Initially, I found the morning of today felt very repetitive. I spent several hours replacing fastenings on costumes which became quite tedious and unchallenging. I then focussed on repairing a yellow ‘Butterfly’ character costume. As I did last time, I replaced the torn mesh panels and rusted fastenings on the back of the bodice. I found this very enjoyable, as it was my second time doing it and I felt my method of fixing it had improved.
The process of recutting the new panels and hand slip stitching them carefully into place became really satisfying and even relaxing. I liked that it allowed for a bit of creativity. I was very pleased with the neatness of the outcome.
I was also a bit nervous, as this ensemble needed to have more fullness added into the tutu skirt. I’ve been fairly safe with the alterations I’ve been doing. This is partly because I felt a bit out of my depth and lacking confidence. It can be intimidating being surrounded by very experienced makers, who have been in the industry for decades. I am also finding that I am somewhat comparing myself to Aimee, who is also on placement and had graduated from costume interpretation at Bournemouth. Her skills are much more refined, which makes sense as her degree was centred around construction, whilst mine is a design based degree. I also realise that I am the one creating these comparisons and putting my skills down, as everybody had been really encouraging and reassuring of my work. I do think this experience has really opened my eyes to the idea that I should build on my construction skills and knowledge. Although I ultimately aim to become a designer, it is incredibly unlikely that that will be how I make my start in costume. It is more realistic to aim to begin as a maker and to work myself up, however I need to improve my practical skills to make this viable.
I also think that having an extensive understanding of construction is integral in being a successful designer who can communicate well with makers. This is something I have noticed the team admire about Lez and has enabled him to get what he wants from the costumes, as he understands how they can be adjusted and made.
I am also aware that focussing on smaller more monotonous tasks, like replacing hooks and eyes, would allow for the more experienced makers, such as Helen, to tackle more complex alterations, suited to their skill level and this would get the work load done more quickly, which is a necessity, given the timeline we have to get all of the costumes fitted, altered and refitted.
However, I wanted to challenge myself and break the fear of trying one of these alterations. Through using one Helen had already done, as a guide, I was able to add in gathered tule, to the sides of the underskirt of Eve Ngbokota’s Butterfly tutu. This added in fullness which revived the skirt, perking it up and breathing new life into it. This was extremely fulfilling. Helen gave it her thumbs up which was validating and I really enjoyed overcoming the challenge and fear of this alteration.