What what!
Nine days since my last post! Such a shame. Not for lack of time. Mostly laziness on my part.
I trudge along at work. Sometimes cheerfully. I'm in the midst of building both Romeo and Juliet and Goodnight Moon at the moment. And both seem ahead of schedule, though at times I panic that I am slipping back. The panic usually accompanies the realization of how much longer I will be in Hawaii. And how much still seems to need to be done.
But I am pleased to say I am ahead of schedule. Even short of my co-worker now, who's last day was January 31st, I've managed a brisk pace. I seem eons ahead of where I was on the high school show at this same time last year. This week will be slightly crammed as I have fittings for both. And post fittings, I always seem overwhelmed by the sheer amount of notes that cascade onto my note pad.
Thankfully, no directors will be present at any fittings this week, so I'll be free to do my craft without their interruption. I do greatly appreciate director's feedback early and throughout the process. Often, touching base early in the build will send up red flags that would otherwise go undiscovered until dress rehearsals. But one fatal flaw of most directors I've worked with is the inability to see beyond the unfinished state of a garment.
When making clothes from scratch, the first fitting is almost never a pretty one. No hems are done. No linings are in. No trim has been added. Often the garment meant to be a beautifully tailored tail coat will look like nothing more than a limp pile of brown velvet. In this case...a limp pile without sleeves attached as I fear I've gone amiss patterning the armseye.
The directors try to sound positive and really really want to trust you, but can't seem to get beyond the limp thing. I'll be carefully trying to pin the back, mark my hems and retrace the armseye while the director questions if it's really going to look like that.
No. It won't. Even when the garment is at a point where it much more closely resembles the garment it is suppose to be, the finishing end of the project is so much more time consuming than the initial construction. Of course, in the case of both of these shows I've eliminated that pesky patterning and muslin mock-up step by using mostly purchased patterns and cutting right into the real fabric. It all comes down to a matter of time in the end. My draping skills are getting rusty...
Shop talk aside...
Last Saturday I had the privilege of attending Alonzo King's Lines Ballet with the director of Romeo and Juliet. I won't go into depth here and now. Perhaps tomorrow. I will say though, that as amazing as it is to see the dancer's form down to the sinews by sitting in the second row...you lose out on seeing the whole picture. That and when you're that far off to the side, you can see all the goings on in the wings. When you aren't being blinded by the side light that is.
I trudge along at work. Sometimes cheerfully. I'm in the midst of building both Romeo and Juliet and Goodnight Moon at the moment. And both seem ahead of schedule, though at times I panic that I am slipping back. The panic usually accompanies the realization of how much longer I will be in Hawaii. And how much still seems to need to be done.
But I am pleased to say I am ahead of schedule. Even short of my co-worker now, who's last day was January 31st, I've managed a brisk pace. I seem eons ahead of where I was on the high school show at this same time last year. This week will be slightly crammed as I have fittings for both. And post fittings, I always seem overwhelmed by the sheer amount of notes that cascade onto my note pad.
Thankfully, no directors will be present at any fittings this week, so I'll be free to do my craft without their interruption. I do greatly appreciate director's feedback early and throughout the process. Often, touching base early in the build will send up red flags that would otherwise go undiscovered until dress rehearsals. But one fatal flaw of most directors I've worked with is the inability to see beyond the unfinished state of a garment.
When making clothes from scratch, the first fitting is almost never a pretty one. No hems are done. No linings are in. No trim has been added. Often the garment meant to be a beautifully tailored tail coat will look like nothing more than a limp pile of brown velvet. In this case...a limp pile without sleeves attached as I fear I've gone amiss patterning the armseye.
The directors try to sound positive and really really want to trust you, but can't seem to get beyond the limp thing. I'll be carefully trying to pin the back, mark my hems and retrace the armseye while the director questions if it's really going to look like that.
No. It won't. Even when the garment is at a point where it much more closely resembles the garment it is suppose to be, the finishing end of the project is so much more time consuming than the initial construction. Of course, in the case of both of these shows I've eliminated that pesky patterning and muslin mock-up step by using mostly purchased patterns and cutting right into the real fabric. It all comes down to a matter of time in the end. My draping skills are getting rusty...
Shop talk aside...
Last Saturday I had the privilege of attending Alonzo King's Lines Ballet with the director of Romeo and Juliet. I won't go into depth here and now. Perhaps tomorrow. I will say though, that as amazing as it is to see the dancer's form down to the sinews by sitting in the second row...you lose out on seeing the whole picture. That and when you're that far off to the side, you can see all the goings on in the wings. When you aren't being blinded by the side light that is.
posted by Unknown at
11:52 PM
1 Comments:
The best part about CW fittings (apart from no directors) is that the fitter will take the tailor w ho's making the garment upstairs with them, so they can see the fitting process, and ask questions. Otherwise, the maze of pins get a little confusing.
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