI. I’d ordered a tent for some planned bike packing adventures but, instead, received a backpack (definitely not a tent). REI costumer service was very helpful when I called, said they’d send the tent straight away and would email me a pre-paid return label to ship the backpack back (back…). About twenty minutes after I hung up, they called back to say never mind, keep the backpack for free.

I don’t know what made me try it, but a couple weeks after that, I discovered that my favorite freakishly lightweight Brother sewing machine fit perfectly into the backpack. Brilliant! Here are some photos. If you’re interested in which backpack it is, it’s the Osprey Comet.

If you’re interested in which backpack it is, it’s the Osprey Comet.

If you’re interested in which backpack it is, it’s the Osprey Comet.

I packed a few other things in the backpack with the machine (there was still more space!) – shoulder pads, interfacing, and lining scraps, a bag of thread, and some other not very heavy notions. The rest of my supplies, the scissors and more threads and gallon bag of elastics and tapes, I packed into my Revelate Seat Bag that I purchased from my favorite local bike shop. And I was good to go, albeit not very quickly (cause all that gear was a bit heavy)…

The lion, the witch and the Wardrobe truck

Sewing in small spaces on a Wardrobe truck where a whole crew of other people are also trying to do their jobs presents its own set of challenges. Working on the Search Party truck even more so as they use the dreaded split Wardrobe/Hair/Makeup style of 18-wheeler film truck. Most productions have separate trucks for Wardrobe and Hair/Makeup and twice as much space but smaller productions who are trying to save money go with the split trucks. What this means is that there is even less space than normal.

I set up my machine on the front corner, the sink and washer/dryer on my right and the busy Wardrobe Supervisor and her computer on my left. A few feet away, one of the customers steamed and ironed the clothes for the next day and, in the back of the truck Matthew and his assistant did fittings with various cast members. Occasionally, the set costumer was also on the truck gathering things for the next scene, as well as the shopper dropping off or picking up items.

High chair

I had a chair that was too high for the counter. I’d have to crouch in order to sew while sitting in it. Below the counter were drawers so there was no convenient place to put the foot pedal. I ended up standing up to sew, my leg turned out to the right to operate the pedal from a side-saddle angle. The foot kept getting stuck under the lip of the bottom drawer so that the machine would continue to sew even after I’d taken my foot off. I had about two inches of empty space to the left of my machine before the supervisor’s notebooks and computer and the cord from the iron kept falling (along with a bunch of my pins) into the sink to my right. I had to shift position slightly every time someone needed to fill or empty the washer and dryer.

But, it was still a wonderfully pleasant work-day. Because we were all in good spirits and we all worked together, happily jockeying for space, seamlessly adapting to each other’s needs, laughing when we all seemed to need to occupy the same twelve inches of space at the same time, all of us just getting our jobs done.

Things don’t always work this well on a crowded wardrobe truck. Sometimes people forget that everyone’s jobs are important and necessary to the project. Sometimes people are cranky because of lack of sleep, or stress, or just because it’s their nature. But it doesn’t have to be that way and, if you ask me, it shouldn’t. Making TV does not, after all, have anything to do with curing cancer or launching rocket ships (sometimes people forget that!).

One of the most wonderful things is a group of people working together to achieve a common goal. Its also a pretty good way of getting things done! I highly recommend it. 🙂

by Vanessa Nirode

Stunt Doubles and Magic Gloves

Stunt Doubles and Magic Gloves

The film and television business has many safety precautions in place. Productions almost always have a Stunt Coordinator to supervise and choreograph any type of fight or daredevil action scene. Actors and actresses often have stunt doubles who will perform most of the really ‘dangerous’ bits. Big name actors usually have a regular stunt double who always works with them no matter what show or film they are on.

What this means costume-wise, is that we need to dress the double in exactly the same clothes as the actor. Many times, both the stunt and actor themselves will require multiple outfits of the same thing.

Love / hate

I have a love-hate relationship with multiples. On the one hand, it can be super boring to do the same alteration on the same pair of pants, or jacket, or whatever six to ten times. On the other hand, it can be a very zen experience: doing the same thing over and over kind of puts you into a rhythm where everything flows naturally and without much thought. I prefer to do all the multiples at one time if possible.

When I lived in Austin, TX, I worked as a set costumer on many of the films directed by Robert Rodriguez: Spy Kids, Sin City, Grindhouse. His movies are very stunt heavy which makes his sets very active and interesting. The stunt coordinator for all the films I worked on for Mr. Rodriguez was a lovely and talented man named Jeff Dashnaw. Many of the actors and stunt actors were harnessed for various scenes. A stunt harness is similar, I suppose, to a climbing harness or rig. It’s made of heavy canvas and twill and sometimes has metal jump rings to facilitate the attachment of cables.

There are different types of harnesses, depending on what sort of action is required. Some are full vests and some are just a belt and leg straps. It’s up to the stunt coordinator to determine what harness should be used and where the cables should be attached in order to create the desired effect. There’s quite a bit of physics knowledge in all of that!

What to do when things go wrong

Things can go wrong sometimes and people can be injured. Thankfully, it doesn’t happen all that often. On a show I worked on recently one of the actors tore a ligament in his hand which, in turn, resulted in him having to wear a big, rather awkward cast. The task of trying to disguise this cast fell to the costume department.

The costume designer and I had to figure out how to make a glove of some sort to cover the cast.

Tracing of hands.

Tracing of hands.

First, we traced the actor’s hand in his cast.

Make a pattern.

Make a pattern.

Next, I made a pattern of the tracing. Our idea was to use an existing glove, take it apart, stitch the fingers together (since his fingers are bound together), and add a new neoprene layer on the palm side.

Taking apart an existing glove.

Taking apart an existing glove.

This was the first result: Not too bad.

First attempt at a glove to hide the cast.

First attempt at a glove to hide the cast.

Then we decided that it might look better to have the thumb separate so I did some modifications:

Attempt 2 with separate thumb.

Attempt 2 with separate thumb.

Now, it’s a bit too small across the knuckles so I have to take the neoprene back off and recut a new, wider one, to add some width.

Being flexible is key

Projects like this are fairly normal in my sewing life. And if there’s one thing that seems to be true no matter what show I’m working on it’s that the costume department is almost always the ones tasked with finding solutions to a problem that no one else wants to deal with.

TV magic. It’s a real thing. This actually reminds me of an incident during Boardwalk Empire when I came to work one morning to find a shredded beaded dress on my table with a note that said, “Help! Please work your magic to fix this dress. It works again this evening.”

We did indeed manage to put the dress back together to get through one more night of filming but we sent it back to set with a note that read, “We are all out of magic for the week but did our best to bring this dress back from the dead. Love, The Costume Shop.”

In the Wee Hours of the Morning
by Vanessa Nirode

In the Wee Hours of the Morning

I’ve always been a morning person, or rather, I’ve never really found it that difficult to get up at before the crack of dawn. I’m usually not ready to actually talk to anyone until after the sun is up but, I actually really like the quiet pre-dawn hours, especially in a big city, like New York.

The bars here close at 4:00 am so the hours between four and six are the transition between last night and this morning; people who work in bars are on their way home (as well as those who were just out drinking) while another whole group of people are on their way to work. The streets are relatively quiet without much traffic – a true rarity in New York City. Cycling through the early morning streets always feels like a special, secret thing. The cabs that are out and about rarely honk this early and we share the roads without incident.

Top of the morning

A lot happens in the city between the hours of 4:00 am and 7:00 am. I’m not the only one out. Central Park is already humming starting at 5:00 am with runners, walkers, cyclists, and dogs. The street vendors are up and opening up their carts. Most bodegas are open already (many of them stay open all night). On the weekends, there are bike races and running races (the NYC half marathon was yesterday) and, all about the city, especially if its Monday morning, film and television crews are going to work, or are already at work.

If you want to work in film and television, you have to be able to get up early. And I mean early, like before 5:00 am, and, if you’re in the wardrobe of hair and makeup departments, often before 4:00 am. It’s not unusual for the costume and wardrobe departments to have to be at work by 5:30am, or 5:00 am. I’ve even had to be at work by 4:30 am before.

Actor call times for this morning, including fitting times.

Actor call times for this morning, including fitting times.

The main reason for this is the sun, and the fact that most shooting days are, at a very minimum, twelve hours long. Mondays usually mean a super early start as the goal is often to start filming outside as soon as the sun is up (you don’t want to miss any of that precious daylight, especially in the winter months when the days are shorter).

It’s all about proper preparation

In order to have the actors ready to go on set when the sun is up, they need to get to work an hour or two beforehand to go through hair and makeup and to get dressed. If it’s day that requires a large amount of background actors to be dressed and ready to go in the first shot, they (and the wardrobe people who are there to help them get ready) often must report to work a couple hours before sunrise.

As the tailor, I often have to be at work for an early morning fitting that happens before an actor goes to hair and makeup. Then I have the hour or so when they’re “in the chair” as we call it in the film business, to complete an alteration. This is also when my fast sewing skills come in handy.

The early bird

This Monday on Blindspot, we’re in the studio on the stage so all the scenes are interior but, general crew call is still 7:00 am.

This Monday on Blindspot, we’re in the studio on the stage so all the scenes are interior but, general crew call is still 7:00 am.

This Monday on Blindspot, we’re in the studio on the stage so all the scenes are interior but, general crew call is still 7:00 am. We were also on the stage most of last week, including Friday, so the crew will be pretty much ready at 7:00 to start shooting. If we’ve been out somewhere on location shooting, sometimes an extra half hour or so is needed to get the lights ready, the cameras out, the props set, etc.

Times the wardrobe, costume, and hair & makeup departments had to be at work this morning.

Times the wardrobe, costume, and hair & makeup departments had to be at work this morning.

The wardrobe crew, though, was here at 5:42 and 6:00 and the first actors arrived by 6:00.

Sometimes people ask how I’m able to get up so early. I honestly don’t know the answer. I will say that I think you do get used to it. I actually hate when I don’t have to be at work until 9:00 or 10:00, mainly because it can take twice as long to get there when you’re in the midst of rush hour traffic. I’d choose the 5:00 and 6:00 am starts every time.

I do my best, focused work early in the morning; things don’t seem as frenetic before the sun is up. There are fewer distractions, the phone doesn’t ring, the only texts are most likely directly related to whatever I’m working on, people aren’t quite awake yet so there’s less chit chat. Things just seem to flow along at a steady, quiet, unencumbered pace.  Also, when you get to work at 6:00 in the morning, you get to have second breakfast at 10:00 – and who wouldn’t be up for that?

Costume Department Positions for Movies and Television Shows
by Vanessa Nirode

Costume Department Positions for Movies and Television Shows

Last week, I wrote about how it takes a whole team of individuals to make a television show or movie, often more than most people realize. Then I got to thinking about all the conversations I’ve had throughout my life trying to explain to family, friends, acquaintances and sometimes strangers, what I do at work and what others in my department do.

One of the daily call sheets for Blindspot which lists the positions with call time (time to report to work). O/C means on call and is what is used for those who do not need to be on the actual shooting set.

One of the daily call sheets for Blindspot which lists the positions with call time (time to report to work). O/C means on call and is what is used for those who do not need to be on the actual shooting set.

Here’s a list of some common positions found in costume and wardrobe departments of films and television shows.

But first, the difference between the costume and wardrobe departments. Theses terms are basically interchangeable but, if a dividing line were to be drawn it would separate the costume and wardrobe departments by union locals.

The labor union for theatre, film, television and live events, founded in 1893, is IATSE or, the International Alliance of Theatrical Stage Employees, Moving Picture Technicians, Artists and Allied Crafts of the United States, its Territories and Canada.

Designers, assistant designers, shoppers and coordinators are normally members of Locals 829 (United Scenic Artists) or 892 (Costume Designers Guild). There are various locals across the country that are wardrobe specific. In New York City, the wardrobe local is 764.

Common costume and wardrobe positions on movies and television shows

Design/Costume Department:

Costume Designer

This is fairly self-explanatory. The costume designer is responsible for developing the look and feel of a show. They usually spend time talking with producers or the creators of a show, reading scripts and discussing character with the actors and actresses, as well as researching. They conduct fittings and manage the entire department.

Assistant Costume Designer

Again, pretty self-explanatory. Often, the assistant designer is the one who dresses the background actors. They also often deal with the budgets.

Shopper

The shopper spends his or her day out in the world, shopping. Being a shopper in NYC is completely different than being a shopper anywhere else because well, you can’t get around NYC efficiently in a car. NYC shoppers spend a lot of time walking, schlepping and taking the subway. There’s often a costume department driver who will meet them to pick up purchases.

Wardrobe Department (764 positions):

Wardrobe Supervisor

This position is the department head. He or she manages the day-to-day execution of the designers vision. They are responsible for making sure everything runs smoothly on set. They spend a lot of time looking ahead and anticipating problems and catastrophes before they arise. They are also very good at putting out fires.

Set Costumer

A set costumer takes care of the actors on set. He or she is responsible for continuity (making sure the correct outfit is worn at the correct time in the proper manner). Shows are rarely, if ever, filmed in order. A set costumer watches during filming and makes adjustments as needed. He or she pays attention to things like: How many buttons are buttoned, are the sleeves of the shirt supposed to be rolled, should that bag be over the right or left shoulder.

There is usually more than one set costumer on a show. Some actors have personal set costumers who only take care of them but most television shows don’t have the budget for this. Some high paid, “famous” actors have a personal costumer written into their contracts.

In Europe, a set costumer is often called a stand by costumer.

Production Assistant

Every department tends to have a production assistants who are usually people just starting out in the business. They do all sorts of things. In the world of television they spend a lot of time returning unused clothing and organizing receipts.

Costume Coordinator

I always think of the Costume Coordinator as the glue that holds the entire department together. They should really be paid more money than what they are.

They are the accountants of the department, the phone call makers, the calmer of nerves, the birthday party planners, the detectives, the soothsayers, the joke makers, the ice cream and alcohol buyers, the lunatic whisperers and the magicians. A costume department with a shoddy coordinator will most certainly fall apart at some point.

On Blindspot, we are very lucky to have an amazing coordinator named Sade.

Tailor

Most contemporary television shows have one full time tailor who is responsible for alterations and clothing construction. Big, costume heavy shows often have a full in house costume shop.

by Vanessa Nirode

Thanks for the Fabric, Tahari

Throughout my career I’ve worked on a variety of projects. People often ask what my favorite show to work was, or what my favorite period is. Both of those questions are difficult for me to answer. I could probably tell you what my least favorite show to work on was but narrowing them all down to one single absolute best and favorite is not possible.

It all depends. Some projects require more creativity than others. Some are relatively simple straightforward gigs that involve hemming a staggeringly large number of pants. Some shows are more stressful than others with a higher than normal rate of last minute changes. Some involve working with difficult people. Others are filled with co-workers that quickly become family.

Whenever I mention any of the period shows or movies I’ve worked on, people usually say, “Oh that must be so much fun!” When I say I work on a contemporary procedural crime drama, the response is more something like, “Oh. The show with the tattoos?” or “That’s interesting.” Meaning: That doesn’t sound interesting at all. Don’t actors just wear store bought clothes? What do you possibly have to tailor on those shows?

To this all I can do is laugh. No major actor or actress on any contemporary procedural crime drama wears clothing that hasn’t been fit and altered specifically for him or her.

There are, always, a few exceptions to this, notably when a talented costume designer knows the cut and style of high-end clothing well enough to know which designer label will fit a particular actor the best with little or no alteration. Frank Fleming who designs Power for Starz Network is an absolute master at this.

I truly enjoy working on Blindspot (my current gig). Everyone in the costume/wardrobe department is absolutely amazing and all the actors are lovely to work with.

One of the lead actresses wears a lot of expensive high-end dresses and skirts and blouses. Most of the dresses I alter for her require alterations in the shoulder, side, and waist seams. Altering the shoulder seams means the neckline will need to be altered and the sleeve taken out and reset. Altering the side seam means (again) the sleeve will need to be removed and put back on. Basically, I must take apart the entire dress and put it back together (Thanks for the fabric, Tahari! or Black Halo or Escada or Nanette Lepore).

We also do things like changing necklines (from a high scoop to a vee) and changing short sleeves to long sleeves or even adding sleeves altogether. Jared B Leese who designs Blindspot comes up with many creative and brilliant ways to alter something so that it no longer is a dress ‘off the rack’. He’ll ask things like, “Can you open this neckline?” or “Will you make sleeves for this dress?” or “What if we turn this into a v-neck – do you think that would look better.”

The answer is always “yes”.

This beautiful suede Tahari dress used to have a high crew neckline and short sleeves:

Tahari dress with new neckline and sleeves.

Tahari dress with new neckline and sleeves.

This lovely dress (also by Tahari, I think) used to be sleeves and all suede. We replaced the center panel and added some sleeves.

Tahari dress with new sleeves and center piece.

Tahari dress with new sleeves and center piece.

And this Black Halo dress used to be navy.

To be honest, this one was a complete rebuild. I copied the pattern from the existing dress, made a few adjustments and cut out and built a whole new dress.

Make of Black halo dress.

Make of Black halo dress.

See, contemporary procedural crime dramas are anything but boring (and often my favorite type of show to work on).

Just a closer view of the Black Halo dress.

Just a closer view of the Black Halo dress.

How to See in the Dark
by Vanessa Nirode

How to See in the Dark

During the course of my career, I’ve had the good fortune to work on quite a few large film productions with some highly recognizable actors and actresses. Film-making is exciting and tedious all at once, both exhilarating and debilitating. It’s not a life choice to venture into lightly – at least not if you require a steady, dependable job and paycheck.

You’ll never work again…

In movie making, and even more so in television, nothing is ever a sure thing. Shows get cancelled or pushed (postponed), people get let go for various, and sometimes odd, political (company) and personal reasons. I, personally, never believe a gig is going to happen until I’m actually there on the first day, filling out the inevitable novel of start paperwork you must complete at the commencement of every single job.

I’ve worked like this for twenty-five years now and I can say only two things for sure. One, explaining to people not in the business, be it your family, friends, or the bank you want a mortgage from, what you do and how you are hired, is never an easy thing. And two, that weird space you enter when you’re between jobs and the phone isn’t ringing and the little voice inside your head whispers you’ll never work again, never gets easier, not really. It doesn’t matter that history has always proven that you will indeed work again; you simply believe, irrationally, that this time is different.

At least that’s how it usually is for me. Yet, at the same time, I can’t imagine doing anything else. I can’t fathom going to the same office every day for thirty years or more and doing the same thing over and over. It’s just not how I’m made. So I take the uncertainty and the freelance roller coaster ride in exchange for getting to do something that, most days, I love.

If you’re thinking of a freelance career in film, television and the theatre, you need to be really honest about whether or not you’re able to live with a heightened amount of insecurity.

I fought, bit, screamed, clawed and scratched my way in. There was no way I was giving up.

Here are a few of the things that I’ve found invaluable and helpful in surviving the freelance life.

1. Tenacity

Be determined. Wholly and truly give it your all. Remain persistent. Things don’t necessarily come easily. I remember a conversation I had long ago with a friend and colleague. We were talking about ‘breaking in’ to the movie business and how we landed our first job on a major film.

“I fought, bit, screamed, clawed and scratched my way in,” my friend said, “There was no way I was giving up.”

2. Resilience

It’s easy to believe in yourself and your talents when other people do. The true feat, though, is to believe in yourself and your abilities when no one else seems to. There will be failures and missteps and things that you wished had turned out differently. That’s all part of the whole thing.

There will, of course, always be that odd, seemingly infinitely lucky individual, who coasts, completely upright, into a successful freelance career with out skinning even one knee. But that’s the exception.

Most of us arrive a bit battered and disheveled with grass stains on our knees and twigs in our hair.

3. Vision

As the extremely successful celebrity stylist (and all around nice guy), Derek Roche has said, Build your own dreams or someone will hire you to build theirs.

 4. Learn how to see in the dark

When the darkness comes (and it will) you have to be able to navigate your way out and through it…

Some of my first theatre jobs were as a backstage dresser during live performances. This involved laundry and maintaining the costumes, as well as, helping the actors get dressed if needed (period things like corsets and garments with multiple back closures) and doing quick changes backstage in the dark.

Many backstage dressers use small bite lights to help them see while performing fast costume changes. I never really did. If you spend enough time in the wings in the dark, you eventually are able to see. I have no idea if this is a scientific fact; I only know that it was true for me. I have no problem finding zipper ends, or a slew of hooks or snaps in the dark.

Darkness, of course, can come in different forms – it can be literal like working backstage or it can be figurative like not being certain what your next move should be or being unable to see the path in front of you. When the darkness comes (and it will) you have to be able to navigate your way out and through it, you have to reach for that zipper and be able to insert one end into the other by feel.

Seeing in the dark is a tricky thing to master. It involves taking all your tenacity, resilience and vision at once and stepping forward, all the while trusting that the ground is indeed beneath your feet – just as it should be.

Seeking Inspiration
by Sarah Woodard

Seeking Inspiration

You ever have one of those moments when you want to sew something, but you’re not sure what to make? You don’t have anything on your “to make” list and there’s no upcoming events that inspire you to make something special for the occasion? Despite the lack of need, though, your fingers are tingling with desire to sew something. Here’s some suggestions to find some inspiration and fill your need to sew.

Think About Gifts

Is there a holiday, birthday or other occasion coming up? Would any of the people involved in the celebration appreciate and handmade gift? Even if the idea of what you’d like to make them isn’t something you’ve made before, give it a shot. Not only will you fill your urge to sew, you’ll have a unique, special gift to give to someone you care about – and you might learn something in the process.

Ponder Your Wardrobe

Perhaps it’s time to donate some items…

Seeking Inspiration

Seeking Inspiration

When you get dressed in the morning, do you feel like you simply “have nothing to wear?” Perhaps it’s time to donate some items you’re not as in love with as you once were and make yourself some new items? Donating clothing to make room for something you make not only fills your sewing urge, it helps those less fortunate fill out their wardrobes.

Learn a New Skill

Is there a new skill you’ve been wanting to learn? Something you’ve been afraid to take on for a project you can’t afford to mess up? Use this urge to sew without a specific outlet as your opportunity. Whether it’s a specific stitch style, a larger skill like making buttonholes or making something you’ve never attempted before this gap could be a great time to take on that challenge.

Have a Sewing Circle

Oftentimes, being in the presence of other sewers can lead to inspiration. The conversations that occur in a sewing group frequently lead to that “lightbulb” moment for your next project. In other cases, they can inspire you to pick up a project you’d given up on when you wouldn’t otherwise revisit working on it. Also, hosting a sewing circle gives you a chance to connect with like-minded crafters and maybe make some new friends.

Next time you’re struggling to fill a sewing urge, try one or more of these ideas. Then let us know how it went and what you wound up making.

by Sarah Woodard

Express Yourself

Express yourself.When shopping in a department store or online, you’re stuck with today’s fashions and color trends. If these suit your body style and personality, count yourself lucky! For the creative types among us, these can often feel confining. Sewing your own clothes and accessories is a great way to express yourself.

Fabrics Galore

Whether you like cottons, silks, man-made blends or a unique combination there’s a dizzying array of colors, prints and patterns available online and at your nearest fabric shop. If you like bright, bold designs or something more earth-toned, there’s a multitude of choices available.

Patterns and Freehand

If you’re one of those super talented folks who can create your own patterns, count yourself lucky. You’ve got an additional way to express yourself with your wardrobe. If you’re not one of those people, don’t worry about it – you can still express yourself with a pattern. There are so many patterns available, ranging from simple to complex.

Scarf Dance

Ok, you don’t really have to dance if you don’t want to, but making a scarf, or a number of them, in fabrics that compliment and enhance your existing clothes is and easy and fun way to express your personality with your wardrobe. Scarves aren’t terribly expensive to make and they’re so much fun, you may actually want to dance and spin with them. If you’re not one for scarves, the same project can also be used to make a fabulous belt.

If there’s a fabric or pattern that’s calling to you, go with it.

Go Wild

You don’t have to be a fan of animal prints or bold colors to express your wild side. Polka dots, swirls, paisley and other patterns in a variety of muted hues give your wardrobe the personality and zing it’s been lacking. They work well as scarves or other accessory pieces, or larger projects such as shirts, skirts, dresses or pants. You can even bring your style into the office by using these fabrics to create a business suit or sport jacket.

Don’t Hold Back

If there’s a fabric or pattern that’s calling to you, go with it. If it seems outside your normal style, all the better. Having one or two pieces that stand out from your usual wear means you can express your wild side when it needs to be freed without feeling pressured to show it off all the time. Days you want to stand out from the crowd, you’ll have a couple of unique pieces to show off.

Find Your Balance

We all have a wild side and a more conservative side. Create pieces that allow you to express both sides – or anything in between! If you have more conservative days than wild days (or vice versa), create the appropriate number of pieces and accessories to give you the right balance for your style and your life.

Share some of your favorite pieces – the ones that you feel express the real you.

Top Fashion Trends To Sew for Your Wardrobe This Spring and Summer
by Millie Green

Top Fashion Trends To Sew for Your Wardrobe This Spring and Summer

Top Fashion Trends for Spring and Summer 2016

Top Fashion Trends for Spring and Summer 2016

It’s an exciting time for home sewists, as many of the top fashion trends are easy to produce at home.  Even beginners can sew fashionable wardrobe pieces easily this year.

This season, a Victorian influence runs strong, as seen in ruffles and florals everywhere.  An Art Spirit also prevails, with garments adorned by embroidery, 3D artistic and rich architectural details.

Top Fashion Trends for Spring and Summer 2016 include:

  • Shoulders bared: You’ll see them in off the shoulder dresses and tunics, as well as in pieces featuring neck straps or laces to gather the neckline, and even through cutouts. An off-the-shoulder peasant style top  may be one of the easiest garments to sew.  Bare shoulders are equally easily to achieve using straps, laces, or ribbons through a casing, as in pillowcase dresses.
  • Mixed patterns, especially mixed florals: The trick for mixing various patterns is for each fabric to have one color exactly the same; do this and pull off mixtures of many and widely varied patterns. Think both patchwork—with dresses or other garments constructed with many differently patterned pieces—and also separates of different patterns.
  • Ruffles: From wide ruffles adorning dress bodices to ruffled skirts, sleeves, even ruffled capes, these are everywhere.  FYI, a serger both gathers and hems ruffles beautifully and with ease.
  • Wrap skirts: These are popular this year with a narrow A-line, in both mini and midi lengths. You will also see these with asymmetrical and layered treatments.
  • Midi skirts: The most fashionable skirt length right now, with mid-shin hems that bare ankles, but not knees. This length is flattering for every body type!
  • Paper bag waist: You’ll find these on both skirts and pants.
  • Smaller pleats: Small, accordion style pleats on dresses, blouses, skirts, even the aforementioned off the shoulder, tied at the neck dress.
  • Gingham: Especially large ginghams and also large plaids.

    Striped fabrics are all the rage.

    Striped fabrics are all the rage.

  • Stripes: Both horizontal and vertical, wide stripes, multicolor stripes.
  • Shimmer and shine, both bold and subtle: If you have ever wanted to sew a garment from metallic fabric, this is your year to do so. If you prefer something more subtle, add shimmer to black or neutrals with sequin or bead trim.
  • Denim: Dresses, skirts, blouses made of lightweight denim with design details such as ruffles, narrow pleating, subtle patchwork, layers, paper bag waist.
  • Fringe: Seen on dress hems, from shoulders and more.
  • Suede: Small pieces for warmer weather—plain, patchworked or fringed vests, tank bodices, and shorts, together or paired 70s style with patchwork or floral.
  • Orange anything: Bold Tangerine is hot.
  • Spanish Red: Spanish style is trending this year, especially in Red. Make a bold piece, perhaps a suede vest or a pleated cape.
  • Easter egg pastels: Robin’s-egg blue, dusty pink, marigold yellow hues make a soft statement this year.
  • Waist ties: Sashes of all widths are in, and we couldn’t be happier about it. A sash is suitable for a very first sewing project and is satisfying to make. Sashes are a fabulous way to feature a special fabric and improve a boring outfit.

    Silk, satin, and even batiste cotton are paired with sheer or lace panels in black, white, nude, or buff pink.

    Silk, satin, and even batiste cotton are paired with sheer or lace panels in black, white, nude or buff pink.

Other Current Looks in Fashion:

  • Wrap dresses: Nicole Kidman was featured in a sultry and silken robelike dress by Louis Vitton in the April InStyle magazine; this dress also featured mixed fabrics.
  • Floral pillowcase dresses: As easy to sew as a dress could possibly be!
  • Nightgown and lingerie style dresses: Silk, satin, and even batiste cotton are paired with sheer or lace panels in black, white, nude or buff pink.
  • Half moon bag: You’ll see bags of this shape everywhere now. Sew one for yourself by cutting two same sized semicircles, a long narrow rectangle to join the round sides, and two shorter same length rectangles, joined by a zipper, for the top and a strap.

Try your hand at just one or many of these fashionable looks this season. Sewing your own wardrobe pieces makes fashion fun.  Happy Sewing!