Hunters Cloaks

The designs given for the hunter's cloaks show very textured surfaces built up in layers of different materials. As the Breathers wearing the garments will be dancing and performing I must consider the lining as this is an area that will also be seen. So during last nights Breathe club a couple of volunteers helped paint into the base shapes created last week in order to gain a range of mottled colours in rusty browns and reds. Having created a few samples the designer then wanted it to appear as though deep colours had been soaked up from the murky sea and graduating up to lighter shades. Similar to the base costumes, we used screen printing paints to sponge on the colours to gain the vibrant shades but also means the cloaks will blend well against these base garments. The images below show the final effect and I feel will create a good contrast against the textiles surface.

With the lining painted allowed for today to concentrate on decorating the reverse side. Before now I had a vague idea of how the designer wanted the cloaks to be textured and appear as though materials had been collected from the beach, but no idea of how to connect it all together. Unlike any other project I have found it really helpful to have the designer in the studios during all sessions as she has been able to clearly talk through ideas and indicate the materials she wishes to be used. So for the first time I felt confident to go away and start sewing sections together.

Using netting, cotton and other fabrics I began layering on the cloaks reverse. The layers are intended to appear thrown on so by stitching various sized circles simply holds them together where needed but also imitates that of barnacles. Below shows the beginnings of this technique and hopefully by the end will create a greatly interesting garment. 

Decoration

During the 18th century embroidery decoration was very common on garments, especially in menswear (shown below). Jackets and waistcoats were a particular area of interest for this and as we are creating 18th century waistcoats, our tutor wanted to include this within our work. Although we will not be able to produce the same level of intricate work, using a decorative braid will hopefully gain a similar appearance. As seen in the image below decoration was commonly found down the CF next the button placement lines. For our waistcoats we will follow this by hand stitching two rows set slightly in from the CF and then one row around the collar and pocket flaps. Once in place I feel it will really finish the piece giving a smart finish. 

Hirokawa, T. Man's Suit (habit à la française). [online image]. Available from :http://www.kci.or.jp/archives/digital_archives/detail_9_e.html. [Accessed 25th April 2012]

Pockets

The waistcoats pocket is the first stage of construction but also the most daunting. Having done pockets before in a tailoring unit I already have some experience with this and working in stripped fabric. However the fabric I have been given this time around is a very delicate cream so I am aware how any mistake could damage its aesthetic.


The pocket style we are creating isn't overly complicated, just trying to produce a neat finish is the hard part. I chose this unit to work on my finishing and sewing skills so for this reason I am conscious in creating something to a high standard. When attaching the pocketing I did choose to un-pick and re do areas to ensure everything was accurate before cutting open the mouth. I felt this was necessary as it would only improve the final finish. 


With the pockets finished I am fairly happy although both pocket sides could be neater. I made the decision to finish this area as neatly as possible as if I was to continue working into the same areas I would darken the fabric and begin to weaken the fibres from constant unpicking. I feel this was the hardest stage and my fabric doesn't allow for mistakes. But from now on I will be using similar processes as used before so my focus is to continue in keeping the fabric pristine and making my stitching accurate. 

Breathe: The Hunters

Although last night I helped run a workshop in creating sections of weaving for the jesters garments, the costumes I will be working on is the Hunters. As with all designs the actors will be wearing painted base costumes but will have various cloak designs to distinguish them as hunter characters. 


As there is a group of us constructing these cloaks we decided they should all look part of a collection but with our own takes on them. For this reason we chose to all create the same base shape following the pattern of a circular skirt as this shape would fit well around the neck, draping nicely down the body. The fullness from the skirt panels also means no movement would be restricted so wouldnt affect the arms when dancing. 


With the base shape in place my next step is to begin researching into textiles techniques that can be applied to my two cloaks. The Hunters are characters from the land or sea so their costumes will take influence from this by including netting, barnacles, furs and objects that have attached over time. In some cases their cloaks may be longer so will have trailed along the ground collecting dirt so for this reason it could be interesting to experiment with spray dyes or dip dying a graduation of colour to reflect this. By experimenting with different fabrics and materials I hope to produce textured garments that will make an impact from a distance but also be interesting up close.

Weaving

With tonight being the second evening for Breathe the sessions are still getting started and being introduced to everyone, so again stations were set up with a variety of activities. 

The station I was put in charge of was weaving strips of fabric to produce large squares which could then go towards the jesters costumes. First we prepared lengths of ribbon specific to each actors waist and leg measurements so when the volunteers arrived they would have a base to work onto. Using strips of fabric, ribbons and trimmings we asked for lengths to be pinned to the base strips which we could then machine in place before beginning the weaving process. As my photos show below the variety in materials used is really effective for introducing different textures and colours. 

The next stage to think about is how you could actually now use these sections of weaving. This is because although all strips are woven together, there is nothing holding them in place so would need to be backed before it can then be shaped, cut into or manipulated to match the specific designs. 

Beginning the waistcoat

With everything cut and mark stitched for my waistcoat I can now begin the construction process. The aim for this costume store unit is to start working more independently and not rely on tutors for step by step instructions. For this reason myself and the other three girls making waistcoats took time out today to study the example garment to work out the order and how it could be constructed. Today was the only day this week we had with our tutor Dexter to ask advise, so by thinking ahead with the construction process meant we could use this time to answer any questions to continue working on or own, understanding how everything is to be done. 


As a group we decided the pockets on the waistcoat fronts was the starting point. As shown in my previous post last week the pocket has an open mouth which is shaped to point on the bottom edge. Having looked closer at the example, we decided the process will follow the same as when creating a welt for turning it through but it just wont include the two welts and instead be open. As I am working with a stripped fabric I need to take care when sewing my pockets as they both need to be placed correctly and mirror each other. 


The next few days I plan to complete both pockets and begin piecing together the rest of the waistcoat sections and attaching the facing before beginning the lining process. 

Hunter designs

Below are the two designs I chose to create from the 'hunters' group. What drew me to the these designs is that I liked the idea of building up the decoration in layers, as to do this I would be able to incorporate a variety of materials and techniques. Also the two cloaks are very similar with one just being a shortened version of the other. This means I can produce two cloaks that look similar enough to be recognised as being part of the same collection but also include some differences.

Design collaborated by Kate McStraw based on designs by Kirsty Hanlon and level 5 designers.

The design shown above includes a long cloak which drapes across both shoulders and down the body. This particular design is to be worn by a male who is visually impaired, so is something I will need to take into account during construction. For instance I will need to ensure the cloak is easy enough so he can dress himself but also keeps his arms and hands free. Also including a variety of textures as decoration is something that may appeal to this artist.  

Design collaborated by Kate McStraw based on designs by Kirsty Hanlon and level 5 designers

This shorter design will be worn by a teenage girl who will be participating in the dance routines. For this reason I will not make the costume as bulky as the previous as it will need to be lighter for movement but also not restricting to the arms or body.

18th Century Waistcoat

Today was the first session back after the easter break where we were assigned to making a waistcoat or breeches for the next three weeks. I was given a men's 18th Century waistcoat pattern using the following measurements:

• Chest: 40 inch
• Waist: 35 inch
• Hip: 40 inch

The fabric I have been given is a very delicate stripped wool cashmere in cream. This means I will not only have to back it in white cotton but also later on be precise in my stitching as any unpicking could damage and mark the material. Then as a contrast to this a silesia fabric in a fawn colour which will be used for the back pieces but also follow through to line the inside of the waistcoat. Below are some photos of the example waistcoat we will be using as a guide.

Having studied the example waistcoat first I could go ahead and cut all my pattern pieces. The lining could be cut easily adding 2.5cm seam allowance all the way around apart from the CB where 5cm is needed. And then to avoid marking my top cream fabric I cut all the necessary front pieces in cotton first adding seam allowance and then use these pieces as a template to translate onto the cream but ensuring all stripes are mirrored and follow the straight of grain. Then by mark stitching all lines the cotton and cream will hold together, treating them as one layer. 

By the end of the week I hope to have everything cut out and all lines mark stitched correctly ready to begin construction next week. 

First evening Breathe session

With the first session it was unclear as to how many people would attend but for those who did, it was important to explain what this project is about and what we intend to do.


Different stations were set up which focused on various elements that would go towards the Breathers costumes. This included jesters cable ties, fringing for the elders and painting base costumes. Although only a few were able to make this first session it was nice to meet a couple of people involved themselves as with this being a community project you are able to meet new people of all abilities.


For future sessions I hope more and more people will attend and hopefully more of the artists as it will be nice to work with them in creating their own costumes they will be wearing on the day.