Breaking down.

Awkward this.
 Have the man's frock coat all but done, and could have fudged the photos, have the start of the lady's wear to show, and did a one day workshop in breaking down.

some of Karen's kit- play spot the Vaseline and matting agent.

Don't really want to share the coat trauma or really the corset drama until they are sorted out and fit for public appearances.

so....breaking down  - not emotionally, but trying to make new clothes look worn. No point in creating a shabby, tired character, carefully making the costume and then having  them arrive on stage all shiny and new. Not convincing.

Tutor for the day was Karen Stott, and by the time she'd unpacked the buckets, bleach, paints and then the flame gun, it was looking most promising.

Karen described the process as balancing and characterisation. Sometimes the white shirt or a colour is too bright under the lights so a subtle tea, coffee dye or bleach bath will knock the toothpaste  squeaky clean look out. Details on a costume may disappear from a distance so gentle enhancement of contrasts is needed - exaggerating seams, darkening behind buttons to make them stand out and so on. Some details may stand out too much - bring out the acrylic matting agent - good for over enthusiastic sequins or dulling down too shiny buttons. Think of it as make-up for clothes.

steamed distortions on my wool coat fabric.

  It is the characterisation that seems to be most fun- mimicking wear and tear, faking mud, sweat, grease or worse. It would be the most nerve wracking - imagine having put heart and soul into making as perfectly as possible and then .......

We began with aggressive steaming and pressing, stretching, distorting, pulling seams- deliberately
wrecking the precision and fit of the costume. The iron was applied without mercy, shoulder pads wilted, elbows, hems, pockets and vents were tugged, bullied and dragged out of shape. I like the idea of heavy stones and damp newspaper stuffed in pockets  or shoes and left to dry. It really didn't take long to add saggy  age. These effects could be enhanced with colour, abrasion,  etc.

enhanced creases.

Surface wear was even more violent - sanding, grating, abrading- distressing the surface of the fabric. It began with the iron, creating those shiny slick patches on old suits, then reversible wear - changing the surface with Vaseline or various acrylic meduim, rubbing in chalk or  pigments. Sandpaper and files were the favoured method of scuffing the fabric, round files can do wonders for buttonholes.   The least reversible technique was the flame gun, taking the nap off wools, cord or velvets so they go thin and show the underlying warp and weft. The idea is not to set fire to it, honest.

flame damage - look very closely - this wool was all but indestructible! 

Vaseline, chalk and pigment - trying to look more like flamed wear and tear  than the flame actually did

never paint on hairy wool. Looks good from a distance .......

It was an entertaining and informative day - lots of notes, hints and tips, as well as full of advice. 

Next week will be the coat- promise.