It’s been ages since I’ve posted anything here, so please accept my apologies. But it’s for good reason because 1) I’m grateful to say that I have been very busy and have not had time to post or blog. 2) I have moved the costume studio to Las Vegas, Nevada and I am looking to set up two more satellite studios in Los Angeles and New York!
So Onward and Upwards! Let’s discuss my recent activities:
God Save The King! A Henry VIII costume based on the portrait by Holbein. The client wore this to the Renaissance Festival so he wanted something that was comfortable, easy to put on and remove, but still looked authentic. Quite a challenge since renaissance garb (especially when worn by the aristocracy) is not exactly known for comfort or practicality. But with a little bit of creative rigging and ingenuity we were able to pull it off. The results were majestic!
This scary guy is a Spirit Walker Costume that I created for Unspeakable Media an entertainment and gaming studio streaming on YouTube. I will be dedicating an entire post describing the creation of this costume.
We all loved that whacky movie about the origins of the fashion victim, Cruella. Especially the Dumpster Dress, here shown. Kristin, my client, was a great person to work with. She donated a lot of her own fabric and clothing so that it could be repurposed for the costume. It also gave me a good opportunity to recycle a lot of my leftover fabric from my scrap bins.
Personally, I thought Kristin looked lovely and she did a great job with her hair and makeup too! In fact, Kristin liked her costume so much that she wound up having it heirloomed so that her daughters could wear it in the future.
Frank the Rabbit
My friend, Morgan Roberts needed a costume for an upcoming cosplay convention. He asked me to create a costume based on the character “Frank” from the iconic film, “Donnie Darko”. At the convention, Morgan met James Duval, the actor who played Frank in the film.
According to Morgan, James said “one of the best costumes he had ever seen”!
Moulin Rouge Redux
This lovely confection was created for Georgette Fabré, a Mexican socialite who resides here in the US. Every year she attends a very posh, theme based Halloween party in Aguascalientes, Mexico. This years theme was “Moulin Rouge” and Georgette went all out with a gown inspired by the character “Satine” from the aforementioned film. I selected a rich burgundy palette that flattered Georgette’s lustrous brunette locks and flawless complexion.
The costume caused a sensation at the party and garnered her the first prize at the costume contest. Her award being an all expense paid trip to Paris for she and her husband. Congratulations, Georgette! You looked beautiful.
“The Crüe Part Deux”
Just when you thought it was safe to turn to the clubs. Right smack dab in the midst of the pandemic, I was contacted by my favorite Metal Heads with a request to recreate the “Theater of Pain” costumes for two of their performers. You may recall that a year earlier I had created their “Shout at the Devil” costumes to much success and accolades. You can read about this adventure by clicking here
Recreating this one was quite the challenge since the original costume used very 80’s specific fabric. But we came close in our selection and the results were spectacular with just the right amount of bling.
Here was another challenge, due to the supply chain issues that were so typical of the pandemic, we had a long wait for this one. But the results were stunning if I may say so myself and I love how the guitar matched the rest of his outfit.
JLo & Travolta!
Yes, they’ve secretly been an item all this time, NOT! This was for a fundraiser in which the partygoers were encouraged to dress as their favorite stars.
Another interesting project, in particular the building of the JLo costume. The goal was to make the dress as modest as possible but still preserving the spirit of the original design worn by Jennifer Lopez.
Lysol and Purell
Now here’s a set of very pandemic specific themed costumes, meet “Lysol & Purell”. These were Halloween costumes for two little girls who were sadly in quarantine but thankfully their parents still wanted them to enjoy a nice holiday.
The costumes were created with a foam and wire foundation then covered with fabric. This lightweight confection slips easily over the head and there are cutouts for the face and arms for easy wearing and mobility.
Here’s a whimsical little number inspired by Froud’s Fairies. Corset with ombré chiffon fabric skirt and embellished with butterflies. The wings were sculpted with wire, covered with stretch chiffon then handprinted and studded with jewels. Her fairy crown is made from a beaded band base and covered with gold leaves.
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The Fashion and Costume world has lost an Icon. Just like the death of the man with whom he is most frequently associated with, David Bowie, Kansai Yamamoto’s death has left a void in the Creative Matrix much like Bowie’s passing left a void five years ago.
It could be safely said that Kansai Yamamoto was just as responsible for creating the Persona of Ziggy Stardust as was Bowie himself or as was Angela Bowie, his first wife. Bowie evolved from a mid 60’s Mod, to a Mime performer, then a Dylanesque style folk singer, Major Tom/Clockwork Orange Droog, until finally coming into his own as Ziggy Stardust. With the creative input of Yamamoto, his persona jelled into that otherworldly androgyne with the help of his creations. “Costumes were the best medium for David to express his music” he said in an interview. “Color is the oxygen we are both breathing in the same space”, was another recounting of his collaboration with the Star Man.
Kansai Yamamoto was born in Yokohama, Japan in 1944 and by all accounts was the product of a very unhappy childhood. He began his career as a Civil Engineer and then following the footsteps of many other engineers such as Giorgio Armani and Bill Blass, he transitioned into the world of Fashion and Costume Design. Mostly self taught, he apprenticed with costume designer Junko Koshino before striking out on his own. In 1971 he presented his first collection in London. He was the first Japanese designer to present a collection outside of Japan and for this he paved the way for the “Japanese Invasion” of the 70’s and 80’s. Thanks to his pioneering efforts, Kansai Yamamoto paved the way for other Japanese such as Hanae Mori, Kenzo,Rei Kawakubo of “Comme des Garçons”, Issey Miyake, Yohji Yamamoto (no relation) and yes, even his early mentor: Junko Koshino.All of this attention caught the eye of David Bowie, who at the time was in the Genesis of his career. His people called Kansai’s people and the rest is history.
Basara versus Wabi-Sabi
Yamamoto drew his influence from Japanese culture, in particular the traditional Kabuki performers. David Bowie loved all things Japanese so from a creative standpoint, they were a perfect fit. But Kansai was also influenced by the costumes of Oskar Schlemmer from the Bauhaus movement of 1930’s Berlin. This was obvious in his creation of the black and white “Tokyo Pop” or “Keyhole” costume and the jewel tone duplicate he wore in the “1980 Floor Show”.It could be said that David’s orange mullet haircut was inspired by the “Lion Wigs” of the Kabuki performers.
According to my research there are two schools of Japanese aesthetics: “Basara” and Wabi-Sabi. “Basara” being the colorful and flamboyant aspect of Japanese art and Wabi-Sabi being the minimalist ascetic aspect. Kansai chose the former with a vengeance; his garments were a riot of exuberant color playing upon the traditional Japanese festivals and serving as an inspiration for the culture of Hara-juku and Kawaii trends on the streets of Tokyo today.
After his initial success with David, Kansai continued to design seasonal collections. One of his watershed presentations was at the Fashion Institute of Technology in 1982. One small footnote to this event was, at that time I was enrolled in the College and was participating in the ‘“work/study” program for underprivileged students like myself. The assignment was to intern as a dresser for the show. Even though this was not my first time dressing a runway show, it was my first time dressing a runway show for Kansai Yamamoto. To say that the energy was frenetic was an understatement and would not do justice to the show. The event featured the “Who’s Who” of the modeling world, some of the Glamazons that I helped to dress were: Iman, Sayoko and Pat Cleveland. What impressed me about Iman in particular was that at the time she was married to Spencer Haywood from the New York Knicks. She and Spencer, along with their family, had recently experienced a major traffic accident in which Iman had sustained serious injuries. This was confirmed when she limped into the dressing room. “OMG, (I thought to myself), how will she ever be able to strut on the Catwalk?”
But Iman did not disappoint: Once she stepped on the Runway, her limp miraculously disappeared and she dazzled the audience with her Power Walk. Another little stray thought entered my mind at the time and that was of Bowie himself. I knew that Kansai and Bowie shared a creative relationship and at the time Bowie was a NYC resident. So I was a bit surprised that he did not pop in to wish his friend well. Especially since a few years later David and Iman would become lifelong Soulmates. But alas, David was busy preparing for his “Serious Moonlight Tour” so any chance I had of playing Cupid was dashed. Oh well.
Aside from the over the top presentation was the fact that Kansai was dressed all in black and was an integral part of the show: As the models walked on the runway, he would be right there with them, calling stage directions and adjusting their clothing. A classmate who also happened to be Japanese, was interning alongside me, explained that he was acting as a “Kurogo”. An important component of classical Kabuki Theater.“They are supposed to be invisible” she said, “that’s why they are dressed in black”.This blending ofKabuki sensibilities with High Fashion was something that had been never seen before and I am sure served as a precursor to hisfuture “Super Shows”.
In 1992 Kansai designed his last collection under his own label. However, that did not mean that he stopped designing altogether. He instead took the more lucrative route and entered the field of licensing his name for anything from sunglasses to home products. This allowed him to focus on a new concept of his called the “Super Show” in which he combined multi disciplinary elements of music, dance and Japanese aesthetic to showcase his avant guard concepts. In these extravaganzas he would be a willing participant, commenting on his pieces, interacting with his models or again as a classical “Kurogo”, dressed in all black and serving as an assistant to the performers.
The “Super Shows” were to become major cultural and entertainment events. His first show was in 1993 in Moscow’s Red Square. Each subsequent show was to achieve an increasing sense of cultural and historical importance. For example, in 2012, at the invitation of the Chinese government, he presented a “Super Show” that commemorated the 40th anniversary of the normalizations of Japan-China relations and in 2013 he was honored by the Victoria & Albert Museum in London as part of their “Fashion in Motion” series.
Kansai Yamamoto continued a life long friendship with David Bowie until his death in 2016. Ironically they had always talked collaborating together again. Kansai was in the process of producing a “Super Show” with Bowie which unfortunately, was cruelly cancelled with the untimely passing of our beloved Star Man. Kansai’s concept for this show was to have Bowie descend from the skies in a hot air balloon as he sang his greatest hits. Much like the first time he saw Bowie descend onto the stage from a disco ball during a performance at Radio City Music Hall way back in 1972.
In spite of his age and failing health Kansai continued to produce his Super Shows and even briefly contracted with Louis Vuitton to create a series of hand bags based on the “Basara” traditions of Japan. His last “Super Show” was presented in Tokyo on July 31, 2020 just a few days after his death. His daughter, Mirai Yamamoto tearfully thanking his assistants and fans for their lifelong support.
I would like to think, that if there is such a thing as an after life, that Kansai and David are reunited in Heaven. Where they can now unlimitedly collaborate and create for our collective consciousness. Unencumbered by the macrocosmic constraints of the mundane. Breathing that colorful oxygen that we all share.
Above: Highlights from the Fashion In Motion Super Show at The Victoria & Albert Museum in London
Click Here to read more about Kansai’s costumes at the David Bowie Is exhibit.
This month’s Muse is none other than Beau Brummell, the Father of the modern trouser and an arbiter of fashion who became so influential that people would actually pay him money to watch him get dressed in the mornings. Now how’s that for a life hack? George Bryan “Beau” Brummell was born in London, UK June 7, 1778 and died March 30, 1840 in Caen, France. A man of humble origins who was such an adept social climber that he became best friends with the Prince of Wales, was the top fashion influencer of his time and whose vertiginous fall from grace landed him in an insane asylum where he perished from advanced-stage syphilis. But it’s what happened in the 62 year arc of his life that makes him such a fascinating character, who set fashion trends which are still followed and respected today.
Beau Brummell was the son of a shopkeeper who was determined to push his son into the upper echelons of society and he inculcated that social climbing drive into young Beau. His father was able to get his son into Eton and thanks to Beau’s wit and flare for dressing, his popularity with the sons of the aristocracy eventually led to a long lasting friendship with the Prince of Wales. After Eton, Beau served in the Military and once discharged in 1797, he came into a small inheritance from his father, which allowed him to set himself up in London. Taking an apartment in London’s posh Mayfair District, he entertained his fancy friends and created new trends for the fashionable set to follow. Naturally, given Beau’s flair for hyperbole and his talent for living beyond his means, his extravagant lifestyle eventually got him into trouble. We’ll get into that later in the post.
Although history remembers Beau as an iconic Dandy of the Regency Period, he was much more than that: he not only changed how we dressed but also how we lived. He popularized daily bathing and refused to wear excessive colognes. The fashion of the times was still under the influence of the 18cc “Fops”: powdered wigs, rouge, fancy coats, breeches and stockings. Personal hygiene practically was non-existent; heavy perfumes and creams were used in the place soap and water. Bathing was reserved for special occasions. Beau changed all that!
Beau’s take on clothing was that it should be functional, fit well and be an investment. In collaboration with the numerous tailors he commissioned, he set about creating the Bespokesuit, which was accomplished through a series of fittings and elaborate under stitching. Up until then, if one desired to have an outfit made, one visited a “Draper”. The “Draper” would create the article of clothing by “draping” the fabric upon the wearer’s body. Fabric that could also double as upholstery, they didn’t differentiate between the two. There was no ease of movement. Lack of movement was considered a status symbol because it meant that you were rich enough to afford servants, who could do things for you. But Beau changed all of that. He believed that clothing should be comfortable but elegant. He also preferred plain colors, starting with a dark jacket and tan pants and eventually creating a suit and trousers made from matching fabrics. “To be truly elegant one should not be noticed” was his favorite line. He was a Dandy and a Rebel.
There already existed a bit of a fashion rebellion in France, where as a result of the French Revolution younger people were rejecting the elaborate fashions of the Old Guard by creating a parody of it. These people were called “Les Incroyables” and they wore exaggerated jackets and cravats, shaved their heads into something resembling a mohawk. This hairstyle was known as “Cheveaux à la Victime”, just like the condemned who were prepped for the blade of the guillotine. Dressed like this, the gangs of “Les Incroyables” would roam the streets of Paris looking for a fight. Understandably many people found this edgy style distasteful. But Beau managed to borrow from them and make the conceits tasteful and flattering. If you look closely at an image of an Incroyables it’s obvious that he was influenced by this earlier trend.
Beau’s flamboyant but understated style caused such a sensation that people would actually pay him money so that they could observe him and his valet enact the morning “toilette”. He would begin by bathing with warm water and soap. Unheard of at the time! Then he would proceed with his dressing ritual. Much like the “Grand Levées” of the former Kings of France, every article of clothing he chose was closely observed by his adoring public. The way he twisted his cravat or his choice of shirts created a pandemonium. His fashion prononciamentos were such that he was elevated to the position of “Sartorial Advisor” to the Prince of Wales.
But of course, the fickle finger of fate was about to give our hero a hard poke in the eye. Beau Brummell, having only a modest fortune, spent more than he earned. In addition to the love of clothes, he also had another vice: Gambling. Slowly but surely his inheritance began to slip through his fingers. At first his friends were happy to float him loans to cover his gambling debts. But after awhile, he had worn out his welcome. The aristocracy who once considered his cutting wit and personal style to be amusing, now considered him to be crass and vulgar. “Not knowing your place” in a world where your position in life meant everything is the ultimate Mortal Sin.
Life began to get increasingly precarious for Beau, always one step ahead of being thrown into debtors prison (yes, they had those then) He actually had to employ one of his Tailors as a combination bodyguard, hit man and bill collector! Who knew tailors could be such badasses?
The ultimate faux pas he committed and one that eventually sealed his fate forever, occurred in 1813 at a costume ball in London. Among the invitees was the Prince of Wales. By now the future George IV had tired of Brummell’s over familiarity. As the expression goes “Familiarity Breeds Contempt” and as the Prince made his way down the receiving line, he purposely cut Beau by refusing to greet him. The extent of the social humiliation was palpable to the entire room. But Beau, not one to be one upped by anyone, not even the Prince of Wales, turned to his friend and remarked: “Alvanly, who’s your fat friend?” I would have given anything to travel back in time and be a fly on the wall. I’m sure you could have heard a pin drop.
After that things began to unravel at hyper speed. The Prince, who had always been sensitive about his weight, promptly had Beau bounced out of the party. No more “Sartorial Advising” there! A society that hung on to his every word and followed his every trend with almost religious fervor now shunned him like a leper. His gambling debts and debts to his tailors, cobblers, grocers, landlords landed on him like a ton of bricks. Back then one could be thrown in jail for not paying their bill, there was no such thing as bankruptcy. After 3 years of floundering about as a social pariah, Beau Brummel had no choice but to collect his few worldly possessions and escape to France.
Beau Brummell was to live his final years in the French city of Caen. Some of his more sympathetic friends secured a position for him at the British Consulate where he stayed for 2 years. But life would not he kind to Beau, after his diplomatic assignment ended he drifted about France, unable to return to England due to his debts. But the French laws regarding insolvency were even worse than Great Britain’s. The long arm of the Gallic Law caught up with him and he ultimately wound up in a French Debtors Prison.What the English could not accomplish, the French did with the cruelest of ease. Thanks to a few supporters he had left, they were able to bail him out and pay off his debt.
By now it was 1835 and from all accounts poor Beau was merely a shadow of his former self. He had completely let himself go and no longer cared about his appearance. He was barely recognizable to the few friends who had remained loyal to him. To complicate matters even more, he began to suffer from seizures and psychotic episodes. It was apparent that he was suffering from advanced stages of syphilis, which left untreated, can diminish a persons mental capacities. He died penniless and forgotten in a charity hospital in 1840 and is buried in the Protestant Cemetery in Caen, France.
His Legacy Endures:
It’s for good reason that he is remembered as “The Father of The Modern Trouser” or “The Father of The Men’s Suit”. Anyone who has worn a tailored business suit, who has worn a necktie or who prefers light starch in their shirts, can thank Beau Brummell. In fact, anyone who enjoys personal hygiene by bathing daily owes a major debt of gratitude to Beau Brummell!
Beau Brummell, liberated men from the restricting, affected clothes of the previous century. He created a men’s style that was comfortable but at the same time practical and elegant. The perfect attire for the Industrial Revolution to come. Decades later in the early 20th century, Coco Chanel would do the same for women and there is no doubt in my mind that she was influenced by Beau Brummell.
There have been many films made about our Sartorial Hero, but my favorite one is “Beau Brummell, This Charming Man”, a BBC TV movie released in 2006. James Purefoy nails it with his performance as our subject and Hugh Bonneville plays a good foil as the the Prince Regent. There is a link below and I highly recommend this film, it’s a lot of fun to watch.
There is also the statue to Beau Brummell in London’s Oh-So-Exclusive Jermyn St.. Beau’s former stomping ground is just as fashionable today as it was back in the 1800’s when Beau would strut his stuff down the street with a Dandy’s swagger. There is a PMA color called “Brummel Brown”, a watch by Le Coultre, a pop band. Even in literature where he appears as himself in one of Sir Arthur Conan Doyle’s Sherlock Holmes Novels.
This stylish Rake, lives eternally as a Male Muse, inspiring all genders to think outside the box and to create trends, not to follow them.
A “Bum Roll” is an article of clothing that originated in the Renaissance. The “roll” which sat on the “bum” or butt was a crescent shaped padding with ribbons at either end that would be tied around the waist and worn under the skirt so that it enhanced the curves giving the wearer a bit of a “bump” in the “bum”. This accessory continued to be used in the upcoming centuries and morphed along the the changing female silhouette. Eventually, these “underpinnings” took on a life of their own becoming “paniers” in the 18th cc and then “bustles” in the 19cc. But the humble “Bum Roll” persisted; becoming one of the most practical accessories for the serious costumer.
A Bum Roll can adapt itself to achieve almost any type of silhouette from the High Renaissance to the 19th cc “Gilded Age” silhouette. It’s a versatile accessory for the serious costumer and practical too: there’s no need to resort to wearing a “cage” panier or a “cage” bustle when one can just as easily achieve the look by using these pads.
Let’s begin by examining the history of the “Bum Roll” and it’s progression through the centuries:
Renaissance Bum Roll
As you can appreciate here, this is the Bum Roll worn as it was originally intended, tied around the waist with the padding in the back. Towards the end of the 15th cc and beginning of the 16th cc, the Spanish Farthingale was all the rage. This was a skirt that was a simple cone and looked a bit severe, so the Bum Roll was introduced in order to give the Farthingale a bit of an “oomph”.As you can see from the image on the right, the back padding gives the wearer a more pronounced curve on the backside.
Panier Bum Roll
Now we travel into the 18th century. Wide hips were all the rage and women resorted to wearing something called the “Cage Panier” with was literally two structures in the shape of a semi circle cage that straddled either side of the hips. Well, this might have worked well if your name happened to be “Marie Antoinette” but for the rest of us mortals something a bit more practical was needed, so in steps the Bum Roll and this time it’s two rolls strapped on either sides of your hips. No one will know the difference unless they happen to look up your skirt!
As the late 1800s rolled around the ladies silhouettes began to once again take a life of their own. The “Cage Bustle” was invented and it was a type of collapsible caboose that once again served to bring attention to the backside of the wearer. Wealthy followers of fashion were able to commission fancy collapsible cage bustles that literally gave the appearance of a train caboose attached to the wearer’s butt. Once again, the Bum Roll to the rescue! Here we strapped two bum rolls and layered them on the back. Much more practical and comfortable than wearing a “cage”.
Wanna Buy a Bum Roll?
Our Bum Rolls are versatile, comfortable to wear and easy to maintain. They are made from from lightweight foam and batting then covered with 100% cotton. Just wash them in cool water/gentle cycle and air try. The dimensions are 6 1/2” W X 25”L. The widest point is 6 1/2” but it tapers off to 0” at the ends. Twill tape ribbons are attached so you can accommodate them to your waist circumference.
Buy a Single Roll for $20.00 or add a second Bum Roll to make a Pair for only $10.00 more ($30.00 total).
I strongly recommend purchasing them by the pair. You will be glad you did!
Please Note: All orders are custom made. Please allow two weeks for your order to be fulfilled. Are you interested in a specific fabric or color? Need expedited shipping? We can do that! Email me at email@example.com
Want to learn more about my custom made costume services?
Isabella Delves Broughton Blow was born on the 19th of November 1958 and died May 7th 2007. What transpired in those 48 years is a tale of creativity, betrayal and tragedy. A trendsetting prophet who loved fashion more than it loved her, shetook her life after swallowing a lethal dose of paraquat, thus banishing the painful demons that haunted her during the course of her short life. She was an original eccentric, her eye for fashion and for the designers who created them became cultural events.Her idiosyncratic sartorial choices and how she wore them becameworks of art. A woman whose talents could not be quantified. She joined the Pantheon of other ambulatory art pieces that include Daphne Guinness, Anna Piaggi and Daniel Lismore.
Seeing that iconic picture of Isabella and Alexander McQueen running away from the flaming tower reminded me of the two subjects of the “Tower” Tarot having made landfall and now, like the subjects of the tarot,are trying to runaway from their specific demons. It was like they both drove each other into madness with their symbiotic relationship. And both shared the illness of suicide; McQueen eventually took his own life a few years after she exited hers.
Isabella was just as much a product of her times as she was a product of her past: And it’s important that we study the Whole picture in order to understand this most tragic Muse. The first time I saw Isabella Blow was in a documentary about royal portrait painters. In it, they were contrasting traditional portraitist with a contemporary fashion shoot. There was one particular scene depicting the progress of a shoot of Fredrick Windsor, whose mother is non other than Princess Michael of Kent. A woman who is a very accomplished historical author, whose books I love to read. But in this scenario was living up to her nick name, “Princess Pushy”. It was no surprise then that she was trying to micromanage every detail in the annoyingly condescending way that only royals know how to do.
While everyone else in the crewwas playing “duck and cover” there was one lone voice who dared to stand up to HRH with the same socio-economic lilt. “But Ma’am doesn’t understand…” was her Third Person refrain to every suggestion put forth by the Princess. It was obvious that this girl was “to the manor born”, only their appearances couldn’t be more different; She was dressed in an outrageous hat and and an outfit to match. Her name was Isabella Blow. I was hooked. From that moment on I made it a point to follow her career and I was devastated when a few years later she took her own life.
Isabella was the eldest daughter of a family who could trace their lineage back to a Page who fought alongside Edward the Black Prince. That’s a long time ago! Sadly, mental health was a recurring issue with her family since her grandfather Sir Henry John “Jock” Delves Broughton (try saying that name three times quickly) who was one of the subjects in the “Happy Valley Murders” a story which was to eventually become a book and then a feature film in the 1987 film: “White Mischief”. Worth watching if you ask me. Quick film synopsis: A high society love triangle ends tragically in a murder-suicide. Sorry, spoiler.
Being that she was eldest daughter and not son, society saw her as useless since she could not inherit property. And if she couldn’t inherit property, then how could she possibly manage the family fortune? She did have a younger brother whose drowning she witnessed when she was just four years old. It was the beginning of the end for her family since she, and her other two sisters were quickly dispatched to different boarding schools. Finally when Izzie(Isabella) was fourteen, her mother walked out of the marriage and out of their lives. Her dad subsequently re-married and (no-surprise) Izzie did not get along with her new step-mama, causing life-long friction between her and her father. So much so that in the end, he cut her out of his will.
But Izzie marched on, after completing her studies at Oxford, she then moved on to New York to study Art History at NYU. After that her story gets a little hazy and no amount of research brought me clarification, just obfuscation. From what I was able to glean was that while in NYC, she fell into the orbit of the Warhol Factory Crowd. Then she apparentlymarried a Brit who moved to Texas in order to make it in the oil business. During this time she allegedly worked as a rep at the Dallas Apparel Mart for the French designer Guy Laroche. This one I find a little hard to wrap my head around. Being that I live in Texas and am all too familiar with its suffocating provinciality, I can’t imagine Isabella working here. But I digress. After her stint in the Lone Star State, she bolted sans husband, to either New York to work at Vogue Magazine as an assistant to Anna Wintour. OR back to England to be a Nanny for Bryan Ferry’s son, Otis. Either way, can you blame her?
Another twist to this story was that Bryan, being friends with Wintour, secured the Vogue gig for Izzie once her nanny duties were completed. This particular story has a bit more credibility since it was recounted by her husband Detmar to a reporter for The Daily Mail newspaper. Nonetheless her friendship with Ferry lasted her entire lifetime and he was to play a pivotal role in her legacy.
Bryan Ferry remembers his longtime friendship with Isabella at SHOWstudio
So from there, she continued her association with Vogue’s parent company Condé Nast, by moving on to work at Tatler Magazine in London. That waswhere she evolved into the hat wearing eccentric we all loved. Much like her friend Daphne Guinness, she transformed herself into a walking work of art, using fashion as her medium. Taking advantage of her influential position at a major cultural platform, she went on to discover the talents of designers, models such as Philip Treacy, Sophie Dahl, Stella Tennant, Hussein Chalayan, Miucca Prada, Viktor & Rolf and most auspiciously, Alexander McQueen. A designer with whom she would embark on a creative, symbiotic relationship that ended with the ultimate betrayal.
And as if all of this activity wasn’t enough, she also found the time to make a cameo appearance in Wes Anderson’s film: “The Life Aquatic with Steve Zissou”
Like most larger than life figures, the more Isabella expanded her persona, the harder it was to fit in with the norms & conventions of the fashion industry. Because no matter how much lip service is paid to creativity, in the end, fashion is a business. So Isabella found herself floundering from one position to the next, brokering deals and staging over the top fashion shoots. A consultancy here, a styling gig there. In the end she would wind up kicked to the curb by an industry that she loved, but that did not love her back.
Perhaps the most telling of these scenarios was her association with Alexander McQueen. After discovering him while he was still a student at Central Saint Martins in London. She picked him from the litter and nurtured his career, eventually brokering a lucrative deal between McQueen and Tom Ford of Gucci, who was looking to expand its licensing division. Obviously she assumed that she would secure a high profile position in this new endeavor. But when it came time to sign the contract, her name was not even mentioned and McQueen did not lift a finger to correct this. This was to have a devastating effect on her, spiraling into a nadir of depression and suicide attempts. As a friend observed: “Everyone got contracts, Izzie wound up with a frock”. Sadly this is not such an unusual modus operandi in an industry that ironically idolizes women while at the same time will brutally purge those who are considered irrelevant.
Somewhere along the line Isabella married a fellow blue blood by the name of Detmar Blow, who, like Isabella was asset rich but cash poor and who’s grandfather, in the irony of ironies also died by suicide as a result of drinking paraquat (Izzie’s poison of choice). So Isabella Delves became Isabella Blow and their wedding at Gloucester Cathedral featured all the trappings of a medieval fantasy wedding complete with pageboys and Isabella wearing a medieval style helmet designed by Philip Treacy. Together she and Detmar set about to transform “Hilles”, their little “Arts & Crafts cottage” into an eccentric’s Salon where they entertained high profile creative types as well as Isabella’s protégées. But sadly, happiness would elude Isabella on the domestic front as well when it was discovered thatshe could not bear children.
To add to her aggravation, Mother in Law from Hell appeared on the scene, demanded that Izzie and Detmar relinquish the house to her whenever she felt the need to stay there. The excuse being that since the couple was childless, it needed to be made available to one of Detmar’s siblings who wasn’t (and there were a few, despite Detmar being the eldest son). This must’ve triggered ugly memories of being displaced by her father’s new step-family, because even though Detmar wanted to fight it out, Izzie did not and the couple temporarily separated.
Again, society rears up its ugly head to obsolesce those women who unable to serve as brood mares to the patriarchy.
So with her marriage and career on shaky ground, Isabella sunk deeper into her funk. Electric shock therapy and hospitalization didn’t help. Her deteriorating conditionwas further exposed by a highly sensational and unsuccessful suicide attempt in 2006. While stuck in traffic on a busy overpass in London, she climbed out of her taxi and thew herself to what she hoped would be her death. But no death, just two very badly broken ankles. But broken ankles or not, she flew to Dubai Fashion Weekon an imaginary expense account, passing herself as the “Elsa Klensch of Al-Jazeera” then again to Fashion Week in Bombay where she passed herself off as a Vogue representative who had flown into town in order to select the new editor of Vogue India.
Eventually her shenanigans caught up with her and she wound up back in London broke and her reputation in tatters. But Izzie rallied, as most manic depressives are wont to do. Soon she was on her way to new adventures and projects. About a week before her passing, she posed for photographer Tim Walker, wearing a chain mail hood and mime makeup. It’s a sad picture to see; even though Isabella was not a conventional beauty, in her earlier pictures, her eyes sparkled with mischief and creativity. Here she looked like she had her life’s blood drained from her and looked much older than her 48 years on this earth. It’s a disturbing portrait, considering how her previous collaborations with Walker produced groundbreaking, iconic images.
A few days before May 7, 2007, while staying at Hilles, she would take a lethal dose of Paraquat. This was her seventh suicide attempt in a little over a year and the seventh time was the deadly charm. She announced her deed to her family long after it was too late to save her from poisoning. She was hospitalized and died in her sleep a few days later. In the time that transpired between her swallowing the poison and expiring, she was busy planning her funeral. She wanted it to be as whimsical as her fashion statements. And what an event it was! The services took place in Gloucester Cathedral, where she was previously christened then married, now served as the venue for her Last Hurrah. She was brought in on a horse drawn carriage, her coffin bedecked by flowers and topped off by one of Philip Treacy’s creations.The boys that served as pages at her wedding, where now her pallbearers. Otis Ferry (Bryan’s son and her former charge) was amount them. If Isabella Blow was over the top in life, she definitely raised the bar in death.
Then bad news rained upon more bad news: It was announced that her family was going to have to auction off Isabella’s couture collection in order pay off her Death Tax. That’s similar to the Inheritance Tax here in the States. It’s ironic that someone who spent most of her life worrying about money was now plagued by financial obligations in death. Luckily her friends stepped in and prevented this from happening. Namely Daphne Guinness and Bryan Ferry. The Isabella Blow Foundation was created to preserve her comprehensive collection while serving as a tax shelter for her already burdened family.
It was Daphne’s brainchild to create an exhibition called Fashion Galore! honoring the memory of Isabella while showcasing her extensive wardrobe collection. Bryan Ferry contributed the song “When She Walks In the Room” which had been her favorite song of his (and my personal favorite too) to promote the event. A promotional video was created by Ruth Hogben using Bryan’s song and Isabella’s wardrobe from the exhibition. The video was shot at Doddington, her ancestral home. It’s a moving tribute and the words to the song resonate with the telling ironies of her life. “Fashion Galore!” was a tremendous success at its opening at London’s Courtauld Gallery in 2013. Then the collection went on to make the rounds of the fashion capitals of the world to tremendous fanfare. Thanks to the proceeds from the Fashion Galore exhibit, the Isabella Blow Foundation emerged; A foundation dedicated to providing educational scholarships and mental health services in the form of art therapy to those suffering from mental illness.
Daphne Guinness Interviewed by SHOWstudio discussing the “Fashion Galore” Exhibition and creation of the Isabella Blow Foundation.
Isabella managed to redeem herself in death as she was never able to in life. Perhaps in the end those “frocks” that she received as consolation prizes after getting screwed out of a deal are the keys to her immortality. Her couture collection at the Isabella Blow Foundation is now a permanent record for the study of the cultural trends of the turn of the 20/21st centuries. Her energy is palpable in the design of these confections, since she herself served as an inspiration for each and every one of them. These dresses and hats, each one a work of art in their own right, like the muse who inspired them, are forever a part of a greater legacy.
I’d like to conclude this post with the lyrics from “When She Walks In The Room” written by Bryan Ferry. Even though he composed this a prior to their acquaintance, the lyrics resonate with the ironies of her brief life.
“When She Walks In The Room”
Lyrics by Bryan Ferry, courtesy of Universal Music Publishing
Since the beginning of time, silk has been one of the most coveted and elegant fabrics in existence. Admired for its beauty and opulence, silk is also valued for its versatility and durability. Silk has been used to make everything from luxurious couture gowns to military parachutes. Most top tier performing arts costume shops use nothing but silk to make everything from a peasant costume to an over the top confection for the star performer.
As a valuable commodity it made its way along The Silk Road into western sensibilities.Examples of silk have even been discovered on Egyptian mummies and on the preserved bodies of Pompeii.
But the history of silk has some very sacred and mythical origins, where fact and fiction blend to become legend, going back over 5,000 years. And it all began with a woman named Leizu, who is also known as “The Mother Goddess of Silk”.
As the legend goes, the Empress Leizu was seated under under a mulberry tree, drinking tea in her garden. Suddenly a cocoon dropped from the tree into her teacup. Leizu observed that the hot water began to soften the cocoon, causing it to dissolve into a long filament cord that she could wrap around her finger. And this was how silk was discovered.
Not satisfied with having discovered silk filament, Leizu is also credited with having invented the silk reel (similar to the spinning wheel) to create thread from the fiber, as well as the loom! This allows the threads to be woven into fabrics. And that my friends, is how legends are made.
So thanks to Leizu’s ingenuity, silk became the number one commodity for China. So much so, that it became a closely guarded state secret, traded like valuable currency along the Silk Road. Making its way to all the major capitals of the world where it became a highly sought after status symboled for the influencers of the times. In fact, the Romans called the nation of China “Serica” which translates into “The Land of Silk”.
Silk togas were a highly valued status symbol among wealthy romans. An excellent example of this was the silken togas worn by the characters in the 2000 film “Gladiator”. Even though the film was wrought with costume anachronisms, the costume designer did get it right when she dressed the characters in sumptuous silks.
But eventually, the art of sericulture (silk farming) made its way out of China as Chinese craftsmen migrated to other parts of the world. Soon other countries like India, Japan and even the Republic of Venice where producing their own versions of silk. Each region adding its own unique characteristic to this luxurious fabric.
Durability & Flexibility
One particular characteristic that made silk such a valuable commodity was its durability. That is because silk is a monofilament fiber. That means that each cocoon will produce only one thread that can go on for yards and yards. When they are wound together to create a cord for weaving it gives silk a great deal of strength. Until the invention of synthetic fabrics, silk had a number of industrial uses for things like surgical sutures and bicycle tires.
But perhaps the most curious industrial use was in the manufacture of parachutes during World War II. This caused a shortage for consumers in particular silk stocking industry since manufacturing had to be diverted away from wearable goods to wartime production. But everyone did their part to pitch in for the war effort and patriotic young women gave up their silk stockings and instead painted lines in the back of their legs to give the appearance of wearing them.
This trend went on until the invention of another monofilament fiber: nylon. So silk stockings became “nylon stockings” and parachutes, well you get the picture. And this event gave birth to yet another phenomena in the fashion food chain: Wedding dresses made from recycled silk parachutes! This trend was particularly popular in Great Britain since the British people had suffered terribly during the war and experienced tremendous shortages as a result. So naturally for a War Bride to have worn a dress with such a provenance was a fashion statement that was much political as it was symbolic.
Versatility is another quality that is attributed to silk.Depending on how the fibers were processed, silk can be made to look like the most humble cloth or the most luxe textile.
And it’s for this reason that performance arts organizations use silk as their fabric of choice when it comes to building their costumes. This is because, say, for example Raw Silk or Tussah Silk can be used to create a simple peasant or workers costume and as another example, Silk Satin could become a stunning evening dress or Silk Velvet can become a sumptuous cloak for royalty. All from that one little boiled larvae!
Again, durability plays a huge factor for silk being the fabric of choice for costume productions.Because of its monofilament structure, self has the ability to absorb dyes very effectively. This is why silks take on such rich vibrant colors and can survive year after year even after undergoing the punishments of a theatrical or film performance. Afterwards the pieces are recycled for the next season or film.
Finally, some of the least known but most important characteristic of silk is its insularity. This means that it keeps the wearer warm when it’s cold and cool when it’s hot. Its washability is another forgotten property, but yes, under the right conditions silk may be gently washed with a mild soap, such as Dr Bronner’s Castile Soap and cool water. Nowadays though, most silk garments are dry cleaned.
My Fabric of Choice
Silk has always been my first fabric of choice when it comes to designing a costume. The fact that it can be processed to look like almost anything makes it an ideal material for costumes. When presented with an idea, if it can be made from silk then that’s what I am going to use for the build. I would like to share with you know, some of my past projects utilizing silk so that the reader can truly appreciate this “Goddess of all Fabrics”:
“Raw Silk” or “Silk Noil”
Can you believe that coat is made of silk? The deep navy fabric is known as “raw silk” or “silk noil” and it derives its name from the silk making process because it comes from the first rendering of the boiling process. A bit like “virgin” olive oil is rendered from the first pressing. Unlike its Italian counterpart though, it is not held in the same value as the subsequent filaments that the cocoon gives up.
This first rendering is generally scooped up and used to make a very rustic and organic fiber that is woven into the above mentioned fabric. Unfortunately since it doesn’t yet have the monofilament qualities of regular silk, it can only be woven with a very narrow loom. The usual width of this fabric hardly ever goes past 35” as opposed to the 45” and 60” standard with of most silks.
Since most silks are now produced through mass automation, this extra step of sustainability is no longer deemed practical by the manufacturers. So that initial step of scooping up the first rendering is no longer done and its simply discarded. Making this fabric very difficult to find. According to my suppliers, this type of silk will soon be a thing of the past.
These two costumes where actually made from silk brocade upholstery fabrics. Upholstery fabric is an excellent choice for making period costumes from the Renaissance to the Baroque.
That is because back then the same material could be used to upholster your furniture or your body. There was no differentiation between one or the other. So using upholstery, in particular if it’s silk upholstery, gives the garment a touch of authenticity. The costume on the left is also trimmed with silk lace that has been blended with gold thread. As is her Mop Hat too.
This 18cc costume, with the exception of the wig and shoes, is made completely from silk. The jacket is silk velvet, the pants are silk peau de soie, the vest silk brocade, the chemise silk noil, hosiery mercerized silk, the lace and gold trim-you guessed it- silk. Even the bows on the shoes are made from silk! Such is the variety and versatility of silk.
This is a very unusual finishing for silk called “Silk Faille” of “Silk Moiré”. It was very popular in Victorian times and then experienced a brief revival in the 80’s but is rarely used today. Hence the lady in the widows weeds made popular by Queen Victoria. This silk starts out in life as a “Faille”. The process of creating Faille is achieved by having the spindle on the loom skip over a few threads as it weaves the fabric, giving it a “wide whale” similar to corduroy. In order to create the “moiré” watermark, the fabric is steamed with an acidic component and then pressed with pressed with rib rollers to create that watermark effect. Click on the image to see the web post where you can see the original Victorian upon which this designed was based.
Here’s another example of a variety of silks used for one costume. The cape is made from Tussah Silk which has its origins in India. It has a heavy hand and wide “slubs” which are irregularities in the weave of the fabric, giving it a rich textured look. Thanks to this weaving process, the fibers can absorb dyes with maximum saturation. The sarong is made from silk noil while the cape appliqués are made from Silk Dupioni. Last but not least, her bodystocking is embroidered with our silk thread.
Silk Dupioni is also referred to as “Thai Silk” because most of its production takes place in Thailand. However, China, India and even Italy manufacture this gorgeous silk. Like the aforementioned Tussah silk, it also is considered a “slubby” fabric however, the weaving is more delicate than Tussah. This also allows it to absorb colors at high saturation as you can see from the rich texture of the costumes. Dupioni works great for renaissance and other period costumes because the organic weaving patterns give the costume a touch of authenticity. Almost as if it had been hand woven on a loom.
Some other interesting details about these costumes: On the left, her cape, her purse and her hat are also made of silk; silk chiffon and silk velvet respectively. On the right: the coat is made from Dupioni, however her skirt is also silk chiffon. The two toned effect is called “sharkskin” weave and its created when two different colored threads are used in the the warp and weft during the weaving process. As the wearer moves the fabric shifts colors in the light. “Sharkskin” weave can also be used with different types of fabric and was very popular thigh mens suits in the 1940’s and 50’s.
Expanding on the silk chiffon theme from the previous post, here are two more examples of silk chiffon being pimped up with unusual weaving effects. These two costumes where made from an Italian silk chiffon that was woven with gold (left side) and silver (right side) threads in a herringbone pattern barely discernible to the human eye. The interesting thing about this fabric is how photogenic it is. It turns into pure liquid on film.
Silk Charmeuse is the “free spirited cousin” of Silk Satin. They are both woven in the same manner however, because the thread count is thinner than Silk Satin the fabric has a delicate weight but still has the high lustrous sheen. That makes it a perfect choice for 1930’s style bias cut dresses like the wedding gown in the picture.
“Duchesse” Silk Satin
This is a costume for a Mardi Gras King made fromDuchesse Satin. This satin woven silk has a heavy luxurious hand, making it the perfect material for wedding dresses, evening gowns and military style royal costumes like the one above. The military embellishments were specially ordered from England and were of course, also made of silk! Click Here to learn more about the tragic Emperor who served as an inspiration for this costume.
And what do we do with all those leftover scraps of silk? They are used to make Venetian style carnival masks, of course! The scraps are stretched out on the bias over a a canvas that has been lightly coated with craft glue and allowed to dry. Then it is reinforced with milliner’s wire and covered with leftover ribbons, beads, jewels etc. Waste not want not! Oh yes and the lilac fabric used as a drape on the left and right pictures is, guess what? You got it! Silk. It’s actually a “sand washed” silk , which is as the name implies, a process of washing the silk with a small amount of sand. This gives the fabric a slightly distressed look and a semi-matte finish.
I hope that you enjoyed this literary and visual journey through the world of silk. I’m sure that Leizu would be proud of how far her invention has gone so far. From helping to win a war against Facism to gracing the most upscale runways of Paris. Silk is one of those immortal fabrics that will never cease to fascinate us.
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Working on The CRÜE project involved working with lots of unconventional materials. Often times one garment consisted of different types of fabrics and trimming that are often incompatible with each other in a regular garment. I usually sew in care labels for my clients but in this case it just would have been too many labels to sew in. Case in point, one costume was made from “pleather”, covered with holographic lamé trim and embellished with metal studs. The costume was also accented with a special fabric paint for effect; How in the world would one maintain that? The rule of thumb here is to go with the most delicate fabric and use cleaning techniques compatible with that type of fabric. In this case was the lamé which requires hand washing with a delicate soap such as Dr. Bronner’s Pure Castile Soap pictured above.
Read more about the Proper Care and Feeding of your Costume:
Congratulations! You are now the proud owner of a Costume by Antonia, thank you for your support of my work. Your costume was custom made by hand, specifically to your measurements. Proper care and feeding will result in years of wearing enjoyment.
Because your costume is made from non conventional materials that are trimmed with metal, I recommend special care and maintenance be applied, which may not always comply with the manufactures suggestions.
After your performance: I recommend turning your costume inside out and spraying it with vodka. Yes, vodka! Just use the cheapest bottom shelf plain vodka(not flavored!). Pour the vodka into a clean spray bottle and spray the inside of your costume until it is fairly well saturated. Then allow it to air out for several hours until the vodka evaporates. As the vodka is evaporating, so will the perspiration and odors. I recommend doing this after every performance or as needed. Be sure to test a small amount to make sure it does not lift the color from the fabric.
You may also occasionally hand wash your costume in cool water and mild soap (excepts for the faux leather used for your body harnesses and belts. (I’ll get to below). Even though the manufactures’ instructions say that its ok to machine wash and tumble dry, DO NOT DO THIS!
The pleather, latex etc are also covered in studs and if you put it in the washer and or dryer, I can almost guarantee that you will loose all your studs and probably your washer/dryer too!
To hand wash, just soak them in cool water for about 30 minutes, gently agitate with your hand. Use a mild soap, I recommend Dr. Bronner’s Unscented Castile Soap for best results, but any mild soap is ok. After 30 minutes, gently press out the soapy water and rinse in cool water. I usually let it soak in fresh water for about 30 minutes, again agitating gently by hand. Then press out the water from the garment. If there is still any soap residue left, let it soak again in fresh water for about another 15 minutes. Press out the water and dry flat. This keeps the garment from distorting and allows it to retain its shape. If you don’t already have one, a drying rack is a good investment to ensure the longevity of your costume. The rack allows the air to circulate through the fibers so it can dry thoroughly. Once the item is completely dry, gently rebook into shape and hang folded in a cool dry place. Avoid storing it in your tour box because the fabric tends to “shrivel up” if it’s left folded for too long. If possible keep a packet of silica gel or a small block of cedar wood wherever your costume is stored to absorb moisture/humidity. This can be a problem in Houston!
Care of your harnesses and belts: Do not immerse in water! Spray with the vodka if needed, otherwise just let it air out after your performance. You can also wipe it down with a moist washcloth and small amount of mild soap if it gets soiled. Store flat or on a hanger. You can occasionally condition the surface with a small amount of Vaseline, Baby Oil or Murphy’s Oil Soap. Apply with a soft cloth, then buff till the luster is restored.
I am starting a new section in Newsletter: “Meet the Muse”, that honors cultural icons who influenced fashion, culture and the arts. The definition of Muse is generally attributed to a woman who is a source of inspiration, don’t be surprised to find guys and non-binary individuals in future posts.
So as our first post in this category, it’s only natural that we begin with a woman with the solipsistic name of “Musidora”.Born Jeanne Roques on February 23, 1889, Musidora , whose name means “Gift of the Muse”, was a silent screen actress, director and producer whose ghoulish exotic beauty captivated European audiences and served as a later inspiration for the likes of Theda Bara, Vampyra, Cat Woman and a dozen contemporary “Goths” such as Siouxsie Sioux and Courtney Love.
She is best known for her starring role as Irma Vepp in the silent horror serial “Les Vampires”, directed by Louis Feuillade, who was also a ground breaking film maker in his own right. Feuillade was a great supporter of her work and went on to collaborate with her on one more film. “Judex”. After that, Musidora spread her wings, producing, writing, directing and starring on 10 more of her own films. Two of those were based on books written by her friend, the French novelist, Colette. Sadly all of her films are lost with the exception of two: “Soleil et Ombre” and “La Terre des Taureaux”. Of her collaboration with Feuillade, only “Les Vampires” still exists.
But just looking at those few surviving images flickering on the screen, it’s easy to see how she seduced audiences back in the day and how she continues to seduce us now. Her mannerisms and affectations look strangely contemporary and she continues to be imitated and satirized in modern culture. Everyone from Diamanda Gàlás to Elvira imitated her look. She was even the subject of a Drag satire, “The Mystery of Irma Vep” by Charles Ludlam and a 1996 update “Irma Vep” starring Maggie Cheung in the title role.
Many filmmakers of note such as Luis Buñuel (Andalusian Dog) and Fritz Lang (Metropolis) credit her for inspiring their directorial style and the visual style of their films. The illustrator René Grau changed his painting style and began using only primary colors in her honor. So much was her influence that the French began referring to her as “La Dixieme Muse” (The Tenth Muse). Sadly with the onset of the talkies, Musidora’s acting career began to fade, but she did not let this minor detail stop her; She continued to write, produce and direct until her death in 1957.
So the next time you apply thick dark eyeliner, enjoy an Ann Rice novel or consider wearing all black, remember the great debt that we owe to the Mother Muse of All Goths: Musidora.
Would you like to see more of Musidora? Click on the images below to see her as Irma Vep in “Les Vampires”.
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On Saturday January 18, 2020, The CRÜE made their debut at the BFE Club in Houston. This Mötley Crüe Tribute Band delivered a stunning performance to the delight of screaming fans. With a meticulous attention to details and a priority for authenticity, we were able to recreate the look and sounds of this iconic 80’s Glam Metal Band.
This inspired me to take a trip down Memory Lane:
Way back in 1983, in a different time, in a different world, I was a young 20 something winding down their studies at the Fashion Institute of Technology in New York, when I was conscripted by the F.I.T. Job Bank to intern for a project with a well known designer. The project involved assisting in the creation of dancer’s costumes for an entirely new concept known as a “Music Video”. So novel was the concept that the lady from the job bank said that music was meant to be heard, not watched! Remember at that time, MTV was just a fledgling second tier cable station that could not even get the broadcast rights in Manhattan! The fact that Strap Hangers in the Bridge & Tunnel communities were able to enjoy this cool new station but not the Manhattan trendsetters, sparked such an outrage that it spawned that ubiquitous ad campaign starring the top musicians of the day screaming: “I WANT MY MTV!”
The video was for a then unknown band who went by the unlikely name of Mötley Crüe. Or at least that was the name taped to the “Ditty Bags”. I had never heard of them nor did I ever meet the band members. Even if they did walk through Mr Legaspi’s studio, costume shop protocols dictates that anyone below the status of designer, could not speak or look at the performers, unless they were spoken to first.Remember, the “costumes” were to be for dancers that had not even been cast yet. But the band’s name stuck and from then on my fellow internee and I would refer to each other as the “The Motley Crew”. Once my week long internship was over, I collected my mere pittance of a stipend and got on with my life. Several months later, Manhattan Cable tired of hearing the screaming demands of their audience, added MTV to their lineup. That, and another curiosity called a “24 hour news channel”, CNN. So imagine my surprise when I am sitting in my living room watching the latest “Haircut 100” video, or whatever. All of the sudden a “Premiere Video” began playing called “Looks That Kill” by non other than “Mötley Crüe”! YOWZA! I began screaming at my roommate: “LISA COME DOWN HERE! IT’S THAT VIDEO I TOLD YOU ABOUT!!!”. We watched the video together and it was really quite stunning in it’s look and presentation. It was the first time I had seen a band combine Glam and Metal and hence a new genre was coined: “Glam Metal”. Oh yes and I caught some brief glimpses of the leg warmers on the dancers that were cut and sewn by yours truly. I was a part of Rock’nRoll History. How ‘bout that?
More importantly, who knew that nearly 36 years later I would be commissioned by a representative of “The Crüe”, a Tribute Band, to recreate their iconic Glam Metal costumes for a whole new generation! It was one of my most fun and challenging projects as I collaborated with the band members to bring back the sights and sounds of a previous era. By studying early concert footage and an abundance of images provided by The CRÜE, the original costumes were brought to life. And no, I did not have to cut and sew any leg warmers this time. Like I said, the project was challenging in the sense that many of the fabrications and embellishments were difficult to source. In particular because I live in a city that is lacking the infrastructure and skilled labor pool to support this type of business. So most of the materials had to be ordered in and finding reliable contractors to assist in the completion of the project was nearly impossible. Thankfully I was blessed to find the services of “Twisted Arrow Goods”, amazing leatherworkers here in Houston, who were able to lend their assistance to the completion of the project. Thanks to their enthusiasm and the enthusiasm of the band members, the baby was delivered in good health.
So I would like to take you on a quick journey on the making of the Mötley schemata’s based on the original designs and given a modern twist for comfort and wearability. The authenticity of the costumes served to back up the strong performance they delivered last Saturday. The CRÜE’S masterly musicianship and spot on choreography, backed by the costumes helped to nail a killer performance, bringing us all back to those heady early days of Glam Metal.
Vince’s costume was perhaps one of the most challenging to recreate. What appears to be a skimpy little harness with a codpiece and tight pants is really a miracle of engineering. Watching some of the original concert footage of the actual band, it was a bit painful to see all of the wardrobe malfunctions occurring as the real Vince sang and danced onstage. I was determined to not allow that to happen on my watch, so I made it my imperative that every component of this costume was securely anchored in place. Another challenge of this costume was finding the appropriate studs and nail heads. In particular the triangular pyramids which were sourced from a supplier in New York City. Seeing the final outcome is like seeing a the original come back to life. It’s said that in life we all have a doppelgänger and I think that Vince has found his.
Mick’s was probably one of the easiest to recreate as you can see the design is pretty straightforward in keeping with the artistic sensibilities of the artist. The CRÜE guitarist isan excellent musician (actually they ALL are excellent) and so comfort was the number one priority here. My goal here was to create a costume that was totally authentic but at the same time allow the wearer to apply his art on stage to the thrill of the adoring fans.
Even though, I had seen the “Looks that Kill” video hundreds of times, I was still bedazzled by the amount of work on his pectoral and the complexity of the design. My approach was to break down the design, section by section then putting it all together. Our biggest challenge here was to reproduce the “dimpled” studs along the lower row of the pectoral. Remember, these original costumes were built way back in 1983 and some of these embellishments no longer exist. By employing a technique called “peening” we were able to recreate the “dimple” effect from a regular domed stud. It’s a pity Tommy has to sit behind the drum kit because the audience is denied seeing his cool costume. But he is a solid drummer and his tight beats leads the rest of the musicians through the set with stunning precision!
Who can forget can forget Nikki with his under eye black stripes? Here, we recreated his 2 epaulets and a bias strapped body harness which was anchored to a double cross belt. It was important that every aspect of this costume be balanced, in particular because the larger epaulet was extremely heavy and sat on the right shoulder of his playing hand, it was crucial that this component sit securelyon the shoulder but not interfere with his guitar playing.
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Click on the image above to be directed to my YouTube Channel and you can see for yourself how their excellent musicianship and attention to detail served to nail an unforgettable performance. (Plus the costumes aren’t bad either!)
To follow The CRÜE and their upcoming concerts please click here to be directed to their Facebook Page.
Creating a costume that has never been done before is one of my favorite challenges. That’s why I was so exited when a new client contacted me earlier this year, inquiring if it would be possible for me to create a costume based on the notorious Anime villain, Adam Taurus. Naturally I jumped at the opportunity because converting something from a one dimensional image into a three dimensional article worn by a human is always a worthy challenge. An animator’s illustration may be a beautiful work of art but it can’t always translate into a wearable garment.
Challenges like this always serve to help the costume designer hone their crafting and construction skills while at the same time respecting the integrity of the original design. This particular project reminded me of the “Bard” project that I created for another client last year.
In the case of Adam Taurus, there already exist many ready made costumes that are available online, but not surprisingly, they are lacking in quality. As for his magical mask, well, forget about it. I was going to have to really work my own magic on this puppy. My client was concerned with quality and durability since he was wanting to wear his costume over and over again. So we would have to find materials that were unusual but practical.
The suit itself was relatively simple; think of a sort of samurai cassock only that the hemline was unusual in the sense that it was asymmetrical with a sort of a ‘mudflap’ panel attached to the front left of the suit. My concern was the selection of fabric. I did not want to select conventional men’s suit fabric because it can be hot and heavy. He was going to have to be wearing this inside convention halls where the room temperatures can get pretty high sometimes due to all the other people in costume milling about.
I wanted something that was light weight, looked sharp and had that ‘futuristic’ sheen to it. Polished Cotton was the fabric of choice. Yes, that old throwback from the 70’s and 80’s is making a comeback in this new century. It had nice hand to it and had excellent body. But at the same time it was lightweight enough for comfort. It was an easy fabric to work with and in the areas that needed build up I used light weight wadding to give shape to the shoulders and collar. For his bright red lining, I had originally thought about using silk Habotai which is traditionally used for lining. But I opted instead for microfiber polyester because again, it was breathable and the slight gabardine weave gave the overall look of the garment a good shape.
Once the garment was assembled, it was time to work on the appliqués. As you can see from the pictures, the design is quite complex: trying to decipher the pattern was an impossibility. So instead of trying to draw it out freehand, I captured some screenshots then put the images in photoshop where I tweaked them then enlarged them to match the dimensions of the garment. Once that step was completed, I took the jpegs over to a local printing shop that had a wide format printers to have them printed out. Voila! Instant pattern!
For the actual appliqués I chose a bright red ultra suede fabric. Another throwback from the 70’s! Ultra suede is a synthetic material with suede like qualities on one side but is actually a woven fabric on the other side. So like suede, it can take on some pretty bright colors, but it can also behave like conventional fabric in the sense that the colors won’t bleed like the real thing. Plus I liked the contrast of the textured red against the glossy black fabric. I think it worked quite well, don’t you?
As mentioned earlier, the mask was my biggest challenge of all. According to the storyline, Adam Taurus was blinded and so had to wear the mask to not only hide his face but to be able to see. My goal was to make it as close to the original as possible while still allowing the wearer to be able to retain his peripheral vision. My solution was to use a heavy mylar sheet and painting it with a translucent paint that would look opaque from the outside but still allow the wearer to see. Piñata Paints by Jacquard did the trick! The overall effect worked quite well. I purposely lightened the paint application around the eye area but from a distance the mask looks almost completely opaque.
The same Piñata Paints were used to enhance his accessories as it gave the sword and holster a nice iridescent sheen. Overall the project turned out quite well and it gave me the chance to once again work with unconventional materials, designs and concepts. Onward and upwards!