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labricoleuseIt's been a while since i shared some photos of projects from this semester's graduate seminar in costume crafts topics.
For the unit on jewelry, we discuss specifically how to deal with jewelry effects for the stage--stage jewelry often has very particular requirements (such as quick-release clasps, fabric support structures underneath, and so forth) and can require a craftsperson to create glamourous pieces with "paste and mirrors." We don't approach the project from a fine-jewelry or streetwear jewelry perspective; rather the students address issues like how to make a Shakespearean chain of office, or an elaborate metal collar.
Top: parure of crocheted copper wire by Shanna Parks
Bottom: ornamental collar of crocheted copper and black anodized wire by Kaitlin Fara
"Order of the Golden Fleece" of foiled wood and polymer clay by Claire Fleming
Left: parure of crocheted brass wire and vintage cloisonne buttons by Lisa Raymond
Right: reproduction of African necklace of cast coins by Lily Peifer
Another unit in the class is Reshaping. This project used to be just called "body padding" before i came here, but i felt that (based on the range of issues i'd run into in my own career prior to developing the course) it would better serve the students to have an option for more creative interpretation of the subject. Many students do choose to do traditional padding projects--pregnancy or breast pads, fat-suits and so forth--but some elect to try something different, like a mascot-style pod-body or other "weird" focus. This class had three folks do traditional padding (which, i have not photographed because i figure most people have seen lots of those kinds of costume items), but two chose pod-bodies and one did six extra arms after an image of the Hindu goddess Durga.
Due to the size of the pod-bodies and the amount of patterning and material involved, those students worked on the half-scale; the Durga arms though were rendered life-size!
Here is a half-scale dress form, "naked" for comparison.
Side view of "hippopotamus" pod by Claire Fleming.
This pod is modeled after the "Stay-Puft Marshmallow Man" by Samantha Coles.
Interior view of Samantha's pod.
Full-length front view of Durga arms by Lily Peifer.
(Shown with Lily's personal saree and choli on dress form.)
Closer front view.
Full-length rear view of Durga arms by Lily Peifer.
(Shown with Lily's personal saree and choli on dress form.)
Closer rear view.
The Durga arms were built onto a standard front-closure bra with a long canvas extension panel at the back. The bra is worn under the choli, the arm structure is seated on the canvas extension in the midriff area between the lower choli hem and the top of the petticoat/saree, and the lower portion of the extension tucks down into the petti/saree for stability. The arms have a heavy wire "skeleton" so they can be moved into different configurations.
I love teaching this course--my students continually surprise me with their creativity and resourcefulness!
For the unit on jewelry, we discuss specifically how to deal with jewelry effects for the stage--stage jewelry often has very particular requirements (such as quick-release clasps, fabric support structures underneath, and so forth) and can require a craftsperson to create glamourous pieces with "paste and mirrors." We don't approach the project from a fine-jewelry or streetwear jewelry perspective; rather the students address issues like how to make a Shakespearean chain of office, or an elaborate metal collar.
Top: parure of crocheted copper wire by Shanna Parks
Bottom: ornamental collar of crocheted copper and black anodized wire by Kaitlin Fara
"Order of the Golden Fleece" of foiled wood and polymer clay by Claire Fleming
Left: parure of crocheted brass wire and vintage cloisonne buttons by Lisa Raymond
Right: reproduction of African necklace of cast coins by Lily Peifer
Another unit in the class is Reshaping. This project used to be just called "body padding" before i came here, but i felt that (based on the range of issues i'd run into in my own career prior to developing the course) it would better serve the students to have an option for more creative interpretation of the subject. Many students do choose to do traditional padding projects--pregnancy or breast pads, fat-suits and so forth--but some elect to try something different, like a mascot-style pod-body or other "weird" focus. This class had three folks do traditional padding (which, i have not photographed because i figure most people have seen lots of those kinds of costume items), but two chose pod-bodies and one did six extra arms after an image of the Hindu goddess Durga.
Due to the size of the pod-bodies and the amount of patterning and material involved, those students worked on the half-scale; the Durga arms though were rendered life-size!
Here is a half-scale dress form, "naked" for comparison.
Side view of "hippopotamus" pod by Claire Fleming.
This pod is modeled after the "Stay-Puft Marshmallow Man" by Samantha Coles.
Interior view of Samantha's pod.
Full-length front view of Durga arms by Lily Peifer.
(Shown with Lily's personal saree and choli on dress form.)
Closer front view.
Full-length rear view of Durga arms by Lily Peifer.
(Shown with Lily's personal saree and choli on dress form.)
Closer rear view.
The Durga arms were built onto a standard front-closure bra with a long canvas extension panel at the back. The bra is worn under the choli, the arm structure is seated on the canvas extension in the midriff area between the lower choli hem and the top of the petticoat/saree, and the lower portion of the extension tucks down into the petti/saree for stability. The arms have a heavy wire "skeleton" so they can be moved into different configurations.
I love teaching this course--my students continually surprise me with their creativity and resourcefulness!
