Reflection on Time Management So Far

So far I am happy with my time management and scheduling. It's nice to have a calendar that plans for the long run and the goals I had set for starting and completing each garment haven't changed too much. But now I am planning more directly each day and each week. Having started with the breeches I knew I had a day to cut out, a morning to mark tack, a day for the full front, ect. When the welted pocket took me longer than I anticipated I made sure to compensate that time later in the week by staying for late night study. I finished my breeches on Thursday March 24 (technically a day early but Friday was spent on a class trip so more or less on time)! It is a matter of pacing myself, and not rushing, but staying focused and committed. Today I cut out my waistcoat and plan on really working this week to get most of it done. Although I had set the time for the waistcoat to be finished as after the holiday I have set myself the new goal of finishing it before the holiday. I feel like the work would be more consistent without a long break in the middle and it would be better to come back from the holiday and start something fresh and new.

Shirt

Shirt Front. Victoria and Albert Museum. Museum Number: T.104-1934

Shirt Back. Victoria and Albert Museum. Museum Number: T.104-1934

Night Shirt. Victoria and Albert Museum. Museum Number: T.594-1999

Waugh, N. (1964). The Cut of Men's Clothes 1600-1900.
London, Theatre Arts Book. 

These are some research images I found for my shirt. It has been difficult to find a shirt that is exactly like the one I am making, however several come close. The shirt I am making doesn't have a neck ruffle like the first image, but it is very similar in other ways like the cuffs, sleeves, and back. I also thought this image of a night shirt was good because the button stand looks similar to the one I am making, as well as the sleeves and cuffs however, obviously, not the length. Lastly this pattern is somewhat close to my shirt as well. There is a gusset both under the arms and at the the neck in this pattern and in my shirt. And where the ruffles might be on this pattern is where the simple button stand will be on mine. However one thing I haven't been able to find in my research is a similar collar to the one I am making. It is an odd shape and not just simply flat and folded over like the images above. In terms of putting my shirt in an era, I think that would be a very complicated thing to do. In the first image the shirt is from 1846, the night-shirt is from 1874, and the pattern is from 1720. So this shirt has the potential to have a wide scope in terms of it's place on a timeline. I think that is a very smart thing for the National Theatre Hire Department. The style of men's shirts, from what I have learned, doesn't go drastically from one era to the next. It has a kind of gradual development, so having a shirt that could cover quite a few years would be a smart addition to a hire department.

Pin-tuck Blouse

Hunnisett, J. (1988). Period Costume for Stage and Screen:  Patterns
for Women's Dress 1800-1909. London, Unwin Hyman Lmt.

The blouse in the above image is probably the closest image to the blouse that I am making for the National Theatre Hire Department. The detailing on the front is very similar, like the rows of lace, gathered sleeves, and embellished cuffs. The biggest difference would be the back; in this image it is far more decorated with pin-tucks than mine will be. In the opposing page (not shown here) it describes the blouse as "Cream silk blouse, with lace insertion" this is a contrast to mine which will be made out of cotton and lace. The date for this blouse is 1905-12 although it states at the bottom that blouses have been worn since about the 1860's.

A close up from John Singer Sargent's: Mr. and Mrs. I.N. Phelps Stokes
located in the Metropolitan Museum of Art.

I think this painting is a great example of a an early 1900's blouse. It has some decoration on the front which I like to think are pin tucks (like my blouse) but it could be some kind of lace or even just the fabric itself. Unlike the blouse I will be making this one buttons down the front and appears to have a contrasting white high collar. But I think the way it is worn is a good example of it's comfortable more relaxed use.

Still of Kate Winslet from the film Finding Neverland

I really couldn't resist pulling a still from Finding Neverland of Kate Winslet in one of her stunning costumes designed by Alexandra Byrne. Her character is often in blouses and skirts, although there is almost certainly still a corset underneath. It also fits well in the timeline of the first image for the film is set around 1904. I find this style so elegant yet not completely un-relatable. Wearing separates is common and simple to us but it is nice to see them in a more elegant and somewhat more formal look. The blouse is completely beautiful and drapes effortlessly. In contrast to my blouse it has a V neck line and buttons in the front. It is not as elaborate as mine will be with just a few tucks and little buttons to decorate the front.  Simple and Stunning. 

 I have found researching the blouse one of the most difficult parts of research so far. It is less clear to pin-point on a time line because, from what I've seen, pin-tucks aren't specific to any time nor is the shape, cut or trim. And a blouse like that is worn for many years in history and not just one century. Which is also why it is a good piece to have in a hire department. It is a piece that can be used for many different types of productions for many different characters. I feel like researching this blouse will be an ever evolving search, this is only be the beginning!

Waistcoat

Rushton, P. (1999). 18th Century Costume: National Museums and
Galleries of Merseyside. Liverpool, The Blue Coat Press.

This is a waistcoat from the beginning of the 18th century (1720-40). There are many features that distinguish it as an early waistcoat like the length, flair at the sides and the shape of the pockets. The other examples in this post are more similar to the waistcoat we are making but it is good to see an example of how the silhouette and design has changed through the century.

Both Images from: Rushton, P. (1999). 18th Century Costume: National Museums and
Galleries of Merseyside. Liverpool, The Blue Coat Press.

These two images are from the middle/end of the 18th Century; on the left from 1760-80 and on the right 1770-80. It is clear to see how the details and silhouettes have changed from the first waistcoat. The lengths are shorter and are cut closer to the body. There is no flare at the sides what-so-ever and the shape of the center front line has changed dramatically. Instead of simply buttoning up til the hem it buttons down to the tops of the pockets and then cuts away. The placement of the pockets is much lower (although that may be because of the length of the waistcoat); also the pocket is less dramatic in it's shape. The use of trim and decoration is different as well. In the earlier waistcoat the embroidery seems to be on most of the waistcoat, in contrast the later waistcoats have it around the neck, center front, and pockets (however the one on the left is quilted throughout the waistcoat.)

Rushton, P. (1999). 18th Century Costume: National Museums and
Galleries of Merseyside. Liverpool, The Blue Coat Press.

This waist coat is very different from the previous waistcoats but is only a few years later, 1790-1800. Being double-breasted is enough to set it apart from the others. But yet again it is shorter and the center-front and hem line is straight buttons to the hem and a very straight hem. The pockets are simple rectangles and seem to sit higher probably to accommodate the higher hem line. The shape of the collar/neck line is also very different from previous examples. The decoration design and placement is different. I like how the patterns created blend into the elements of the waistcoat; especially the center front how the buttons seem to be incorporated into the design. In a few short years this waistcoat changed dramatically from it's predecessors.

Waugh, N. (1964). The Cut of Men's Clothes 1600-1900. 
London, Theatre Arts Books.

This is a good example of two different waistcoat patterns for two different styles of waistcoats. The pattern at the top of the image is from a 1735-40's waistcoat and the bottom is from 1770's waistcoat. This is a good comparison because unlike the images it shows the back of the waistcoat. It looks like the earlier waistcoat laces in the back whereas the later waistcoat has a small opening at the bottom. The center fronts are very different shapes to fit the style but on both there is a little flare at each side seam which is interesting because it shows a small progression of style. The neck line, button holes, and pockets on each are different as well.
I think that overall the closest style waistcoat to the one we are making is maybe one around 1760-80. The pockets are very similar as well as the cut in the front. In some ways it's difficult to really say because there aren't multiple views of the back and the side in the images above, but from the front it is most similar to the middle two images. Our waistcoats will not have any type of trim or embroidery. It is probably better for a hire department to have more simple costumes that can span many characters. Things like decorative trim could also be tacked on by the person renting it and then taken off before returning it.

Breeches

 

From: Ribeiro, P.(1986). A Visual History of Costume: The Eighteenth
Century. London, BT Bratsford Ltd.

I think this a very good image for researching breeches. From the figure on the left it is easy to see the buttons and the decoration at the knee band. The length is very clear (buckled below the knee) on both standing and sitting figures. In the book A Visual History of Costume: The Eighteenth Century, where the image was found, it describes the items as having "a frock and matching waistcoat with different coloured breeches". For the National Theater Hire Department the breeches and the waistcoat will be made from the same fabric.

"Richard Humphreys, The Boxer" by: John Hoppner ( 1758-1810)
Found on the Metropolitan Museum of Art Website, Accession Number: 53.113

Although this is just a close up from a larger painting, I feel like it is a lucky find. It really shows the front of the breeches which is usually covered up by the waistcoat or a shirt or if the subject is sitting. There wasn't an exact date of when this was painted but given the artists year of birth it can be assumed it was the later part of the 18th century. This would fit in correctly with the estimated time of the breeches we are making. This is also an interesting look into what could be called "sports wear". Even if he is simply posing for the picture the idea of boxing in wool or cotton breeches, stockings, and fancy shoes is quite a feat!

From: Cassin-Scott, J. (1976). Costume and Fashion in Colour 1760-1920. 
Poole, Blandford Press.

This is a wonderful image found tucked away in a small colourful book. It is a great comparison for both coats and breeches but I'm mostly concerned with the breeches. In only a matter of 26 years the breeches change, I think, rather significantly. They grow in length and lessen in the detail on the full front. Neither of these two images are exactly the type of breeches we are making; but elements from each are used. The small welted pocket on the 1764 breeches is an element that appears on our design. However the length, full front, and knee-bands on the 1790 pair are more similar to our pair. It could be said that perhaps our pair fall directly in-between these two examples, maybe 1775 or 1782, but I think it would be logical to assume they are a mix of historical accuracy and modern necessity. The way modern garments are worn today and how they were worn then is very different. The practicality of movement for the actors and performers needs to be considered as well; which is why it is difficult to pinpoint the exact time in history our breeches fit into.

Both images are from: Waugh, N. (1964). The Cut of Men's Clothes 1600-1900. London, Theater Arts Books.

These two breeches patterns are also a good example of how different the design for breeches could be in only a matter of years. The image on the left is of a pair of breeches from 1760-65 and the pattern on the right from a pair in 1775. It is clear to see the difference in length in the leg and the shape of the knee and knee-bands. The waist-band patterns are also very different in shape. It is a good example of how quickly fashion can change and how important it can be to know around the time (almost down to the year) of the performance. For our project it is more important, since we are making costumes for a hire department, that they be a versatile shape so they can be used for a wide range of performances. 

The breeches for the National Theatre have many interesting elements to them. They are of a later military style since they are not so full in the back and extend (presumably) below the knee. They also have two pockets, a small change pocket (welted) on the waistband and a more hidden pocket invisible since it matches with the waist-band seam. It has a knee band with buttons and has a full front with metal buttons on the waist-band and flat buttons on the inside flap. All these elements are important features to consider when making them. Knowing the order of how things are put together is one key skill that is most certainly being improved with this project. Research is also important when considering the making of these breeches. Through paintings and patterns we can see how they have developed throughout history, when they were popular, and how they were worn. It adds an extra feeling of accomplishment when making them. Even though there have been some changes to fit their modern purpose research is absolutely key to understanding what we are making.  

A Visit to the National Theatre Hire Department

Image from a van outside the National Theatre
Hire Department

                                              Image from inside the National Theatre Hire Department
              

March 10th was a very exciting day visiting the National Theatre Hire Department to see where our garments would be residing after this project. It is a large facility separate from the actual National Theatre building but full of costumes from its previous productions. It has a variety of costumes in order from the Greeks and Romans all the way to modern day. It is logically and conveniently put in order of time with the men and women's garments on separate rails but in the same row. All of the costumes in the Hire Department are rented out for productions, fancy dress, films, ect. It is exciting to think that the garments we are making could be worn in a film or production somewhere in London or else-where. It is a good resource for anyone looking to rent a costume but it was also educational to look around from a makers perspective. I haven't encountered many Medieval or Greek costumes and to see how they were made and what fabric was used was helpful in understanding that period better.  

Breeches found in the National Theatre Hire Department

I found these breeches in rails of the Hire Department. They are very similar to the breeches I am making in class although the pockets and knee-bands differ. Although we have been given an example of the breeches already from the National it was helpful to see a variation. I couldn't find an exact copy of the breeches I am making which I take as a good sign, variety in a hire department is always good thing!

 Waistcoat front and back from the National Theatre Hire Department

This waistcoat is a great example of a waistcoat similar to the one we are making. I shape is very similar as well as the collar and pocket shapes. Also the jigger (or placket at back) is a unique detail that is also on my waistcoat. The main difference here being the fabric and ornamentation. The fabric I am using is a cotton blend and a very simple shade where as this one is decorated using trims and ornate fabric. On the tag inside it says it was used in a production of Romeo and Juliet. 

Me wearing a dress from The National Theatre Hire Department

As well as investigated the costumes and layout of the the Hire Department we also tried a few costumes on. Not only was it an amazing opportunity to try on lovely costumes it was a chance to explore how costumes fit and felt on a body. As we progressed from the Greeks to modern day it was clear that the underwear was an essential part to making the costume look correct. Some of the shape was made by boning in the bodices and some needed to be worn with corsets or hoop skirts (like the image above). Although we didn't know what productions each item was made for we were able to see how costumers might deal with the different needs of a show or an actor. Perhaps the boning was placed in the bodice because there was a lot of movement in the show and a corset would be too restricting. Or the actress was singing and couldn't breath properly in a full corset but the shape needed to remain true to the era. There are many advantages to looking through a hire department as a costume maker since (like my experience) it can give insight into construction, materials, and historical/theatrical designs.

Line Drawings

Shirt

waistcoat

Blouse

Breeches

Breeches Detail

These are line drawings I did of the garments I will be making from the examples provided from the National Theater Hire Department. It was worth the time to sit down and really examine the garments to see how they were put together and finished. I was able to take a few notes as well about things like pocket sizes and hidden pockets or what was top-stitched and what was hand finished. Although I could have just taken lots of photographs I felt like actually drawing them would be more helpful in the long run because I had to really examine them before drawing them instead of just snapping a quick photo and moving on. It also adds pressure to the work I am about to begin seeing the standard to which I am expected to work. It is an exciting beginning.