COSTUMES.ORG -- THE COSTUMER'S MANIFESTO WIKI

Difference between pages "TaraBookprojectsOmnigarment" and "TaraBookprojectsPhotocostume porn"

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The Omnigarment'''The Omnigarment'''
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Photographing Costume Porn'''Photographing Costume Porn'''
  
[[File:BookprojectsImages01diagramcolor.jpg]]
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Rough text with some sample pictures at the end:
  
[[File:BookprojectsImages02diagramcolor.jpg]]
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'''What is costume porn, and why would I want anything todo with that kinky Japanese stuff?'''Youare confused.What you are thinkingof right now is ''Cosplay porn'', where comely young girls dress up incostumes from Manga comics and Anime films and are photographed fondling eachother.Costume porn, on the otherhand is perfectly respectable.TheVictoria and Albert Museum actually does it best.Costume porn consists of close-up luscious photos of costumes that makecostumers get far more excited than any sane person should get by a museumpublication showing old clothes.Ifyou can open the pages of Fashion by the Kyoto Costume Institute, or
  
[[File:BookprojectsImages03diagramcolor.jpg]]
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[http://www.amazon.com/exec/obidos/ASIN/084782151X/thecostumersmani|HistoricalFashion in Detail: The 17th and 18th Centuries] from the V&A and notbegin to breathe heavily, you are NOT a costumer.
  
[[File:BookprojectsImages04diagramcolor.jpg]]
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[[File:AmazonBooks1019thcentfashdetail.jpeg]]
  
Article that originally appeared in TD&T (Needs an overhaul, but willgive you the general idea)
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If you’ve ever tried taking photos of your own costumesand had them come out like bad snapshots, you’ve probably wondered how thosealmost edible museum photos were taken.Booksthat tell you about fashion photography don’t tell you much about how to dothis sort of shot, and what little they do tell you implies you need to buy lotsof fancy equipment.You don’t.You do need a bunch of equipment, in fact you need to build yourself atemporary photo studio to take this kind of detail rich shot, but it can becheap, and you can make much of it yourself.'''
  
[[File:PortfolioPortfolioscans2Muchart1.jpg]]
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'''
  
[[File:PortfolioPortfolioscans2Muchart2.jpg]]
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'''Materialsto make your own temporary photo studio:
  
[[File:PortfolioPortfolioscans2Muchart3.jpg]]
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'''
  
[[File:PortfolioPortfolioscans2Muchart4.jpg]]
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Decent film camera (35mm SLR) or digital camera (4MP or higher)& a tripod
  
When dealing with a director who feels strongly that the actors shoulddevelop their interpretation of the role during rehearsal, making changes right up to andincluding performance times, it is difficult, sometimes even impossible, to conceive oftraditional style costumes to fit that director's production. Mostly, when I work with adirector like this I steer him towards embracing the idea of anti-costumes (neutralcostumes of non-period shape), which are at least not a liability towards an actor influx.
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If you have a film camera you will also need either a blue filter and daylight film, or no filter and tungsten film.Choose film with a low ASA speed, like 200 or lower, Kodak’s tungsten film KODAK PROFESSIONAL PORTRA 100T is especially good for this type of work because it is low-contrast.
  
For the costumes for Much Ado About Nothing at the University of AlaskaFairbanks, however, the director, Tom Riccio, wanted elaborate Renaissance looking dress,with a masquerade ball feel to the show. He also wanted to double cast, put women in somemen's roles, have violently athletic movement, (aerobics-Shakespeare he called it) andallow performers to develop their interpretations of their characters, without dictation,up to the end of the rehearsal period. This last item particularly created a need forflexible costuming, since the costume department could not know which "tack"each performer would take until it was too late to change the character interpretation ofthe costume. The number of interpretations an actor might produce for the characterDogberry alone is positively hair raising in this context, particularly when one considersthat the show needed to be designed prior to it's even being cast.
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Clip lights, or various lamps with the shades taken off. A bright sunny window with a white sheet across it as a diffuser. AS MUCH LIGHT AS POSSIBLE, ANY WAY YOU CAN MANAGE IT.
  
I found it necessary to find a way to fulfill the director's wish for aperiod-looking show, while still allowing the actors to move and alter their costumes atwill. This was a challenge I had been secretly waiting for. Odd to say, I have alwaysthought that actors knew far more about choosing proper costumes than even they realize,and much, much more than they are given credit for. I had tried for some time to cater toactor's costume requests, but I had never set out to do a whole show where the actorscould actually determine much of the design for their roles.
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Squares of buckram, paper or Pellon, to diffuse the lights. Clothespins to hold them onto clip lights.
  
[[File:ShowsMuchado92877_00.jpg]]
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Dress forms, head/hat stands, or mannequins as available for displaying the costume items. If you use live models, try to get performers who will stand in a characteristic attitude, not just like a lump.
  
To take care of the "aerobic" movement problem, I concludedthat it would be possible to embellish unitards with paint and sleeve puffs to create akind of Ballet version of Renaissance dress to allow for "aerobic" action, butthis still didn't allow costumes to change from role to role. To do this I still neededsome other way to change the basic garment.
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Chairs, boxes & stools to hold small items up to a level where they can be photographed, and/or to serve as lamp holders.
  
[[File:PortfolioHiresnewMuchado10.jpg]]
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Hat racks, music stands, or any upright poles for clip lamps to grab on.
  
[[File:PortfolioHiresnewMuchado8.jpg]]
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Bed sheets, bulk fabric yardage in various colors, or roll paper for background. You can make a great neutral backdrop for photos by sewing together two bed sheets.Put one end beneath the mannequin, and hoist the other over the top bar of a rolling rack, or a curtain rod.
  
I then found an unusual garment at a craft fair called a Cameleon. TheCameleon is a strange invention that makes up into ten different things from a purse to acape to a pair of pants. The Cameleon is made from a large hexagon of fabric, with agathered tube in the center. The tube has a zipper and three drawstring casings, and thehem is also bordered with a drawstring. I couldn't use the Cameleon directly, since allthe 10 garments look more hippie-ish than Renaissance.However, seeing the Cameleoninspired me to try to invent a simple garment that could convert into multiple variations.
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Clothesline, clothing rack or pole to hold up the background
  
''
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Extension cords with power strip surge suppressors for safety and easy turn-off of multiple lights between shots.
  
[[File:PortfolioHiresnewMuchado2.jpg]]
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Nylon stockings, netting, fiberfill, clothes hanger wire to make bendable “arms” for a costume on an armless dress form.
  
[[File:PortfolioHiresnewMuchado1.jpg]] Early rough sketches''
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Crumpled newspapers to fill out skirts or sleeve puffs to correct fullness.
  
[[File:PortfolioHiresnewMuchdiagram.jpg]]Basic concept for the Omnigarment
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Duct tape, for keeping lights in place, heads on mannequins, and the background taut and smooth.
  
Working from the basis of a masquerade mask, I developed a series offabric squares attached to the mask on elastic bands that I called theOmnigarment: asingle article of clothing that can be arranged by the actor into three different types ofskirts, two types of breeches, seven types of tunics, five types of capes, and three typesof wimple as well as a few other things. In addition, the garment could be worn as a maskfor the masked ball scene of Shakespeare's play. The pattern, while radically differentfrom the Cameleon, was simple to sew and make, and was capable of more"period"-looking variations than the other garment.
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Straight pins, and fishing line for invisibly getting figures to pose as desired.
  
I then took a single black and white outline design of a unitard with"period" sleeves attached, and a flat design of the omnigarment and Xeroxed 60of them, a pair for each performer. I then embellished each pair with the "rainbowsherbet" colors the director had requested as suitable for a comedy. On the day theplay was cast, I presented the designs to the actors by laying them out on the floor andasking that they chose one with a color scheme for themselves. Interestingly, the doublecast actors, (the two Benedicts, Heros, Beatrices, and Claudios,) picked nearly identicalcolor schemes as each other, despite not consulting their counterparts. All of the actorsmiraculously chose the colors I would have chosen for them myself, so, while giving theperformers a strong sense of control, I lost nothing in my sense of the quality of thedesign. (As I said, most actors' costume good sense is badly underrated.)
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Photo processing program for fixing color problems and minor mistakes using your computer (Adobe Photoshop Elements is a good choice).
  
After construction of the omnigarments I then made a home videodemonstrating twenty-five ways to wear the garment. I showed the video to the actors priorto first dress, and then handed the garments over to the actors. They discovered threemore ways to wear it within ten minutes. This thing is a great toy both for the actors andcostumers.
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Set up your “Studio” in a configuration like this:
  
Then, in addition to the masks on the Omnigarments, we made about 10extra masks to tie the design together and underline the play's obsession with disguiseand mistaken identity. These were attached to assorted body parts depending on thepreference of the performers. False faces peered out at the audience from every imaginablebody part: A pregnant woman decided to wear a mask over her belly, a "lewdfellow" (played by a woman) wore his on his crotch as a codpiece, the dunder headedconstable Dogberry wore his on his hat, and a swift-running messenger boy chose two facesfor knee-pads. All the masks were made out of light, washable Veriform (akaHexelite)thermoplastic mesh.
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[insert picture here]
  
Most people viewing the play never guessed that what appeared to be avariety of costumes on the performers, was in fact simply a series of very similarcostumes (differentiated by color) worn in a variety of ways. Even the various long robesworn by the older characters in the play were simply longer versions of the sameOmnigarment minus the mask: Leonato's elegant robe, Friar Francis' monk's garment, andDogberry's paunch-highlighting gown were all cut from the same basic pattern, converted tolong rectangles. Nearly all the actors devised their own costume arrangements, requiringvery little guidance on the part of costume staff. Actors switched their styles as theyswitched roles for double casting, and some even switched styles from scene to scene.
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Mannequins look great if you spend just a few minutesadjusting and pinning the costume so it looks like a big puppet of thecharacter.You can fatten out armsjust by stuffing net into the cut off legs of a pair of pantyhose. Considerposing multiple characters together in relationships. [Insert Picture Here]
  
Eventually, after the show ended, these costumes were rented to anothercompany, without alteration, for Taming of the Shrew. They apparently suited the needs ofthat play so well that despite a tepid review of the acting, the costumes were stillpraised quite strongly.
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[[File:Photo4portfolioPosingformsMaginn-r1-4_1.jpg]]
  
Not all shows are suited to glittering gold masks and sherbet coloredRenaissance sleeves. Naturally, I have fantasized about a number of other forms that mightbe useful for changeable actor-controlled costumes. Recently I have been working ondesigns made of slit ovals and rectangles of heavy knit, which I hope to eventually use ina more serios show than Much Ado. This form seems to wish to tie into Japanese andMedieval looking shapes that appear very solid and classical.
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The keys to success are:
  
In the realm of ready-made costumes, obviously, the hippie-ish Cameleonwould be great for earthy `60s style shows. The Cameleon company attests that theirgarments have been bought by theatres for production of A Midsummer Night's Dream. TheCameleon also has the advantage of being commercially available in a large number ofcolors, as well as plain muslin. It's also very durable, suitable for ensemble buildingwork.
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Lots of light, from many directions, ''as diffused as possible.''
  
Stretch knit multi-piece ensembles like the commercially available Unitsand Multiples also are capable of a huge variety of changes of silhouette, and areparticularly good for dance and movement. Stretch and Sew produces a multi sized patternfor all the knit ensemble pieces for women for only $10, and sewing these things ismindlessly simple and fast. I watched a Women's experimental theatre company a few yearsago make fantastic use of the small stretch tubes in these sets, wrapping them arounddifferent parts of their anatomy during different moments in their piece, doing theirtransformations on stage. In fact it is the on stage transformative possibilities ofomnigarments that make them most theatrically exciting.
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Setting up the mannequin or model so that it looks complete and perfect.
  
Another less drastic alternative than making or buying a whole new setof costumes, is making up a box of already made stock costumes from old shows, with avariety of colors, textures and accessories, that actors can create full outfits with.This, however, requires more knowledgeable performers than the other methods, and requiresa great deal of costumer assistance at rehearsals to help the actors. Generally I haven'tfound this method effective with any but the most costume-experienced performers on theone extreme, or children on the other. Middle ground performers just don't handle thiswell.
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Keeping the camera and costume still for a nice long exposure with slow film and NO camera mounted flash.
  
Finally, there is also the obvious possibility of your creating a newomnigarment, of a different shape. As I mentioned earlier, just the slight variation ofthe larger, rectangular version of the 4-square shape, without a mask, worn by the oldercharacters, could convert into about a half-dozen different variations from the shortermasked original. Other shapes, I have pondered over include stretchable tubes and bags,circles, triangles with snap ends, assorted squares and rectangles, and a variety of starsand octagons. The secret seems to be in finding a shape that is neither too simple to belimiting or too complicated to be used by the actor.
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Once you’ve spent all the time setting up your studio and mannequin, take lots of photos from many angles, especially pulling in very close for maximum detail.
  
The possibilities, though hardly endless, are at least varied enough toprovide a large number of very distinct design looks, suitable to an equally large varietyof non-naturalistic production styles. And while Omnigarments for costumes, are unsuitablefor many plays, the advantages to including actors in the design process, are too obviousto require defending: Student performers can thereby develop an interest in design, aswell as a sense of responsibility for their costume. It is no longer this outside imposed"thing", but a product of their own creative imagination and ingenuity. The castis drawn together by the shared experience of exploring the conversion possibilities ifthe garment, and assisting in any on stage changes. The costume becomes what it issupposed to be, an on stage tool for the actor. The costumer is surprised (I was) andpleased at discovering that actors do in fact have a latent design sense, and develops animproved respect for actors. Actors in turn are flattered to be trusted with importantdesign decisions, and don't get in an adversarial position with the designer. The designerretains control of the look of the show as a whole, while the actor gains greater controlover the look of his individual character. And the audience, if it's aware of the process(depending on the type of garment it may or may not be obvious) is fascinated. No redoingof costume construction to change the designs at the last minute, no actor/costumer wars,everybody wins. Try it some time, its fun.
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Tweaking your photos into perfection with a photo-processing program.
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Sample photos:  
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[[File:Photo4portfolioCloseupBrothers6.jpg]]
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[[File:Photo4portfolioCloseup2in1b.jpg]]
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[[File:Photo4portfolioStudiolayoutPict0123.jpg]]
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[[File:Photo4portfolioCloseupTamino2.jpg]]
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 +
[[File:Photo4portfolioLayoutMaginn-r1-24_2.jpg]]
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 +
[[File:Photo4portfolioPosingformsFans.jpg]]
 +
 
 +
[[File:Photo4portfolioPosingformsGwen32.jpg]]
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 +
[[File:Photo4portfolioStudiolayout697501-r1-30.jpg]]''
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[[File:Photo4portfolioStudiolayoutPict0049.jpg]]''
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[[File:Photo4portfolioAbstractPict0085.jpg]]
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==Product Links==
 +
 
 +
[http://www.amazon.com/gp/product/1851774408/thecostumersmani| Nineteenth-Century Fashion in Detail]
 +
 
 +
[[File:AmazonBooksFashionindetail17th.gif|link=http://www.amazon.com/exec/obidos/ASIN/084782151X/thecostumersmani| Fashion in Detail : From the 17th and 18th Centuries]]  Fashion in Detail : From the 17th and 18th Centuries

Revision as of 01:37, 23 January 2014

Photographing Costume PornPhotographing Costume Porn

Rough text with some sample pictures at the end:

What is costume porn, and why would I want anything todo with that kinky Japanese stuff?Youare confused.What you are thinkingof right now is Cosplay porn, where comely young girls dress up incostumes from Manga comics and Anime films and are photographed fondling eachother.Costume porn, on the otherhand is perfectly respectable.TheVictoria and Albert Museum actually does it best.Costume porn consists of close-up luscious photos of costumes that makecostumers get far more excited than any sane person should get by a museumpublication showing old clothes.Ifyou can open the pages of Fashion by the Kyoto Costume Institute, or

in Detail: The 17th and 18th Centuries from the V&A and notbegin to breathe heavily, you are NOT a costumer.

AmazonBooks1019thcentfashdetail.jpeg

If you’ve ever tried taking photos of your own costumesand had them come out like bad snapshots, you’ve probably wondered how thosealmost edible museum photos were taken.Booksthat tell you about fashion photography don’t tell you much about how to dothis sort of shot, and what little they do tell you implies you need to buy lotsof fancy equipment.You don’t.You do need a bunch of equipment, in fact you need to build yourself atemporary photo studio to take this kind of detail rich shot, but it can becheap, and you can make much of it yourself.

Materialsto make your own temporary photo studio:

Decent film camera (35mm SLR) or digital camera (4MP or higher)& a tripod

If you have a film camera you will also need either a blue filter and daylight film, or no filter and tungsten film.Choose film with a low ASA speed, like 200 or lower, Kodak’s tungsten film KODAK PROFESSIONAL PORTRA 100T is especially good for this type of work because it is low-contrast.

Clip lights, or various lamps with the shades taken off. A bright sunny window with a white sheet across it as a diffuser. AS MUCH LIGHT AS POSSIBLE, ANY WAY YOU CAN MANAGE IT.

Squares of buckram, paper or Pellon, to diffuse the lights. Clothespins to hold them onto clip lights.

Dress forms, head/hat stands, or mannequins as available for displaying the costume items. If you use live models, try to get performers who will stand in a characteristic attitude, not just like a lump.

Chairs, boxes & stools to hold small items up to a level where they can be photographed, and/or to serve as lamp holders.

Hat racks, music stands, or any upright poles for clip lamps to grab on.

Bed sheets, bulk fabric yardage in various colors, or roll paper for background. You can make a great neutral backdrop for photos by sewing together two bed sheets.Put one end beneath the mannequin, and hoist the other over the top bar of a rolling rack, or a curtain rod.

Clothesline, clothing rack or pole to hold up the background

Extension cords with power strip surge suppressors for safety and easy turn-off of multiple lights between shots.

Nylon stockings, netting, fiberfill, clothes hanger wire to make bendable “arms” for a costume on an armless dress form.

Crumpled newspapers to fill out skirts or sleeve puffs to correct fullness.

Duct tape, for keeping lights in place, heads on mannequins, and the background taut and smooth.

Straight pins, and fishing line for invisibly getting figures to pose as desired.

Photo processing program for fixing color problems and minor mistakes using your computer (Adobe Photoshop Elements is a good choice).

Set up your “Studio” in a configuration like this:

[insert picture here]

Mannequins look great if you spend just a few minutesadjusting and pinning the costume so it looks like a big puppet of thecharacter.You can fatten out armsjust by stuffing net into the cut off legs of a pair of pantyhose. Considerposing multiple characters together in relationships. [Insert Picture Here]

Photo4portfolioPosingformsMaginn-r1-4 1.jpg

The keys to success are:

Lots of light, from many directions, as diffused as possible.

Setting up the mannequin or model so that it looks complete and perfect.

Keeping the camera and costume still for a nice long exposure with slow film and NO camera mounted flash.

Once you’ve spent all the time setting up your studio and mannequin, take lots of photos from many angles, especially pulling in very close for maximum detail.

Tweaking your photos into perfection with a photo-processing program.

Sample photos:

Photo4portfolioCloseupBrothers6.jpg

Photo4portfolioCloseup2in1b.jpg

Photo4portfolioStudiolayoutPict0123.jpg

Photo4portfolioCloseupTamino2.jpg

Photo4portfolioLayoutMaginn-r1-24 2.jpg

Photo4portfolioPosingformsFans.jpg

Photo4portfolioPosingformsGwen32.jpg

Photo4portfolioStudiolayout697501-r1-30.jpg

Photo4portfolioStudiolayoutPict0049.jpg

Photo4portfolioAbstractPict0085.jpg

Product Links

Nineteenth-Century Fashion in Detail

Fashion in Detail : From the 17th and 18th Centuries Fashion in Detail : From the 17th and 18th Centuries

"The Costumer's Manifesto"
by Tara Maginnis