Sewing Techniques for Theatre
An Essential Guide for Beginners
Tracey Lyons
First published 2019 by Routledge
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and by Routledge
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Routledge is an imprint of the Taylor & Francis Group, an informa business © 2019 Taylor & Francis
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Library of Congress Cataloging-in-Publication Data
Names: Lyons, Tracey, author.
Title: Sewing techniques for theatre : an essential guide for beginners / Tracey Lyons.
Description: New York, NY : Routledge, 2019. | Includes index.
Identifiers: LCCN 2018058388 (print) | LCCN 2018060216 (ebook) | ISBN 9780429946493 (Adobe Reader) | ISBN 9780429946479 (Mobipocket Unencrypted) | ISBN 9780429946486 (ePub3) | ISBN 9781138596450 (hardback : alk. paper) | ISBN 9781138596467 (pbk. : alk. paper) | ISBN 9780429487620 (ebook)
Subjects: LCSH: Sewing—Technique. | Costume.
Classification: LCC TT705 (ebook) | LCC TT705 .L96 2019 (print) | DDC 646.4/78—dc23
LC record available at https://lccn.loc.gov/2018058388
ISBN: 978-1-138-59645-0 (hbk)
ISBN: 978-1-138-59646-7 (pbk)
ISBN: 978-0-429-48762-0 (ebk)
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ACKNOWLEDGMENTS
Deconstructing the costume construction business has been a group endeavor.
To Damon Jay Photography, Bernina International AG, and Simplicity Patterns, thank you for your trust and contributions. These amazing students at the University of Wisconsin–Whitewater made this book possible: Kelsey Mattos, Hope O’Reilly, Ashley Brouwer, Alexa Farrell, Emily Ottinger, Dustin Peterson, Abrya Schneeberg, Carlee Wuchterl, Heather Wallman, Abigail Smith, Jordan Meyer, and Kory Friend. Special thanks to Annie Kailhofer who helped with this book and Teaching Introduction to Theatrical Design. From teachers of mine, to editors and family (Bill, Elizabeth, Spencer), my gratitude is enormous.
INTRODUCTION
Now more than ever, live theatre, movies, mini-series, and television feature breathtaking visuals. Aspiring costume creators strive to join a team of industry innovators. Even my first-year college students want to build period garments for upcoming plays. Many books aim to strengthen stitching skills, build corsets, and pattern doublets. These offerings leave a gap between the desire to create and entry-level skills. What about the catch-22 of, “You need skills to get a job, and you need a job to get some skills?” How can students turn their college costume shop practicum hours into a skill set strong enough to build a portfolio that contains the proof of basic stitching and garment construction necessary to land their first costume shop job? How can an ambitious non-college artisan learn sewing?
Here you can jump-start your experience. This text is an introduction to basic stitching skills. By starting all students at a beginning level and quickly developing a common language of words and actions, the projects build a solid foundation. Think of these exercises as a piano player would think of doing scales. It is great to have the skills then use them to develop your own style. This is the launching point for your own creativity.
Analogous to the projects within the book are narratives on important aspects of costuming. Although reading about a subject will lead to knowledge, to know sewing is to embody it through doing. Work the sewing samples, scrub shirt, and tote bag in the order presented. Back up to review as necessary.
THE STRUCTURE OF THE BOOK
Germinating from a 5-week course that meets for three 1-hour periods, the book is divided into 15 separate hours. For the reader, the hours create benchmarks for progress and time estimations. It should also serve as a reminder that sewing skills quickly develop.
Just like my class, this book gives a detailed explanation for each project. An outline format presents the assignments in logical progressions. Within the subcategories are helpful advice and clarifications. The numbering within the framework starts over with each new sewing sample, finishing process, and scrub shirt section. Read the whole section first and then begin the stitching from the first step.
In Chapters 1 through 3, 11 sewing samples are created. Chapter 4 tackles the scrub shirt. (If the Simplicity patter n
goes out of print, several five-piece shirt designs could substitute.) Chapter 5 covers both the tote bag and por tfolio. Each project contains some new and some review material. The explanations on the revisited steps streamline to emphasize the new. Step back and return to earlier sections as necessary. Italicized words or phrases acknowledge new terminology. Information within the same section contains an explanation of the item. Occasionally, I have included a “Pro Tip” section. These non-sequiturs cover a variety of topics and are meant to give a bit of insight about the costume construction industry.
Mark up this book. Write in the margins. Cross off steps as you complete them. Underline and highlight topics worth your review. Note your own tips and tricks. Think of this as a recipe book with the option to personalize.
CHAPTER 1
HOUR
ONE
INTRODUCTION TO THE COSTUME SHOP
Welcome to the costume shop. This Narnia – a magical place within the ‘closet’ – is a hub of creation and creative people. Most costume shops combine the fields of clothing construction, millinery (hat construction), wigs/facial hair, masks, fabric dyeing/manipulation, makeup, and all things that could fit into the category of costume crafts. Usually, every person within the shop is working on a unique piece.
Because of this variety, a costume shop can be a strange place for a novice. Not only is it full to the brim, it is thick with rules, ritual, and culture. It is normal to be overwhelmed. Be patient with yourself and with others when beginning this adventure. Know that the projects
covered in this book will provide a common set of skills and vocabulary that allow you to jump into your new environment.
People are the most important part of a costume shop. When entering say, “Hello.” Introduce yourself. Forming questions in an entirely new environment is difficult, and you should feel free to ask or just listen, depending on your comfort level.
Your first day is just that, one of many – simply a start of a great journey. A re-occurring theme in this book and in costume shop wor k is, “You won’t learn everything all at once.” Become familiar with the shop from the big picture down to the details. Does each area have a primary use? What is the flow of a costume’s construction? Learn the various
storage areas too. Tour the facilities. Often, working in the costume shop can feel like cooking in someone else’s kitchen; you may have skills, but finding the tools is difficult. Is there an experienced shop worker to pair with and form a team? Assist by gathering supplies for the project and later putting them away, thus learning the location of the scissors, thread, needles, and other items while benefiting from observing the work of the senior partner. Soon enough, you will be working solo on projects, and this mentor will be available to help with questions.
Creativity thrives among those with good work ethics. Come to work on time and prepared to participate. Give plenty of notice when canceling or re-scheduling. Call when you are not able to come to work. Know when the shop is facing a deadline and how your actions will affect the process of creating the show. Treat coworkers with kindness. Ideally, a shop should be devoid of harmful gossip. There are still plenty of people to talk about, such as tacky celebrities or your crazy aunt. Yes, sometimes an eye roll escapes, and it takes more effort to count blessings than to complain. Knowing that you can hold your tongue about others can build trust among colleagues. Other HR guidelines will also apply.
SHOP SAFETY
Maintaining a safe shop is everyone’s responsibility. If you adhere to the following precautions, you will be well on your way to working in and creating an optimal atmosphere. Dress appropriately. Wear non-slip, full-coverage shoes. Stains, paints, and dyes ruin clothes, so dress to mess. Hair, scarves, ties, jewelry, and other hanging items catch in projects and cause problems.
Sprays, paints, glues, or anything emitting a smell needs proper ventilation. A spray booth draws odors and toxins out of the shop (see Figure 1.1). Even items that do not smell may have a particulate hazard, such as granulated fabric dye. Note the vent hood over the dye vat on Figure 1.2. Observe the manufacturer’s warnings on products.
Identify the safety equipment. Locate the fire extinguisher and first aid kit in preparation for fire or injury. Figure 1.3 depicts these items in an area with easy accessibility.
Perhaps your costume shop has a wr itten set of rules. If they aren’t posted, ask the shop supervisor for clarification. In all cases, let your good sense prevail. The most effective precaution might be your state of mind. Be alert.
FIGURE 1.1 A spray booth is more of a necessity than a luxury. Work in a properly ventilated area
FIGURE 1.2 Dye vat with ventilation hood
FIGURE 1.3 Where does your shop keep first-aid and fire suppression items?
Even the occasional party has boundaries, yet they remain 100% necessary. In my shop, celebrations underscore the accomplishments of the staff, create a community, and allow time to reflect on the breadth and depth of the work. To prevent staining the
costumes, place them a safe distance from food. Properly store all toxic chemicals during cooking or serving. What are the rules in your shop for food and beverages when having a party? What are the rules for food when not having a party?
REVIEW
True/False
Millinery and crafts are never done in a costume shop.
Sewing machines are the most important things in a shop.
Partnering with an experienced stitcher can be helpful in the shor t and long term.
Safety is the responsibility of the costume shop manager.
Costume shops should celebrate their accomplishments.
HOUR TWO
Costume construction is a hands-on skill; to learn it, you must do it. The book alternates between lecture and projects, growing your skills logically. Read each section and note the corresponding
photographs. Complete each exercise before moving on. To facilitate smooth transitions from project to project, start each chapter with all of the recommended supplies. A cumulative list is located at the end of the book.
NECESSARY SUPPLIES FOR CHAPTER 1
Fabric scissors
Thread scissors
Measuring tape
Chalk
1 yard of woven fabric – see details in the “Fabric Shopping” section
Overlock sewing machine
SCAVENGER HUNT
Try finding the location of the following items in your costume shop:
– Thread scissors (about 4″ long)
– Thread
– Hand sewing needles
– Fire extinguisher
– First-aid kit
FABRIC
When constructing garments, our medium for the art is the fabric. In broad strokes, we can divide fabric
into four categories; leather, felt, knit, and woven (see Figure 1.5). Leather is animal hide after processing. Leather can be difficult (but not impossible) for
use in costume construction. Felt begins as fibers (often from wool) soaked, smashed, and heated into an even layer. It is easily shaped and provides insulation so long as it isn’t re-soaked, re-smashed, or re-heated. Knit fabric starts with fibers spun into a yarn, looped in succession to develop a garment or yardage. Knits have stretch and can form well to the body. Woven fabric also begins with yarn, layered with alternating strands perpendicularly. Weaving often happens on a loom.
Woven fabric is the most accessible entry into costume construction. The 11 exercises, the scrub shirt, and the tote bag from this book are created using woven fabric. Many of the same techniques taught here will work on other types of fabric; simply allow your skills to advance before taking on the more difficult materials. There are some descriptive terms pertinent to the use of woven fabric: selvage, grain, cross grain, and bias (see Figure 1.6). The subsequent subdividing of the fabric will also use these ter ms.
FIGURE 1.5 From left to right: leather, felt, knit, and woven fabric
1.6 Terms used to describe directions associated with the weave of the fabric
Grain / Grainline (Warp) – all threads parallel to the selvage. The threads in the loom. This direction has the least amount of stretch.
Cross Grain (Woof ) – all threads perpendicular to the selvage.The threads that integrate into the threads in the loom. Some fabric has a little stretch in the cross grain.
Bias – the 45° angle from the grain. Can be either a forward slant or backward slant. This direction fosters the greatest amount of stretch in fabric.
Selvage – the tightly woven manufacturers’ edge of the fabric.
FIGURE
Fabric Shopping
Use woven fabric for the 11 upcoming projects. Fabric sold in major stores usually comes 45″ or 60″ wide (the measurement from selvage to selvage). Purchase the length of fabric by the yard (36″) or fraction of a yard. The projects in this chapter and the next require at least 30″ × 40″ of fabric. At the cutting table, buy five-sixths of a yard or 30″ of either 45″ or 60″ wide fabric. A word of caution: since the store will cut the fabric with scissors, the edge of that fabric will not be perfectly on the cross grain (see Figure 1.7). Later, when you tear the fabric on the cross grain to straighten the edge,
you will reduce your yardage. Since exactly 30″ is needed, buy a little extra at the cutting table to allow for this “shrinkage.”
When I teach this course, I am able to provide fabric for students. Using the leftover fabric pieces from previously constructed garments upcycles and declutters the shop.
PRO TIP
I was shopping at a Vogue Fabrics in Chicago, Illinois, and after purchasing a dozen different cuts of fabric, the shop worker asked, “Are you a costume designer?” “Yes. How did you know?” I replied, and she answered, “Costume designers always round up to the next full yard when purchasing fabric.”
Divide the Fabric
These steps divide your fabric, first into three strips and then each strip into five rectangles. Ultimately, these 15 rectangles create the 11 stitching samples outlined in this book. Set aside your larger scraps.
FIGURE 1.7 The cut edge of the fabric is not exactly on the cross grain
Chapter 1 Hour Two 9
Create three strips of 10″ wide fabric (see Figures 1.8–1.13).
1. Use scissors to cut in about 1″ and tear on the cross grain to square up the edge of the fabr ic
2. Measure along the selvage 10″
3. Make a small mark with chalk
4. At the mark, cut through the selvage
5. Tear on the cross grain
6. Again, measure a second 10″ strip and make a mark with chalk
7. At the mark, cut through the selvage and tear on the cross grain
8. For the third time, measure 10″ along the selvage , mark with chalk, and tear the third strip on the cross grain
FIGURE 1.8 Cut through the selvage and tear along the crossgrain to even the edge
FIGURE 1.9 With chalk, mark at 10″ intervals
FIGURE 1.10 Clip and tear at 10″ intervals to create three strips
On each of the three strips, apply the following steps:
9. Remove the selvage by cutting in from the edge 1″ Use that opening to tear along the grain
10. Measure along the cross grain. Mark the strip at 8″ intervals using chalk
a. This creates five rectangles per strip of fabric
b. There will be scrap fabric
11. Cut using scissors to start the tear and divide each strip (Repeat steps 9–11 on the other two str ips)
12. Your final result is 15 rectangles, each measuring 8″ x 10″
a. Expect a slight decrease in the measurement if the fabric frays. Having exact measurements is not important
13. Save the scraps for future pr actice on the overlock machine
FIGURE 1.11 Step 9 removes the selvage
FIGURE 1.12 Measure and mark at 8″ intervals
FIGURE 1.13 Clip and tear at 8″ intervals
PRO TIP
Cut off the selvage, because the weave is tighter and can launder or iron differently than the body of the fabric, thus causing puckering or pulling. Sometimes, the selvage is not printed or treated in the same way as the body of the fabric. Only in desperate situations would I include selvage in a project or garment.
INTRODUCTION TO THE OVERLOCK SEWING MACHINE
Each piece of equipment in the costume shop serves the stitcher in different ways. This type of machine has many names (overlock, overlocker, serger, merrow) as well as many functions and advantages (see Figure 1.15). Often a favor ite of the novice stitcher, the overlock is easy and fun to use. Since longevity, future
FIGURE 1.14 The printing leaves the selvage exposed
size alterations, and extreme wear are of high consideration for the shop, an overlock becomes necessary in costume construction.
FIGURE 1.15 The arrows point to the upper and lower knives
Everyone has contemporary garments, especially knits, constructed with an overlock machine. Look at the seams on a T-shirt for an example of this finish.
First, it is fast and efficient because it sews and seals the edges of the fabric simultaneously. Second, because the overlock uses three or more cones of thread, sewn fabric will stretch without breaking the stitches. Third, some garments have finished edges without traditional hems, simply finished with an exposed overlock stitch. Many overlock machines have settings for rolled hems or ‘lace’ finishes – consult the manual when you are ready for these advanced settings. When lear ning this machine, identify the upper knife – i.e., chopping blade . Because there is no auto shutoff, it could cut your finger as easily as it cuts fabric.
Pay attention to your hand placement. Avoid distractions while operating. Other key parts of the overlock machine are shown in Figure 1.16.
It is the norm in my shop to overlock all pieces of a garment immediately after cutting. By preventing fraying on each piece of fabric, the costume alters easily and lasts longer.
Practice Using the Overlock Machine
Using the scrap pieces from the division of the fabric, practice and experiment, working to build your comfort with the overlock machine (see Figures 1.17 and 1.18).
1. Presser foot
2. Presser foot lifter
3. Upper knife
FIGURE 1.16 Parts of the overlock machine:
1. Power on the machine
2. Starting with a scrap of woven fabric, set the edge of the fabric against the front of the presser foot (near the needle) of the machine
3. Gently press your foot down on the foot pedal (gas pedal) to draw the fabric through the machine
4. The fabric should catch and be propelled at a rate correlating with the pressure from your foot
a. Keep your fingers safe by monitor ing their proximity to the upper knife
FIGURE 1.17 Photos correspond to steps 1, 2, 4
5. How far to the right can you place your fabric without cutting into it?
6. If you intend to trim just the fray from the fabr ic, where should you site the fabric?
7. When you have completed overlocking a side of your scrap fabric, don’t raise the presser foot
8. Continue with your foot pedal until a little trail of thread forms behind the fabric
9. Trim close to the fabric and leave a long thread chain hanging from the machine
10. Trim the thread chain close to the fabric at the starting edge of the overlock stitches
FIGURE 1.18 Photos correspond to steps 5, 8, 9
There are alternatives to overlocking.
1. Pinking shears or pinking scissors cut small 45° angles. The bias cuts reduce fr aying
2. Regular (non-overlock or straight stitch) sewing machines have a variable width setting. To prevent fraying, sew near the cut edge with a wide stitch. This is a zigzag stitch. It does work similarly to the overlock by wrapping threads around the cut edge
INTRODUCTION TO THE PORTFOLIO
Theatrical artists communicate their skills using a portfolio (see Figure 1.20).
Formatted in different ways (spiral binder, PowerPoint, or website), it is a collection of projects and images portraying the journey and accomplishments of the artist. Even though the portfolio is a
tool for a job candidate to use during an interview, the most frequent audience is you; make the portfolio to satisfy your taste. Since your work will not be complete until the end of the book, the portfolio assignment is last. Of course, you could look ahead to Chapter 5 for detailed infor mation and start setting up your portfolio earlier.
FIGURE 1.19 Left to right: small inside corner, edges finished with pinking shears, edges finished with zigzag stitch
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