Costume Crafting
Costume Crafting is the term for anything "Extra" that needs to be done to a costume. This set of skills includes millinery, dyeing, distressing, fabrication, paint techniques, and shoe repair and customization. I worked in the Emerson College costume shop as a Crafter for 3 years. My shows are notoriously craft heavy, because I feel the details are what make a show appear authentic. This section also includes some draping, patterning, and sewing examples.
* - A designer unspecified in the captions indicates that I was lead designer on the show.
Wildebeest headpiece for “On the Town” at Merry-Go-Round Playhouse. I was given a flexible plastic “Maleficent” headpiece to start with, and added a paint job, fur, and the fringe. Designer unknown.
A few of the embroideries I have sold on my Etsy store
close up of an embroidery that was sold on my Etsy
One of 4 unique jackets I embellished as a comission
“Richard III*” crowns. I made the matching King and Queen crowns out of Worbla (a heat moldable plastic) and painted them with a tarnished finish. Both crowns have pearls laid into them between the spires. Queen Margaret’s crown is made of strong silver wire. Photos by Craig Bailey.
I altered this jacket from a large army coat; I cut off the bottom and the sleeves and re-attached it over padding on the shoulders. I painted and burned the pieces to distress them and added metal, piping, and patches to create a post-apocalyptic grunge effect. (see "Richard III" in Costume Design)
Flower crowns made from high quality florals on a base of strong but adjustable wire, available on my Etsy
a gold wire and floral set of Mickey Ears I constructed for a friend
Donkey headpiece for “A Midsummer Night’s Dream*”. I made this piece with a wire structure and foam, covered over with faux fur and then painted for highlights and texture. Inside of the ears matches the actor’s skin tone and fur is color matched to the actor’s hair. The fur continues down the actors back to the waist of his pants and taperes into a tail. The fur continued over his shoulders to hide the backpack-like structure that helped support the bulk of the head and keep him on balance.
Pterodactyl headpieces for “On the Town” at Merry-Go-Round-Playhouse. I made these pieces by combining the structure of a baseball cap with plastic store-bought medicine man masks. I covered them with a patchwork of faux suedes and leathers, then painted them and added dyed lace pieces for texture. The spikes were modified from fake grass and extended about 2’ out from the head. Designer unknown.
Customized hat and jacket for “General JinJur” in “Marvelous Oz*”. The gold piping on the jacket is not trim, it is actually carefully hand painted all the way around. Her buttons matched her hat and shoes.
Actor Alex Smith in costume as “Jack Pumpkinhead” in “Marvelous Oz*” plus close ups of the head itself. The pumpkin is a lightweight hard foam, with a rigged inside painted black. When Alex put on the matching morph suit head, no one could see his face inside! We needed to get the head in rehearsals as soon as possible for Alex, because wearing it meant he had absolutely no peripheral vision. He and I worked very closely to make sure the head was comfortable and safe on stage.
Close up of the inside of Jack’s head for “Marvelous Oz*” 1. The cap inside is a modified snapback, sturdy and fully adjustable. 2. The wide strap is elastic, and secures once his head is inside via Velcro that aligns with the Velcro under the chin of the actor’s morph suit. 3. The acoustic foam filling the inside of the head keeps the rigging firmly in place, protects the actor should he fall, and directs the sound of his voice out of the pumpkin through the mouth without echoing.
Painting armor for “O Beautiful” designer Jez Insalaco. The armor was covered in glue and foam when it arrived, which had to be scrubbed off and cleaned before painting. The paint gave us control of the finish of the armor and allowed us to age it without using metal rubs.
Plastic to aged metal paint job for “Anything to Declare”, designer Rachel Ross-Sullivan
Dragon egg made from a foam base and cardboard scales, covered with a textures spray paint then distressed.
Distressed blue shirt for an Emstage production, designer unknown. The shirt was new when it came into the craft room, I distressed it with bleach, TSP, RIT Dye, and a number of corrosive tools like sandpaper and stitch-rippers.
Distressed black coat for and Emstage production, Designer unknown. The coat was new when it came into the shop, I distressed it with light fabric paints, sandpaper, and other corrosive tools.
Distressed jumpsuit for “Middletown”, costume designer Annie Lopart. I distressed this jumpsuit by washing it with TSP to soften it, then spraying it with paints and dyes.
Distressed boots for an Emstage production, designer unknown.
Painter’s apron for “Anything to Declare”, costume designer Rachel Ross-Sullivan. Wearing the apron while painting it allowed me to achieve the most authentic look possible. Production photo by Craig Bailey
I custom patterned and sewed this corseted and boned velvet bodice with gold beading and attached sleeves, the cartridge pleated skirt, and the padded structure underneath it.
Draping a unique bodice pattern
Patterning out Elphaba’s “arriving at Shiz” outfit for use at OzStravaganza
Patterning out Wonderflex heat moldable plastic for use on a wonder woman Halloween costume, and the finished product. I found paper towel held a stiffer shape than muslin.
Fabrication for “The Birds and the Bees”, designer Mirta Tocci
Hand beading for a “Wicked” inspired Galinda costume.
Bleach spray and dye effects for “Follow My Light*” both to add texture and interest, and to emulate a starry sky.