Vol 3 No 2, page 1 - International Costumers' Guild, Inc.

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Vol 3 No 2, page 1 - International Costumers' Guild, Inc.

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From The EditorsWelcome to our Fall issue! This time around, we have several articlesdealing with masquerades of all types and from all angles. Thisincludes: 1) A memoir and suggestions on running a masqueraderepair table from Matjii Ellers. 2) A "tutorial" on how to judge byJanet Wilson-Anderson. We keep trying to recruit new judges, so wehope that this will help make it seem not-so-scary. Plus she has givenus a great "cheat-sheet" of award title names! and 3) An article onhow to best video-tape masquerades by Rusty Dawe of 3-D video.Since Rusty runs 3-D video, the best source of multi-cameramasquerade video tapes, he is an imenently qualified author!Don't faint, but we actually have two (count 'em, two) articles for thehistorical-minded. Continuing our "masquerade" theme, Animal Xhas provided us an article on doing Historical Documentation forCostume Con's Historical Competition. Since she has won "BestHistorical Documentation" for two years running, she is immenentlyqualified! The other is a reprint from Harper's Bazar-August-1907 on"Fashions for Stout Women" (courtesy of Carolyn Kayta Martz).Also, we have an article by Joyce Best on a visit to one of LosAngeles' largest costume shops. Thanks Joyce!Wow! We really didn't plan for this issue to be weighted so heavilytowards masquerades, it just happened that way. We hope we don'toffend the non-masquerade inclined, but we just print what comes in ..However, if you don't like it, then YOU write us an article! Please!We won't always be so weighted towards masquerades specifically.Just look at the inside back cover to see what types of articles we havecoming up in future issues.Also, a BIG thanks to Kevin Farrell for our gorgeous cover!As always, thanks for your help, assistance, memberships, and subscriptions!Kelly & Karen TurnerCqstumer's~uarterly1693 Peachwood DriveSan Jose, CA 95132Cornpuserve # 73647,3347Published in association with:The International Costumer'sGuildP. 0. Box 194Mt. Airy, MD 21771EditorsKelly & Karen TurnerVolume 3, Issue 2 Printed byImage Works, Milpitas, California.The Costumer's Quarterly iscopyright © 1989 by Kelly & KarenTurner. All rights revert to theauthors and artists upon publication.This magazine is distributed to allmembers of the In.ternationalCostumer's Guild. Separate subscriptionrate is $8.00 a year. Unsolicitedmanuscripts are encouraged.No submissions returned without an ·SASE. Send all correspondence to:The Costumer's Quarterly, 1693Peachwood Drive, San Jose, California95132.Advertising space is available at thefollowing rates: Full page: $25, Halfpage : $15, Quarter page :$10, Businesscard: $5.Copyright and trademarked names,symbols, or designs used in hereinare provided solely for the furthermen!of costuming interests, and arenot meant to infringe on thecopyright or trademark of the person,persons, or company that owns them.The Costumer's Quarterly- Fall 1989


ostumer'suarterlyVolume 3 Number 2Fall 1989Edited by Kelly & Karen Turner'Cover by Kevin FarrellWith great thanks to the following people for submitting articles:Janet W. Anderson Joyce BestRusty Dawe Marjii EllersKayta Martz Karen TurnerKelly Turner Animal XArt by Linda Bowland & Animal XTable of ContentsWhat, No Moustache Wax? ................................. 3Visiting A Pro Costume Shop .... ....... ...... ........... 5Judging The SF&F Masquerade......................... 7Fashions for Stout Women .. . .. .. .. . .. .. . .. ... . . .. .. .. . .. . . 14Historical Documentation and Research . .. .. .. . .. .. 19Tips on Video Taping Masquerades ................... 23Costumer Calendar Coming . . . . .. .. . . . .. .. . .. .. . .. .. .. . .. .. 26Assorted News and Reviews.............................. 27Coming Attractions .. . .. . . .. . .. .. . .. .. .. . . . .. . .. . . .. . ..... .. .. .. 28Murphys Laws for Costumers ......... ................... 29Guild Chapters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . 30The Costumer's Quarterly - Fall 1989 2


What, No Moustache Wax?or, The Memoirs of a Repair Personby Marjii Ellers, Repair Person, Westercon Masquerade"Maybe you should borrow a bigger toolbox .. " myViking worried. "Thanks, but no," I reassured him."When everything is packed tightly, nothing slidesaround and gets spilled."That was the last time everything was totallyunder control. Too many costumes needed attentionat the same time. One repair person for thirtyfiveentries is not enough. There were enoughcalls for safety pins, duct tape and thread forthree. Sewing a jewel on "Cutesiana" Martz' slipper,persuading a makeup person to darken"Tarzan's" feet, finding mascara, aspirin, andblack electrical tape keep a body hoppin&.Most calls were for the old standbys, safety pins.The best ones are army surplus brass. I had lots, inthe best size, medium large. Fortunately, therewere a couple of tiny brass ones in the hotelsewing kit, for a special light veil.The Duco cement delighted Gail Wolfenden, tooyoung to remember when airplane glue was soldover the counter to anyone. Never having used itbefore, she was amazed at the rapidity of thedrying. It is invisible, and does not require waitingfor two applications on facing surfaces to dry.The roll of soft paper towels had a use I neverexpected, though I should have. My cat and lioncostumes have been moderately comfortable, letme brag. The animal costumes at the masqueradeneeded to have their dripping foreheads wiped atfrequent intervals. Sometimes it is necessary topad a costume to get just the right effect, as Kathy ·Sanders well knows. Drewwas about to drown. JohnAutores' dragon "Figment"in even worse shape, toreout pieces of his foam stuffingto mop his brow untiltowels appeared.About the authorMarjii Ellers has been costuming forever. She iseasily one of the most helpful and approachablepeople in the costuming community. Her activityin costuming and LASFAS are rivaled bymany other intesests including travel.Jennifer Tifft suffered from misinformation aboutwhen her costume would be on; moving her up togo on sooner meant making a fast job of what shehad expected to be a leisurely assembly of herwinning headpiece. This put me on the spot whenshe would trust no one else to stick the little rodsin the little holes and the big rods in the big holes.That sounds easy, but all the holes needed to beopened a wee bit more with her antique motherof-pearlsewing awl, while other emergencies hadto be postponed.Earlier, she had asked me to trim her gown at thehem because she could not have walked safely init. This is where a good pair of regular sized scissorscame in handy. You may think all you willhave to do is snip threads, but little scissors willnot make a good straight cut. In modern usage,they just won't hack it.At infrequent breathing intervals, I toured the stationsand checked with each one to make sure noone needed anything. Some one might be immobilizedand unable to shout for help; almosteveryone assured me all was well. Aimee Hartloveand other experienced costumers as usual wereneat and complete. Susan De Guardiola had somesleeve problems; bringing her elaborate andbeautiful historical all the way from New Jerseywas an accomplishment in itself, and we got acquaintedwhile I guided my needle over her wrists,very care fully.I thought about bringing my soldering iron, and Ishould have. I could have used it; lacking that onecostume went on with adangle missing, but at timeslike this, a costumer just hasto act as if everything is perfect.Maybe no one willnotice, is the hope.3The Costumer's Quarterly - Fall 1989


Sewing on a live body, like the sleeves for Susan,I should have had a curved needle. The dragoncould have used a heavy curved needle and somelight dental floss for his legs, which did not quitemeet his body.knowing you have been of service to the art ofcostuming, even for the groups with their ownninjas, like Janet and Gary Anderson, who had tohave a couple of my all-brass army surplus safetypins.The moustache wax? Styling gel up in my room ·did him no good; fortunately, there was hair spray,and he found a comb fine enough to arrange hisfacial hair properly.Though I worked as a repair person at the 1984LACon, with 135 entries, I was one of three, andnot the head of the crew. This time I had all theresponsibility and this is what I learned:No calls for the bulky glue gun this timeNeosporin and aspirin should have been in the kit.The repair person is the logical one to ask forthese first aid things, because the Den Mothers area service echelon, without supplies or equipment.What to take is only part of the job, of course.The calm and cheerful demeanor must be maintained.Quiet helpfulness and imaginative concernare essential. You will have the satisfaction ofAs The Costume Turnsby Linda Bowlandf/1 f/t:w'taY!sovP F&>/fl.DINNER.?fION NO, f1../IS 15O'T'e- pr


Visiting a Pro Costume ShopWhat amateur costumers worth his or her saltdoesn't wonder how the pros do it? I decided tofmd out and in the Los Angeles area what betterplace than the Center Theatre Group CostumeShop which provides most of the costumes for theLos Angeles Music Center. My gracious guidethrough CTG's wonderland was Lady Jane Reddell.She met me at the rental lobby and we beganan enchanting tour that wound through the rehearsalprop department, through the rental area,into the shop itself and the front offices and fittingrooms. This place has everything!To start with, CTG now rents costumes to not onlydesigners but to the public as well. The collectionfeatures over 30,000 costumes and accessories(with 10,00 being out at any one time). This vastcollection includes costumes from Faerie TaleTheatre (Showtime), A Man For All Seasons (Ahmanson),and The Tempest (Mark Taper Forum),to name but a few. The rental department isdivided up into three areas: The Ballroom, TheDungeon, and The Attic.The Ballroom contains masquerade costumes. Thiswould include: spacesuits, gorilla suits, Santasuits, fat suits and even head less suits (for thosewho really lose their minds over costuming).There were mermaids (with fins), the three littlepigs (great tail and ears), and lndtan leathers. LadyJane took great pleasure in showing me personalfavorites, noting which celebrity had worn this orthat (the names are on tags inside). I was reelingfrom sensory overload, it was great. To the side ofthe vast room I was given a glimpse of the costumesfrom Les LiaisonsDan~ereuses, just back fromthe cleaners and a collectionof costumes recently donatedby a ftlm company, to add tothis already large collection.The Dungeon containswomen's costumes, medievalby Joyce BestAbout the authorNow for the main event. The shop itself is largeand airy. It contains cuttingtables, 15 sewing machines,2 sergers, ironing boards,dress mannequins, racks ofpatterns, racks of finishedShe is cur­garments, and a huge spacedevoted to rolls of fabric.The shop had just recentlyJoyce Best has been active in costuming forseveral years and is currently serving as the presidentof the Costumer's Guild West.rently organizing guild tours of both the Phantomof the Opera sets and Bob Mackie's costume shop.to contemporary, and men's costumes medieval totwentieth century. Not only does this area containthe most incredibly beautiful historical garmentsbut also the underpinnings to boot: hoop skirts,corsets, petticoats, everything! There are vintageclothes as well as costumes. All with an attentionto detail and fine workmanship. Lady Jane pointedout the since much of the collection is from stageproductions rather than television, the sizes tendedto run larger, accommodating bodies not necessarilymade for the camera lens.The attic was the smallest of the three areas andcontained men's 20th century to contemporary.This included medical, military uniforms as wellas astronaut jumpsuits, band uniforms, tuxedos,even a jumpsuit that appears to be made fromyellow pages.Each area also includes shoes, hats and accessoriesfor fleshing out a real look and feel to the costume.In addition to the costume rentals, the CTG alsohas a large prop department including thrones, pillows,huge books, halberds and pikes, banners andall sorts of interesting stuff. This is usually rentedout to theatre groups, for window displays and bydesigners. To get to the costume shop from thedungeon, you must pass through the costume shopcorridor. This has costumes on racks for shows inprogress, and fabric samples and trims for designers.finished doing costumes for5The Costumer's Quarterly- Fall 1989


a large Las Vegas show and was working on theStar Trek Adventure Klingon Costumes forUniversal Studios. A small area off to one sidewas partitioned off and this was the tailoring area,with work tables and pressing tools.Near the work room is the crafts department. This ·large facility has a 50 gallon dye pot in the dyestudio, a painting area, metal working tools, aspace for gluing, and all manner of crafts requiredfor fabrication of costumes and props.The fitting rooms are towards the front of the officesjust off the reception area. They are hugewith massive three sided mirrors and offer neutral,incandescent and fluorescent lighting.Shopper (Martha Adams), Promotional Director(Lady Jane Reddell), Ahmanson and Taper designers,and the conference room are all located nearthe reception and fitting rooms. There is also spareoffice space available for designers to rent if theneed arises.Other staff includes the receptionist; Evetta Herea,Workroom Director; Toni Lovaglia, Craftshop D­Irector; Celia Sedwich, and Rental Director; CodyMurphy.I was very impressed with the staff as well as thefacilities. Lady Jane has offered to give the Guilda guided tour specifically tailored to our needs.Plan to be with us for this grand opportunity!Offices of the Costume Director (Mary Beth Hite),Business Manager (Michael Sendlewski), StaffCostuming For CatsBy Animal XTHE- Ft~• Ma:.a1NG oF CAlArJo CoAD (HA \ IHIS EA~L)'WtSDotv'\ HAS NOT BE.E.NOo\1-11'1 "'fo !4D~ -r ~~e:.s,The Costumer's Quarterly- Fall 19896


Judging The& FantasyThis article is revised from one written originally forCostumAPA. I have received many requests to turnthat into a how-to article and this is it. Why am I theone sounding off on this subject? Because 1) I'mqualified: I've been a judge at Worldcons three timesnow, plus I've judged a number of regional and localconventions as well. And 2) I'm not afraid to tell itas I see it! So herewith are my views on the subject.NOTE: The opinions expressed below are my personalopinions and do not represent the Guild-West,nor any other group/person.PART I - CRITERIAWHAT DO YOU LOOK FOR WHEN YOUJUDGE A COSTUME?: This is the question I getasked most often as a judge. So here are my criteria.Other judges may put their priorities in a differentorder, but this is a good place for the first time judgeto start.Science FictionMasquerade(A personal view by one who's done it)by Janet Wilson AndersonMaster class entries, because their skills permit It.(Of course, this isn't the first criterion for Recreationcostumes, but even then there can be originality inthe choice of costume recreated.)B. EXECUTION OF DESIGN: I evaluate costumeson execution of the design concept. Is it cleanlydone? Are there extraneous bits distracting my eye- too much glitz in the wrong place, for example.Does the workman ship visible from the stage lookneat? (I mark costumes down that are falling apartbefore my eyes, or which are obviously missing thefmishing details they need.) Is the choice of colorsappropriate? This has caused a number of lost pointsover the years - colors that clash, or main charactersovershadowed by a minor character in bright red.Color happens to be part of my main career and I'mparticularly pleased when I see it well used.C. UNITY OF CONCEPT: In a group I look forunity of design concept. Do all the members of thegroup look like they belong together, whether fromI. COSTUMES FIRST!the same universe, culture or story? This is probablyFirst of all, I look at the costumes. Presentation is this single biggest error made by groups - no unityimportant, but for me, particularly when judging of design. I know it's fun to have everyone doingNovices and Journeymen, a good costume will overcomea so-so presentation and get an award. If two sexy-lady outfits and the others are swathed to thetheir own thing. But if three of the group are inentries are tied for the top prize, I will personally opt ears, it's apt to look strange, especially if two are infor the one with the more challenging costumes. purple, one green, one yellow, and one black. Yes,After all, this isn't an acting or stagecraft competition;it's a costume competition. So what do I look were supposed to be the same entity. WilsonI'm describing a real group here. I might note theyfor in a costume?Anderson's Rule: a group shall look like it didn't justmeet accidentally.A. ORIGINALITY: I evaluate costumes onoriginality first. While I try to clear my mind of . D. CONSISTENCY OF EXECUTION: Again, ineverything I've ever seena group consistency of execubeforeand look at each competitionwith fresh eyes, cos- About the author tume is really poorly done, ittion is important. If one cos­tumes that try something I've Janet Wilson Anderson is currently serving as will drag down the cumulativenot seen before will still im- Vice-President of the International Costumer's effect of the group. If youpress me more. This . is par- Guild and Co-Chairman of Costume Con 8. She have one spectacularly- doneticularly true the further up in has also served as President of the Costumer's costume, it should be giventhe skill divisions you go. I Guild West and as a judge at many prominence and not overexpect more originality from •ma-s•q•ue•r•a•de•s•.-----------shadow the main character in7 The Costumer's Quarterly- Fall 1989


the group. Off-balanced execution is the second biggestproblem I've seen with groups. Bjo said it yearsago: A group is only as good as its weakest member.II. PRESENTATION:After looking at the costume elements of design andexecution, I weigh the presentation. For me, the purposeof presentation is to increase the impact of thecostume. I've seen a number of presentations activelyhurt the judges' ability to evaluate the costume.Artsy lighting so dim the costume can't be seen.Staging that keeps the most dominant member of agroup clear in the back. Blocking that obscures keyelements of the costume. As a judge this drives mecrazy! I want to see the costumes, and if you wantan award from me, you should letme see your work at its best advantage.Unless we are dealing withthe category of Humorous Schtickwhere costume is not really thepoint and presentation (especiallytiming!) is everything.A. SHOW THE COSTUME TOITS BEST ADVANTAGE: I lookfor a presentation that shows off thecostume to its best advantage. I lovea presentation that has no wastedmoves, where every element displayssome new aspect of the costumefor my view. I know that yousometimes need a little time andstage movement to establish character,but far too much time is spenton this in most presentations.I no longer thinkit is appropriateto say, "/' ve seen432 Snow Queensand this onedoesn't stack upto the one J acquiWard did atChicon."B. DON'T BORE ME! This is a visual art, and Iuse a rule of thumb that says something new shouldcome into view about every 10-15 seconds on stage.This could be a costume mutation, a new prop, anew member of a group, but to just stand on stageand wave your arms for 60 seconds, or for a groupto parade on stage and stand there flapping theircapes for 3 minutes is real boring.C. LET ME SEE YOU! Likewise, to scuttle acrossstage at the speed of light doesn't do much goodeither. Or to design a costume with a beautiful backand let the judges see it for a microsecond as youwhirl around.Of course a good presentation adds immeasurably toa good costume. And at the more skilled levels andfor Best in Class/Show, both count. But a bad costumewill lose more points with me than a badpresentation.PAST HISTORY SHOULDN'T COUNT: I'vechanged my mind about one element of judging overthe years. I used to feel that, as an experienced costumer,it was part of my judging qualifications to beable to take into consideration.the previous costumesdone by a particular costumer or costumesthroughout history. To be able to say, particularly atthe Master's level, "This isn't up to 'X's best work,and so should be scored less than 'Y', who has reallycome a long way." Or to be able to say "I've seen432 Snow Queens and this one doesn't stack up tothe one JC)f,qui Ward did at Chicon." I no longerthink this is appropriate.SEE EACH COSTUME FOR THE FIRSTTIME: I feel it is a judge's obligation to look ate.f!Ch costume and at each competitionas if she/he had never seen anyother of the contestant's work orsimilar costumes before. I am nowapproaching each masquerade witha costume standard against which Imeasure each entry (see above forthe composition of that standard),but to the extent humanly possible, Iclear my mind of knowledge ofspecific costumes seen before. As ajudge, I don't personally know asoul on that stage. This alsoeliminates the problem associatedwith entering the same costume indifferent masquerades. As far as I'mconcerned, I'm seeing each costumefor the first time, and judging itonly in the context of themasquerade in which it is entered.AN ABSOLUTE STANDARD: So my standard isnow an absolute one, and varies only with the levelof the Masquerade. I do judge more stiffly at aWorldcon and Costume Con than I do at a Westerconthan I do at a Baycon. But everyone is judged thes~e, without regard to their personal history or prevwusmasquerades.PART II PROCEDURESFORMS: The pass-along form used by manymasquerades can work, but I've heard a lot of commentthat it's hard not to be influenced by what theprevious judges have scored. I prefer a method thatlets each judge operate independently, either by individualscore cards or a fold-up-from-the-bottom-asyou-scoresheet that hides each judge's score fromthe others. This also eliminates the problem of thelast judge in line unduly influencing the total score.The Costumer's Quarterly - Fall 19898


(I'm not saying it's happened, but on a straight-scorebasis, it could).SCORING: Scoring should be a guide to thejudges' deliberations, not the final determination. Ihate straight score judging!! No matter what score Igive to an individual entry, I reserve the right tochange my mind after I've seen the entire show. Ajudging system that just adds up the scores anddeclares first, second, third on that basis is the pitsand unfair to costumes later in the show. I stronglyfeel that scores should only be a guide to the fmalawards. There's been a lot of debate on 10 pointsystems, versus 5 point systems. I personally use a10 point system, but if I'm judging with people whoprefer 5, I simply use half points: 7 points on a 10scale = 3 1/2 points on a five scale. Since it shouldonly be a guide, it's not worth getting steamed upover. Use what's comfortable to allow you to makediscriminations among the contestants.ACTUALLY MAKING THE AWARDDETERMINATION- TWO JUDGINGPROCEDURES TO USEI. IF YOU HAVE A PASS-ALONG FORMAND A JUDGES' CLERK TO ADD UPSCORES, USE THIS:a. Have the clerk add up the total score for eachentry as the masquerade progresses.b. The clerk sorts the scores into piles by division,highest score on top.c. The judges look frrst at all the highest scoreswithout regard to division to see if they can reach aconsensus on Best in Show. There may be a strongdifference of opinion, which can be resolved bygiving two Bests (if they happen to be for two totallydifferent types of costumes, e.g. Recreation andOriginal or Solo and Group , etc.) or by waiting tillall the potential candidates have been discussed. Orby reaching a consensus that no Best in Show awardshould be given.d. The pile for each division is then evaluated. Thereis often a natural break in the scores with thoseabove notably more impressive than those below.This makes it easy to tell the potential award winners.In any case, the entire pile should at least bediscussed on a yes/no basis, to allow for any changesof heart a judge may have had after seeing the entireshow.e. The judges then discuss each entrant that any oneof them feels should be considered for an award.Again, they may choose to start by determining Bestin Class or wait till all candidates have been discussed.f. As an award winner is identified, an award namemay be determined at that time. If the panel isstumped over an appropriate name, it is best to go onand come back to the problem name after all theothers are decided.g. The same procedure is followed for all skilldivisions used.h. After all the awards are determined, the order theawards should be read in is decided. Traditionally,the order is Junior Costumer, Novice, Journeyman,Master, Best in Show. Within each division, thelowest award is read frrst, leading up to Best inClass. Also by tradition, Judges' Choice takesprecedence over all other awards but Best inClass/Best in Show.i. The judges' clerk makes a full list of the awardwinners, or notes each award title on the entry formfor the MC to read. It is particularly nice if the clerkmakes a second copy for the Masquerade Director soa full record is available.j. The clerk is also responsible for gathering up alljudging material and returning it to the MasqueradeDirector. Judging forms should be destroyed afteruse! Judges should take care to also destroy any personalnotes they may have used, lest they fall intooutside hands.II. IF EACH JUDGE IS SCORING INDE­PENDENTLY, THE PROCEDURE IS SIMILAREXCEPT IN ITS INITIAL STAGES.a. The judges refer to their own notes for the initialdiscussion on Best in Show. It is each judge'sresponsibility to identify the likely candidates forthis honor as she/he views the show.b. After this award has been given, the judges clerkdivides all the entry forms into division and sortsthem by entry number so the judges can identifythem in their notes.c. The judges take each division's pile and sort theentries one by one, using a "Definitely yes/ Maybe/No Award" decision. This should be done very fast,with each judge referring to his/her own notes forthe sort. If any one judge feels strongly about anentry but others disagree, put it in the "Maybe" pilefor further consideration. This saves time and argument!d. They then go through the "Defmitely Yes" pile tofmd consensus on the Best in Class candidates. Afterthat is determined, they go through the rest of the"yes" group assigning award names.9The Costumer's Quarterly - Fall 1989


e. Then the judges take a look through the"maybe's" to see if any of them, after consideration,should receive an award as well. Often, these will becandidates for "Honorable Mention/Honored for Excellence".f. And lastly, if time permits after all the divisionsare sorted and awards named, a last look through the"no's" for anything worth reconsidering is a fairthing to do.g. After all the awards are determined, they aresorted and recorded as above.h. It is particularly important in this system that eachjudge destroy his or her own notes!Either of these two procedures is reasonably quick,allows for consideration of eachentry in comparison with the entireshow, and insures each entryreceives a fair hearing.Telling the judgeswhat awards togive just makesthe job harder.RECOMMENDATION ONFORMS AND PROCEDURES:I would prefer a judges' contestantlist for each judge with room toscore individually. I prefer the independenceof separate scoring becauseit allows each judge to usewhatever system suits him/her. It frees the judges'clerk from a lot of arithmetic. And there are nottell-tale total scores anywhere to cause flack if theyare found. ("I scored higher than X, but she got anaward and I didn't" has been heard!) There wouldstill be a form for the judges to see that would includethe relevant information the contestant wantsthe judges to know and with attached documentation.This form would be passed along during the presentationand would be available in the judges' room.POLAROIDS - A MUST! Every entry should bephotographed via Polaroid as an aid to the judge'smemory. The judges' clerk would put the Polaroidsin order by entry number, so the judges can refer tothem to refresh their memory.PART Ill: AWARDS ANDTITLES:The most common mistake made by inexperiencedconcoms and Masquerade directors is to think thatlimiting the number of awards and/or predeterminingthe titles/categories of awards will short en the judgingtime. This is totally false. Telling the judges whatawards to give just makes the job harder, as you tryto force a wide mix of costumes into a pre-set list oftitles. (As a bit of a maverick, I have been on ajudging panel where we just taped over the trophytitle and gave the costume the award title it deserved- which wasn't what the director had pre-engraved.)!prefer to have the freedom to award whatever titlesare appropriate to the costume .. It is a judging panel'sobligation to take a great deal of care in selectingtitles:THE OVERRIDING PRINCIPAL FORAWARD TITLES: Make the awardee feel goodabout getting it!Some guidelines for award titles that I use:1. MOST and BEST are more satisfying to winthan SECOND or THIRD. I'd rather personally bethe best at anything than onlysecond, or even worse, third. We'reall in this for egoboo, so why notmaximize it? MOST or BEST alsotells the audience just what thejudges thought was worthy of anaward.2. HONORED FOR EXCEL­LENCE is more satisfying to winthan HONORABLE MENTION.If a costume entry in its totality isn'tup to a Most or Best, why not recognize the elementof the entry that the judges did think worthy? If thecostume had excellent use of color, or spectacularwings, why not give an award for excellence forthose things, instead of the "not quite good enough"award of Honorable Mention? As a contestantwouldn't you rather be recognized for what you didright?3. Silly titles belong only to costumes that aretrying to be humorous. It is quite disheartening toget a frivolous award for a costume you worked yourbuns off for. On the other hand, if you are trying toamuse the audience and succeed, the judges shouldhave the license to award you something like "TooCute to Live", or "Best Rockumentation".4. If a category is announced ahead of time. (e.g.Time Travelers, Star Trek, etc.) The judgesshould make every effort to award a prize forthat category. If absolutely nothing comes up tosnuff, then the MC should announce that the judgesgave no award in category "X". This clues both contestantsand audience. Of course, it's still better ifyou don't have to deal with pre-set categories at all!5. Embarrassing titles should be avoided. Wouldyou like to tell your mother/co-workers that you wonBest Turd when you were going for Best EarthThe Costumer's Quarterly - Fall 198910/


Mother? Titles like Most Graphic, Most Pornographic,Worst Presentation are not fun to win unlessyou've made it clear that's what you were goingfor. Of course, there are exceptions, but I really don'tfeel any serious costume deserves a frivolous or embarrassingtitle.6. There can/should be more than one awardgiven for Recreation costumes if more than onedeserves it. If Recreation is judged on the skilllevel system, not as a separate absolute category,then it, too should have a full range of awardsavailable. Some ideas that come to mind: BestCharacterization, Most Authentic, Best Translationfrom 2- D, Best Japanimation, Honored for Excellencein Accessories, in Attentionto Details, etc.7. Judges' Choice is a title that Iregard as second only to Best inClass/Show. This title is usefulwhen everything is so good youdon't want to single out just oneelement as a Most or Best. It is alsouseful for honoring entries that havemerit not obvious to the casualaudience, but noticed by the judges.I attach a list of titles (expandedfrom one Mrujii Ellers did some years back) thatmight be of use to future judges. Feel free to copy it,and take it with you when you judge. Having a listof suggested titles has shortened many a judging sessionfor me! Additions also welcome!HOW MANY PRIZES DO YOU GIVE: Mybasic rule is to recognize everything worthy. In somemasquerades this may only be 10%; in others 60%.Usually, in my experience you run out of "worthy"at about 35 - 40% of entries. I prefer to err on thegenerous side, since all people are getting out of thisis egoboo anyway. As long as what is recognized isgenuinely good, what's another piece of paper?PERSONAL BIAS: If the above is the policy forall judges, then the question of judges judging SignificantOthers also goes away. As a judge you knowno one on stage personally. In the Real World,though, it can be a perceptual problem for theaudience and for those contestants unwilling to admittheir own shortcomings. (It's much easier to blamebias than one's own failings.) So as a judge, I abstainfrom scoring Gary o.r entering into the deliberationsabout his entry, and insist that if he wins an award,my abstention be so announced. Bjo did the same atthe Sacramento Westercon, and it worked quite nice-I prefer to err onthe generous side,since all peopleare getting out ofthis is egoboo.ly. I think it is appropriate action for judges ingeneral. Fact is, every single judge that ever judgedis biased in some way. Judge 'X' likes glitz; Judge'Y' hates ugly monsters; judge 'Z' thinks techieprops are neat. That's why we have a panel ofjudges, not just one. to the extent that judges can putpersonalities aside and just look at the costumes,judging can be as fair as possible. And for those whocan't, we quickly learn who they are and try to avoidusing them as judges again. (I have a little list ..... )SANDBAGGING: Is it the judges' obligation totake action against sandbaggers? In an absolutesense, I think the answer is no. It is the MasqueradeDirector's job to set up the rules and to see that theentrants abide by them. The more knowledgeable theDirector, the easier it is to spotpeople competing in inappropriateclasses or costumes beyond the normalrange for that masquerade andsteer them into higher divisions.The judges should judge what theyare given to judge. If someone isentered in Novice and the Directorhas let them so enter, they will bejudged against the Novice classentrants. To penalize an entrant forsomething the Director has sanc-tioned is not a judge's task. And itreally confuses the audience if someone in an outstandingcostume is overlooked in the judging orgiven a prize in a higher division than they competedin. (Drew let Joseph Phillips enter as a Novice atNolacon and enter three times. And the judgesjudged each of his costumes according to the informationthey received. If people felt Joe sandbagged,blame Drew's rules, which Joe innocently followed,according to my information.) Now, in the RealWorld, things are sometimes a little less clear. As ajudge, it is my obligation to be familiar with therules of the competition I'm judging. A copy of thoserules should be in the judges' room during theirdeliberation, and should be given to them prior to thestart of the judging by the Director during thejudges' briefing. This isn't always the case, so thejudges should have the right to ask the Director forclarification of a contestant's standing. If the judgesknow something the Director doesn't, they better lethim know. It then is up to the Director to rule onwhether the contestant gets bumped up in Class orstays as entered. In any event, it is the Director'scall, in my opinion. (It would be nice if the Directorlet the contestant know too.) This also goes forthings like costumes that took prizes in moredemanding masquerades and are now "competingdown". As a judge, I've never seen this costume11The Costumer's Quarterly- Fall 1989


efore officially. Unofficially, I might be tempted togive a costume genuinely competing down a specialjudge's thank-you award for "exhibiting" the costume.But I'd be real sure the costume was indeed aprevious prize winner before I did it. And beprepared to take · the flack. Obviously, the more experiencedthe Masquerade Director, the less likely .sandbagging should be.BEST IN SHOW: Here's where Janet puts her twocents on the line: for my money, there is always aBest in Show. I believe it is a judge's obligation tomake the fine discriminations necessary to pick apersonal Best and a judging panel's obligation toevaluate those discriminations until a resolution isreached. Nowhere is it written that the judges haveto agree unanimously. We usuallyhave an uneven number of judgesso that ties don't occur. Majorityopinion is sufficient to decide. Ifthe judges are willing to pickenough nits - openly, candidly, andobjectively - I believe they can virtuallyalways reach at least majorityagreement. If judges do not award aBest in Show, they are tacitly statingthat they cannot perform theirfunction of discriminating amongdiverse costumes/presentations andcall into question all other awards they give! I knowthis makes a number of people very uncomfortable,especially if there is vehement disagreement amongthe judges. Here's where the Judge's Choice optioncomes in, or the option of awarding Best in Show inboth Original and Recreation, if that's appropriate.Or if all else fails, 'fess up and award a tie. I thinkthat's less of a cop-out than saying no one was worthyenough to be singled out as Best overall.POST-MORTEM AVAILABILITY: I do believeit is part of the judges' job to be available if possibleat the post mortem (I was at the Nolacon p.m. andspoke up, by the way!). It is not part of the judges'job to defend their decisions, however, proceduralexplanations may be of assistance to the audience.(Yes, we did see all the recreation documentation:no, the Novice panel did not participate in the Journeyman/Master'sjudging, etc.) I also feel it is partof my obligation to offer advice an individual basisto those costumers who wish to know how to improvefor the future. I will point out things that impressedme about winning costumes, and willprivately tell someone own opinion of what couldbe done better. I think it is reprehensible behavior forone judge to tell a contestant that they lost becauseanother judge disliked this or that! That is a violationof the judging confidentiality.For my money,there is always aBest In Show. Ibelieve it is ajudge's obligation.FACILITIES: Judging is very difficult under thebest of circumstances. Doing it in the dark is wellnigh impossible! Concoms - please provide yourjudges with flashlights or some other lighting sourceto score by. The little pocket flashlights cost 99 centseach ·at 7/11 - not a major convention expense. AtN olacon, we were trying to write/read by the spilllight from the stage. Other things we appreciate:water, pens to write with, spare paper to take noteson, a list of the contestants, costume titles anddivisions. (This list can be hand-written right afterthe masquerade is put in order, [typed is better], anda few copies run for the crew and the judges.) Helpsif this list bears some resemblance to the numberingsystem used by the MC. (the case at Nolacon). We~so need a quiet place to conductour deliberations away from thecrowd and the costumers. (We had anice private room at Nolacon).Sodas/other drinkables during thejudging are appreciated. Bathroomsin the near vicinity of the judgingroom are a must! It does shorten thejudging interval if we don't have tohike miles to the bathrooms. A competent,knowledgeable judges' clerkalso helps!As you can see, it isn't easy being ajudge. It's a tough demanding job, with few psychicrewards. You can be personally vilified for non-existentbias, considered blind, deaf and stupid, and becalled an incompetent fool (or worse). I began judgingbecause I thought it would make me a bettercostumer to see things from the judge's point ofview (and I believe it has). I continue judging becausemost folks seem to react favorably when theyhear I'm one of those selected to evaluate their work.As long as the costume community thinks I'm agood judge, feels I'm fair to their work, and I keepgetting asked, I'll probably keep doing it. I haveenough chutzpah to think "Better me, than some Icould mention!" And I'll keep training up the newfolks brave enough to give it a try!Enough sermon for now!A JUDGE'S BILL OFRIGHTS* Judges should be considered fair, unbiased andcompetent, until proven otherwise.* Judges shall have the freedom to award prizes toeverything they see worthy of them and not to anyunworthy.The Costumer's Quarterly- Fall 198912


* Judges need consider no other points of view buttheir own in their deliberations.* Judges should be given the equipment/facilitiesneeded to do their job.* Judges shall be briefed by the Masquerade Directoras to the contest rules.* Judges shall have access to the Masquerade Directorduring their deliberations, but that Director shalltake no part in them.* Judges shall use whatever scoring system theymutually agree upon.* Judges shall be given a competent clerk who understandsconfidentiality.* Judges shall not be forced to reveal any of theirdeliberations.* Judges shall not be required to defend theirdecisions to anyone!A JUDGE'S OBLIGATIONS* Judges shall give recognition to all worthy costumes.*Judges shall be familiar with the rules pertaining tothe particular masquerade they are judging.* Judges shall view each masquerade as if it is theirfrrst.*Judges shall view each contestant as if each were astranger, and disqualify themselves where this mightbe questioned.* Judges shall attempt to leave all other personalbiases at home.* Judges should be as expedient in their deliberationsas possible.* Judges should maintain confidentiality about theirdeliberations.* Judges should make their advice available to costumersgenuinely wishing to improve for the future.SUGGESTED AWARD TITLES*Best in Class Most Literary Most Provocative SilliestBest in Show Most Scientific Most Exotic CutestJudges choiceMost Avant-gardeWittiest*Best PresentationHonored forMost AdvancedMost ComicalBest PerformanceExcellenceMost FuturisticBest ShtickMost Dramatic*Most Outstanding *Best Recreation Most TheatricalMost Impressive Most Authentic Most Compelling *Most SophisticatedBest Spectacle Most Accurate Best Makeup Most AristocraticBest Extravaganza Best Media Best Props Most ImperialMost SplendidBest CharacterizationMost Distinguished*Best AlienMost Magnificent Best AdaptationMost UrbaneBest BEMMost MajesticBest Comic BookMost OpulentBest Feline/EquineMost Spectacular Best FilmMost SentimentalBest Saurian, etc.Best CharacterMost Romantic*Most BeautifulBest CreatureMost ThoroughMost ElegantBest Beast*Best TechMost DetailedMost ExquisiteBest MonsterBest Hi-TechMost Graceful *Best Design Most Monstrous Best ElectronicMost Glamorous Most ArtisticBest Mechanical*Most HorrifyingMost BrilliantMost RefinedMost Terrifying*Best MilitaryMost CharmingMost SubtleMost Grotesque Best UniformMost Captivating Best ConceptMost EvilBest WeaponryMost Visual*Best FantasyMost VillainousBest ArmoredBest Use of ColorBest MythologyBest VillainBest MercenaryBest Use of GlitzMost MythologicalMost Menacing*Best BarbarianBest Pantheon *Most Original Most OminousBest EthnicBest Deity Most Creative Most MacabreBest FolkloreMost Ce1estial Most Clever Most SpectralMost MysticalMost Fanciful*Most Promising*Most HumorousBest WizardryMost OutrageousBest Junior CostumerFunniestMost Imaginative*Best Science FictionMost AmusingMost Unusual13 The Costumer's Quarterly- Fall 1989


IT is conceded in France that thegreatest offence a woman can commitagainst the beautiful is to befat. If she is so, thenunder no circumstancesmust she appear so, andthanks to the perfectionof the art of dressingthere, the casualobserver gets theimpression thatWOnH'll li('Vf'l' g"I"O\\"stunt i 11 .Fra Jl('l' ·-Hot, at. lc·a~t. \Il l -til age has rrndcrcdthem of novital consequeuceto the beautiful;then they arccalled dames desbiens, and arc llllderstoodto beatoning for embonpointall(l tlwfolly of growingold by being good-as good as onlyplain old womencan be.As I have pre­Yiously set forth.French corsets establishthe firstprincir)lcs of theFrenchwoman'sgrace; they are,so to speak, thedecalogue of hergospel of loveliness.The stoutwoman's corsetbeing ingeniouslydevised for so disposingof her adiposetissue that itwill do the leastAN ADMIRAB!.Il EVENING GOWN for a stout woman.long lines which give a look of sli mness'possible harm to the iueal of slimness,she then procecus to clothe herself i 11garments which are shaped in thebeginning by this notion: Evadethe waist - line as the goodwoman flees sin, or as the wisewoman avoids telling the truthabout her age; and for the rest.when it hC'comesabsolutely neces- .sary to define alin(', makn it upand llowu HIHltlnw i ng·.1 had tlw ph·asureof ~hopping- iuLoll


and silver, with flounces andentre - deux of fabulous lacerunning round and round theskirt; and the stout little dearjust kept saying, "Thank you/'and passing on, until finally-and happily-she passed overthe Channel to Paris. Thegown which the French dressmakergave her was a marvelof workmanship, but it wasespecially wonderful in thestudy it exhibited in how toproduce long lines on a shortbody.The gown, made of lace,was trimmed with panels ofsatin, heavily embroidered inwhite silk and gold · thread;these panels extended from thebottom of the skirt up to varyingheights; in front, onepanel, broader than the rest, descendedin an unbroken linefrom the edge of the decolleteneck to the edge of the trailingskirt, and, presto ! thislong sweep, with the regallengths of the train, transformedthe plump little womaninto a very commandingpresence, replete with graceand beauty.The way the Frenchwomansolves that most difficult ofdress problems, how to bestout and at the same timechic and cool in midsummer,. is a wonderful triumph of herart. That I do not draw onmy imagination for the fact ofher solution of this problem,behold herewith illustrated indetail the summer wardrobe of afriend of mine, the wife of a Frenchpainter, who dwells as near to Paradiseas one may hope to come in thisworld; that is to say, she lives in thecountry in France, within two hours'automobile run of Paris.:Madame is m what you wouldSTRIPBD GRAY AND WHITB I.INHN MONNING SUIT with amuslin chemisette, and pleats at the skirt foot.call "comfortable circumstances"­neither rich nor poor. An admirablemenagere, who entertains delightfullyher husband's and her own manydistinguished friends, she first of alladapts her wardrobe strictly to theactual services it must render her.She runs up to Paris frequently dur-15


faggoted together, with a b~nd ofplain taffeta edging the garment.The skirt is plain, with up-and-downbands of tucked taffeta let in by faggoting.The skirt is trailing, aswithout exception, is every skirtwhich the stout FrenchwomanNBGI.IGihi for summer ; white batiste with flatbands of blue and English embroidery.ing the summer for a few days'visit, and for wear upon these occasionsshe has a gown that is amarvel of comfort, economy, andelegance. It is made of black taffetain two pieces, coat and skirt.The coat, a loose one, is fashionedof narrow bands of tucked taffeta.A SUMMI!R DINNKI! GOWN of white silk 'Yithpompadour silk bands and a mull fichu.The Costumer's Quarterly- Fall198916


dun:,;. A big- tum - ove1· collar, offine muslin and lace, iR worn withthis suit, or not, as fancied. Irishlace is put flat. in the three-ql.]artersleeves; no blouse is worn under thecoat; a chemisette of tucked sheerbatiste fills in the opening at thethroat, and madame is as delicatelycool in this formal dress as if she,,·ere going about in a kimono.All of madame's street suits forsummer wear are constructed on thismodel-that is, skirt and loose coat;worn with no waist undern.eath. Formorning wear, she has a dainty suitof linen-gray and white hair-stripe.The muslin chemisettes worn withthis are either high or low in theneck, and they extend down thefront, forming a narrow vest. Thelace used as trimming is laid on flat;loose pleats are let in the skirt belowthe knee to give ease in walking,and to give a flowing appearance tothe lines of the skirt, which are allperpendicular. Madame, knowingwell the charm which flowing garmentslend to her appearance, alwaysappears in such guise at home.For negligee wear this summer, shehas a gown of fine white batiste,tri~med with bias bands of paleblue and English embroidery. Thetrimming of any of her gowns isinvariably flat, and her house gownstrail gracefully all around. Forwear in the afternoon, when friendscommonly assemble with the familyfor gouter · on the lawn, madamewears an exquisite gown of whitebatiste, almost covered solidly withtiny pale blue spots. This is trimmedwith very scant· ruffles of doubledcoarse silk net. A fichu, formed of apale mauve mousseline scarf, has aheavy long silk tassel to hold down thepoint in the back, and the long endsin front are kept in good lines by anedging of deep silk fringe. The hatwhich madame wears with this gownher husband designed for her from anAN AFTERNOON GOWN of white batiste with pale bluedots and a mauve mousseline scarf.old color-print which he found in anantique-furniture shop. It is madeof the dotted batiste, with a bavoletof lace and loose ends of blue andwhite and black ribbon hanging downbehind.Madame's beauty is most radiantin evening dress. The low-cut bodice17


is very becoming, and the long trainsincrease her dignity and apparentheight. All her evening gowns aremade long and flowing, and they areall short-waisted right inthe centre of the back togive a fine sweeping lineto the train, which createsan illusion of slimness.None of them arctight- fitting, and thetrimming is so disposedas never to miss the advantageto be gained byevasion of every linethat cannot be madPlong and flowing. Thestout Frenchwomannever attempts to squeezeflesh out of her dress;she knows that this ishopeless. She follows theplan which the Frenchhave in all their effortstoward the beautiful-to accept natureas it is, and makf'the best of. it.On this principle,you will see by a studyof the gowns illustratedhowthese long linesadd grace to afigure which haslost its slimness.SUMMER SHOPPING GOWN of black taffeta with fagv;otedbands of the taffeta tucked; tucked and faggoted jacket.in this whole list of gowns there isnot one in whieh the belt-line ismarked. For the stout woman bolerosnnd Eton jackets which end above thewaist-line should be avoided,and coats should be only halffitted. This disguises ungracefullines. The fallinghwe drapery on the eveninggown on page780 is anothergood feature oithe model.The softmousselinescarf worn withthe afternoongown is notonly a, fashionablenovelty,but a very hecomingaccessoryfor thestout womnu.The broad collarson thejackets and thedraped fichu onthe dinnergown also showthe skill qf thedressmaker who dC'signedthese gowns for myfriend. I mention thesevarious points that thestout wo'mnn who read;,;and ohsen·0s ma;v see inwhat lies the value ofthe designs illustrated.The jacket wornwithout n blouse un­


Historical DocumentationResearchandBy Animal X - winner of "Best Documentation" at CC6 and CC7This article is not a how-to-do-it, but rather ahow-l-did-it, as I feel that there are many validmethods of documentation. Different costumesmay require different styles, so don't let this articledictate to you.Costume Con 7 -"Lady in Waiting .to MarieAntoinette"AnalysisIn evaluating what kind of documentation wasneeded for this costume, I realized that since thisis such a familiar time period, assumptions mightbe made by the judges as to what was "proper" forthe time from their prior knowledge. The problemis that just as today, many different styles andmethods would be correct. This was compoundedby the fact that there are no existing examples ofthe costume I chose, a full formal dress of theFrench Court. I was very worried of the possibilityof getting demerits for something being "wrong"that was authentic but not the generally accepted"norm". So I decided to .write my documentationas if the judges assumed I was lying. This is not at ·all meant to imply that they would, but writing onthis premise gave me a structure. Everything Iwrote was backed up with proof and evidence.ResearchIn the beginning, all I haddecided was that I wanted todo was one of those big pannierdresses of the 18th century,but I wanted to do it asif I actually was a designerliving at the time. I had anopen mind as to what yearand country it should be. AsAbout the authorAnimal X has had many professions includingrock star, cotouier, and now .. costumer. She is aregular contributor of articles to the Costumer'sQuarterly and draws the "Costuming For Cats"cartoon strip. She is currently working on an articleabout getting grants for costumingbecame familiar with !]le period, I then designedsomething from the sources that appealed to me.This decided that my gown was to be from thefrench 1770's. I feel that learning about the entirecentury enhanced my documentation, as well asbeing dam' interesting.My research started at the Metropolitan Museumof Art, where they have a slide and photographlibrary. I got a xerox of everything that was fromthe 1700's. (This was a great excuse to expand mycollection of pictures of pretty things)I then hit the local library and took out and readevery pertinent tome. As I did this, I xeroxed offeverything that might be of interest to me later.Around this time I had decided what I was actuallydoing so I was able to narrow down my xeroxing.All of these bits of paper I started filing inmanilla folders labeled "shoes", or "textiles".These files now fill an entire shelf as I alwaysoverdo everything.( if anybody would like to availthemselves of this stuff, please contact me.)At this point I wrote a letter to the curator of TheDe Witt gallery at Williamsburg asking if I maycome and have a hands on tour of the collection.To my delight the answer was yes and in Decembershe herself took me through, letting me touch,look at the insides and answering my myriadquestions to the best of her knowledge. I was incostumer's heaven. I made some sketches of somedetails but the stupidest thing I did was to screwup the 3 rolls of film that Itook. The smartest thing Idid was to bring along asmall tape recorder. Idescribed everything I sawinto it. (There was also a lotof "ooooh, aaaah, omighodthat's gorgeous " on thetape.) I highly recommend19The Costumer's Quarterly- Fall 1989


inging a recorder to any exhibit or show thatyou might want to refer back to later. It is somuch more accurate than notes or your memory.After that, I spent 4 days at the Library of Congressplaying in the stacks. This was so that Icould get additional specific information for my .project. It was also great fun trying not to getdrool on things such as a first edition Diderot encyclopedia.The librarians here were the mosthelpful of any I've ever encountered. If you gothere, bring lots of dimes for the copiers which areof varying qualities. Please note that the Libraryof congress participates in the inter-library loansystem. This means that your library can orderbooks from them which you then get to devour.Up unt_il this point the only costume piece I hadstarted work on was the chemise. Once I felt confidentin my research, I proceeded with the rest ofthe outfit.n the process of my research I also viewed othercollections and on more than one occasion I contactedcurators by phone to ask specific questions.They were one and all extremely helpful andthough they didn't always know the answer, thetried their best. I recommend this method forwhen you have a problem.DocumentationThe actual format I used was an introduction, followedby a summation of the overall design. Thencame a section in which each individual piece ofthe outfit was discussed. These were alphabeticalin order, separated by blank pages that had labelsthat jutted out so that the judges could easily finda particular section. This was then followed by thebibliography. All of this was placed in one of myson's notebook binders. I did this so that thejudges could remove a section if they· wished. Italso made it easier for me adjust it as I worked init.I wrote the introduction and design theory partlast. In fact, the intro was finished at the con rightbefore handing it in. Working up to the last minuteas most people do, this is the only sensible way toproceed. Let's face it - there is no such thing as afinished costume. As long as there is time you willstill tinker with it.Each section was written on the computer rightafter I finished making the item in question. Thisis not because I'm organized, but because I knewif I waited I would forget exactly what I had doneand why. I strongly advise doing your composingwhile everything is still fresh in your mind. Youmight even keep a note pad handy while you sewin case a good line comes to mind.Each section's first page consisted of a summaryparagraph and a photograph of the item being discussed.Since I did not want to be accused oftrying to snow the judges with to much work, myintroduction stated that all I expected for them toread was this first page.Every statement I made was followed by a footnoteand sometimes two. This referred them to theother pages of the section.For further information. According to what wasneeded this was one of the following; aphotograph taken of my work in progress to proveI did it (ie; weaving my garters) , a picture frommy research, a direct xeroxed quote from a book,an invoice proving, for instance, that the ring Iwore was a museum reproduction, a reference tothe bibliography, additional summations, orsamples of the materials I used.These pages were made of the original cut andpaste work. I felt that if I xeroxed them to neatenappearances, the quality of some of my pictureswould deteriorate. Though most of my work wastyped, there are many handwritten notes and bookreferences as I am not very computer literate. Todraw attention to the important elements of a pictureI often used a highlight pen)'< For instance if Iincluded a portrait to show off the make-up, Iwould circle the face. I also highlighted the keypart of many text excerpts.When I was making up my documentation, I realizedthat many of my pictures came from twobooks. As these were not expensive, I boughtsecond copies to cut up and so was able to usecolor photos.As I researched, I had compiled a bibliography.This was so could easily go back and look somethingup. Then the progress report announced thata bibliography was required. I feel that this requirementis unnecessary, and an imposition ofThe Costumer's Quarterly- Fall 198920


extra work for form's sake. What are the judge'sgoing to do, run out and buy the book? Manyformats of documentation may not need this. I hadoriginally planned to include the .name ~d title ofmy source with each excerpt, which I did any~ay.(At this point may I remind you all of a cute littlephrase "Ibid.". Once you have already referred toa source in full, all following references to thesame thing may be labeled "Ibid.".) Since I alreadyhad a bibliography in my computer, it wasno hassle to include it. I felt it was necessary thatall the books that I had consulted should be included,even if they were not directly referred toin the documentation. This added 4 extra andredundant pages to an already large notebook.Costume- Con 6 -"Princess Kawyt-tisi"Analysis:In this case, I was facing problem that probablythe judges would not be familiar with the timeperiod to any great extent. By picking a nonwesternculture of an ancient time I was treadingon practically virgin territory. I decided to writemy documentation on the assumption ~at thejudges would know no more about my penod thenany member of the audience.Research:I started with the intention of doing a drop deadauthentic egyptian, and as my knowledge of theera increased, I narrowed it down to a lesserdaughter of a pharaoh of the 12th dynasty.The research itself consisted of 3 days at themetropolitan Museum of Art, 4 days in the NewYork Public Library, and 2 days at my locallibrary. Again, I took xeroxes of pertinent information,but not near as many as in "The Lady ..... ". Infact, much of the time I spent in the library wasspent reading entire books and then just copying afew pages.When doing research at the Egyptian wing of themet, not only did I take copious notes, I spentmuch time sketching in detail. I also availedmyself of their publications and photo library.They also have postcards which make for cheapcolor photo source.21Documentation:The physical format was a series of manillafolders inside a larger one. Once you opened upthe big one, the others were revealed to be ofdifferent lengths and had the smallest in the front.By this arrangement you could see the top edgesof each folder which were labeled so that thelongest folder ( or top label in order) contained thetop item worn, in this case , a tiara. This continuedon down the body to the shortest folder ( or bottomlabel in order) which was labeled shoes. Inthis way the document~tion was ordered in visualcoordination to the body.The outer enclosing envelope had a papyrus pictureas a cover and contained a synopsis of theoutfit. It also contained a ending section consistingof miscellaneous information on the time period,in case the judges wanted to get an over all feelfor it.Being totally computer illiterate at the time, theactual pages were hand written, in clear blockprint. The labels were calligraphed in pseudohieroglyphicyred letters. It may interest you that Iassembled the documentation on the flight to costumecon. I had it all planned out and ready and asI was to be 7 hours in transit, it seemed to be theperfect time to do the job. This also enabled me toinclude any last minute changes.A typical section was narrative in style. My writingwas interrupted in places by photographs ofthe process being discussed (such as my cat showingme how to weave), samples of material (suchas the faience beads both before and after I firedthem), and xerox segments (such as book excerptsto confirm statements, receipts and labels to proveauthenticity of a material, and photos anddiagrams). Whenever possible, I used colorphotos. If the information from a book was morethan a paragraph or so, I inserted "see index 1 "etc. and placed the information at the end of thesection. These pages were often highlighted.I did not include a bibliography as I thought itwould just add unnecessary pages.I hope the reader can benefit from these examples.I think it the difference between the 2 piecesshows that you do not have to conform to a formula.there is room for creativity even indocumentation. The most important part is to getThe Costumer's Quarterly- Fall 1989


your information across, not following guidelines.However, it is important to be clear and neat, asthe judges will see the documentation before theysee your outfit. One would naturally want to avoidprejudicing the judges by a bad first impression.If anybody would like a copy of these, or any ofthe non included research, I would be glad to sendit to you. contact me through the PYMWYA guild.[See inside back cover for the address- Ed.]Above and to the right, Animal X wearing "ALady In Waiting To Marie Antoinette" at CostumeCon 7The Costumer's Quarterly - Fall 1989


Tips on Video TapingMasqueradesBy now I must have viewed more masquerades as seenfrom more different angles than just about anyone(with the possible exceptions of Carl Mami and JohnFong). The following list of DOs and DON'Ts are distilledfrom the many MANY hours of editingmasquerade video tapes and wishing that camera "A"would have stayed on costume "N" just a little longer,or that camera "B" would not have jerked at just thatsame instant (sigh).Having also been behind the camera and trying to practicewhat I know are proper techniques, I also understandwhy many of these techniques are not self evidentor necessarily easy to implement. After all, it isfairly easy to critique camera work while sitting backin the relative solitude of the editing lab and quite adifferent thing to coherently follow one of Animal'smadcap presentations when it is happening live in frontof you and this is the first time anyone has ever seenit... Case in point, Animal's presentation of PrincessKawyt-Tisi at CC6 was the only presentation in allthree masquerades that required shots from all 5cameras we had running, and I still didn't always havean angle I really wanted to use!This list applies to all situations, regardless of cameraposition or number of cameras that you are workingwith. Where applicable, I will mention appropriate actions(if different) when one is taping with a multiplecamera operation.#1 - Move the camera s-1-o-w-1-yand smoothly.This is without a doubt the single most important pointmasquerades but is often neces­sary (this is why multiplecamera editing is important!).This is discussed more in item#2-groups, and item #4,below.to remember for getting good quality footage with yourcamera. Although it soundssimple enough, this is alsoprobably one of the most difficultpoints to master, especiallyduring taping of amasquerade. This is becausethere is often too much happeningtoo quickly to take inwithout radical camera motion.The following will help youBy Rusty DaweAbout the authorRusty Dawe runs 3D Video and is the premiersource for high quality, multi-camera, professionallymixed masquerade video tapes. His experiencecomes from behind the camera andcountless hours in the video-editing lab.achieve calm camera motion under the most demandingsituations.Use a tripod. This is a must for taping a masquerade.You just can't hold the camera steady enough for longenough.Don't tighten your tripod too tight. This is a typicalcause of jerkiness. Both horizontal and vertical motionshould be possible at both slow and fast speeds withoutthe tripod locking the motion. The adjustments shouldbe loose enough that the camera would probably tiltforward or backward on its own accord if you weren'tthere to steady it. Of course if you are going to walk- away from the camera, go ahead and tighten it up.Start all camera motions slowly and then build upspeed only after you are already on the move (ie. try tokeep a constant acceleration/deceleration until youreach the top speed you are willing to move the cameraat).Note that if you are farther away and zoomed in closethat it takes less physical motion of the camera totravel the same effective distance in the lens (vs. beingclose with the lens wide).The top speed is NOT a fast speed. It is better to missa little action by moving the camera slowly than tocapture it and make your viewers all sea-sick!Limit the number of required camera motions. You cando this by widening your lens if possible to take inmore of the action. Close ups are nice, but worthless ifyou are continuously chasing your target around thestage! Another option is to skip taping some of theaction. This is anathema to many who tape23The Costumer's Quarterly- Fall 1989


#2 - Frame your subject.How much is enough? How close is too close? This isanother point which sounds easy to do but requires alittle thought to pull off and make "invisible" to yourviewing audience. Under all conditions, you want to fillyour lens as much as possible. Don't let a costume endup looking like an ant in a desert by pulling so far backas to see this little dinky person lost among all thathuge stage. Try to keep zoomed in as close as possiblewithout requiring excessive camera motion. The followingwill help you frame your subject under avariety of conditions.The single costume: Although everyone wants to see"all" of a costume, 90% of the time framing just thehead and torso of a single subject inthe lens will give you the best results.It turns out that most people watchother people's faces when they talkto each other and this carries overinto the way they view TV andmovies. So by concentrating yourcamera on the upper body of yoursubject, you will present yourviewers with the level of detail theyare most comfortable observing. Agood technique to give the viewerboth the full body view and theTry to keepzoomed in asclose as possiblewithout requiringexcesszve cameramotion.close-up of the head/torso is to startwith the full body and then if thesubject starts to walk toward you,don't pull back on the zoom until the subject fills thelens with the upper body. Then follow the subjectsmoothly with the zoom as they continue to walktoward you in order to keep the size of the subject constant.The pair which separates: This is a typical tricky situationwhich you will run into over and over while tapinga masquerade. There are two choices here. 1) Keeppulling back to try to keep both costumes in view. 2)Choose one of the two costumes and follow it, ignoringthe other costume. Unfortunately, many people chose athird option - track both costumes as far as they canthen switch to one, then to the other, then back to the..... .first, and so forth. Generally you want to optiOn (2).Unless the two costumes are doing a presentationwhich will not read unless both costumes are viewedtogether, you will find that ignoring one of them forpart of your taping will allow you to concentrate on theother to best advantage. I have found that when the twocostumes split, back up a little to keep both in view forjust a bit, then follow the costume which is comingtoward you and treat it as a single costume (ie. younow have a good view of the front of at least one ofthe costumes, so get a good shot of it - the other costumeprobably has their back to you anyway!)The large group: This is the single camera operator'snemesis. There is just too much going on to track witha single camera, so just get it straight in your mind thatyou won't get it all and you will be ahead of the gamefrom the start. If you are far enough back to get all theaction in your lens, you should stay at this distance forat least part of the presentation to get an overall feelfor all of the costumes (again, be sure that you framethe costumes and not the stage). However, if you stayback for the entire presentation you won't really seeany of the costumes well. This is where you will haveto be discriminating. After taping the entire group for abit, pick out one or two costumes worth zooming in onand follow them, ignoring the rest (ignoring some ofthe action is the hardest part of taping a group). Pickcostumes which are facing you and which you can treatas a single or pair. Usually at the endof group presentations, all the costumesexit the same way, so youusually have a chance to get a closeup of them one at a time when theyleave. More on this in item #4, below.#3 - Limit use of thezoom:This is important for the same reasonsas stated for moving the camera. Youcan tell you are overusing the zoomcapability of your camera if you feellike you are always left wanting moreof a given costume subject and yet itis within the viewing area much of the time. This is theeffect of not permitting the subject to present itselfwithout a change of perspective or viewing position. Ofcourse, this is assuming that the camera was notmoving radically at the same time - a far more obviousproblem. The· following may help reduce youruse of the zoom.Pull back a little so that you don't have to re-adjust asoften. If you find you are constantly changing thezoom to keep the subject properly framed as suggestedin item #2, above, you are probably too close overall.Back off just a little bit and don't try to get in as closeas often.Use the motion of your subject to change your zoomdistance for you! This works really great if you arefilming subjects which are walking toward or awayfrom you. Often you will be able to get that close upshot without actually moving the zoom at all. Yoursubject will just walk right into your frame. This worksbest if you know in advance what the costumer will do,but foreknowledge is not required. Many masqueradeshave a standard runway pattern and after the firstcouple of costumes you will probably know in advancewhere most of the costumes will enter and exit.The Costumer's Quarterly- Fall 198924


#4 - Edit your subject:We have already touched on this point a little whendiscussing large group costumes, but even when -nothingappears to be going on, you have some choices asto what to tape. ie. do you tape a blank stage or theMC picking his nose? In general, action (any action)is preferable to a blank stage. I tend to keep with theMC until just before the next costume comes out thenshift to the stage entrance. Often, if you have positionedyour camera correctly, the stage entrance andMC will be in the lens at the same time, so that youcan focus on the MC, then follow the costumes outwhen they appear on stage behind him or over theMC's shoulder (usually with just a minor change in thezoom). Also at the end of a presentation, following thecostumes till they are out of sight or make a transitionout of the lighted stage area is preferable to cuttingback quickly to..fue MC as soon as the costume beginsto exit the stage. Occasionally you will catch a look orexpression on the part of the costumer that is pricelessas they realize they are done and sp.ll alive!What do you tape when there is too much going on tofollow coherently? Actually, most of the time it sortsitself out for you. You want your tape to look as goodas you can and show off the costumes you are tapingto the best advantage. The following list of tapingpriorities may help you decide which action to followwhen it is all coming apart at the seams ...1) pick the center-piece costume. Often you will have agroup of costumes of which most are support costumesto a main one. Concentrate your camera work on themain costume and track the peripheral costumes onlywhen you can't get a good angle on the main costumeor it is turned away from you.2) try to pick a spot on the stage through which all thecostumes are moving. Some presentations will crisscrossall the costumes or march everyone through acircle or similar pattern. By fmding a spot which all thecostumes pass through, you can catch all the action andnever have to move the camera once. This looks greatwhen it works, but isn't always obvious at first.3) pick the costume or costumes which are directlyfacing you or coming toward you.4) pick costumes which are moving in a predictablemanner. Ignore action which is changing abruptly andwhich will be gone by the time you get it in focus.5) all other conditions being equal and your cameraposition is off center, you should aim at the side oppositefrom you. You will find it easier to follow theaction when it is farther from you than when it is twistingand turning right under your nose.6) Give up and pull all the way back. Sometimes youjust have to say "What the F--."#5 - Camera Placement:When setting up your camera prior to the masqueradeyou often have a choice of where to set up. If you are asingle camera your best choices are:1) About 20 feet back from stage on the side oppositethe MC and masquerade entrance (usually the far rightside of the audience). This way you have a clear shot atthe masquerade contestants as they enter and can followthem off stage until they are well into theaudience. Due to the effect of the camera on those sittingbehind you, you will usually find yourself behindthe audience against the side wall in order to obtainthis angle. This is not bad and often preferable tohaving people tripping over your tripod.2) Center back. If the masquerade tech crew provides ariser at the center back (usually at the end of a runwaythat contestants walk down), this is an excellent spot.Even if you don't have a riser, you can often obtain agood angle by positioning the camera on the aisle nearthe rear if there is a large center aisle.3) Half way back on the side to all the way back on theside. If you have a good telephoto lens this isn't as badas it might seem. It is easier to get an overall feel forlarger presentations from here than it is from up closeand you can usually follow the costumes across stagepretty easily.4) Down in front (close to stage). This is a really toughspot. While you may be able to get some really greatclose-ups, overall you will have a tough time followingthe costumes and keeping the camera from whippingcontinually from side to side across the stage. Also,when the angle gets extreme you can often find yourselfstaring directly into the stage lighting. This locationis best if you are doing a two camera edit. Thatway the front camera can obtain the close-ups whilethe back camera can cover the overall action.5) Photo area. While you miss all of the presentationsfrom here, you get outstanding detail shots of all thecostumes under decent lighting. If doing a multicameraedit, this location is a must! If the mainmasquerade hall is dimly lit and there is a good availablelight photo area set up, you should give seriousconsideration to this location.Well, I think this is enough on this subject for now. Imay add some additional points in the future (probablywhile editing another masquerade to give vent to myfrustrations!). I hope you find these tips of use. Goodshooting!25The Costumer's Quarterly - Fall 1989


Costumer Calendar Coming!!West Coast costumer Arlin Robbins and her husbandMichael Jhon are producing a FULLCOLOR calendar featuring Science Fiction, Fantasy,and Historical Costumes! It is called The1990 Costume Portfolio Calendar and will beavailable and shipping around Thanksgiving. Itfeatures costumes by Adrian Butterfield, DianneDawe, Alison Dayne Frankel, David Joiner, VictoriaRidenour, Kevin Roche, Robin Schindler,Jennifer Tifft, Karen Turner, Ed Kline, PatriciaDavis and more.It will also list a wide variety of Science Fictionand Fantasy conventions every month and havecontact information for each.Michael and Arlin decided to do the CostumePortfolio Calendar in late August, and to have itdone by Thanksgiving, it needed to be to theprinters (in Hong Kong!) by October 1! Thisdidn't leave much time, so this year's calendarby Kelly Turnerfeatures only West Coast costumers. However,Michael will be photographing costumes at CostumeCon 8 in Ontario, California (see ComingAttractions section), so he will get a chance tofeature some East Coast costumers next year!But for there to BE a "next year", we need tomake this year's calendar successful. Therefore,we are including an order form for your convenience.Please support this worthwhile venture!We have seen the proofs for the calendar, and it isgorgeous and well worth the price (for thephotographs alone!) This is the perfect gift forall your fannish friends. For more information,contact Arlin Robbins at:513 Lexington AvenueEl Cerrito, CA 94530(415) 527-5303The 1990 Costume Portfolio Calendar Order Form-flName:. ____________________________________________________ ___Street Address:. _____________________ _City, State, Zip:. ____________________ __Calendars @ $10.00:California residents add 6.5°/o sales tax:Shipping: $1.75Additional shipping (75¢ for each calendar over 1 ):Please make checks payable to Michael JhonMail to: 513 Lexington Avenue, El Cerrito, CA 94530Total:The Costumer's Quarterly- Fall 1989 26


Coming AttractionsA Calendar of Costume-Related EventsMeasure for MeasureRoyal Ontario MuseumToronto, Ontario, Canada(416) 586-5549Starts October 12, 1989This is the first exhibit of their new permanentCostume and Textile Gallery. It examinesmethods of constructing fashionable Europeandress. Over 50 costumes and artifacts dating fromthe 17th century to present day. All pieces aredrawn from their permanent collection of over100,000 items of costume, textile and relatedequipment.Costuming For Catsby Animal XHistorical ModeFashion Institute of TechnologyNew York, New York(212) 760-7970Runs October 31, 1989 - January 20, 1989Exhibit featuring how old ideas creep into modernfashion design."New Look To Now" in PortlandOregon Art Institute, Portland Art MuseumPortland, OregonRuns December 13, 1989- February 4, 1990The exhibit New Look To Now:French Haute Couture1947-1987 is the exhibit that previously ran atthe De Young Art Museum in San Francisco. Theexhibit features 105 outfits that range from ChristianDior's "New Look" of 1947 to a 1987 ChristianLaCroix gown. There is some great '60's stuffin the exhibit! Also available is a 120 page,softbound "catalogue" of the exhibit for $22.50published by Rizzoli. Try calling the De Youngfor more info on the catalogue.The Proper Lady:Fashions and Etiquette in the 1880sChicago Historical SocietyChicago, ILThis exhibition contains 35 complete costumes. Itruns from October 18, 1989 through February 11,1990. There is a catalog of the exhibition. Formore information call (312) 642-4600The Age Of Napoleon: CostumesFrom Revolution To EmpireMetropolitan Museum Of ArtNew York, New York(212) 879-5500Opens December 13, 1989This exhibit will feature 120 examples of court,military and revolutionary dress.The Costumer's Quarterly - Fall 198928


Assorted Newsand ReviewsUnauthorized Video Tape ofCostume Con 7There is a person in Canada who has sold anddistributed flyers for sale of video tapes of CostumeCon 7's masquerades. This is an unauthorized,single camera video tape and the personhas been informed to cease-and-desist. Theauthorized videotape (multi-camera, stereo sound,mixed) will be out soon from 3D video, 112 OrchardAve., Mountain View, CA 94043.Star Trek Pattern Problems-We have heard that the Star Trek uniform patternssold by Lincoln Enterprises have "problems". Canany of our readers identify these problems so thatwe might spread the word. Also, if you have a"fix" for any of these problems, we would like topublish them. Also, Simplicity just came out witha Star Trek: The Next Generation pattern. Howdoes it rate and/or compare to the LincolnEnterprise pattern? Please send your comments/fixesto the Quarterly's address.What to do with those scrapsHere's a letter from Bjo Trimble that we thoughtyou might be interested in:Dear Costumer,Many of you know Kathryn Trimble andare aware that she's 25 years oldchronologically but a permanent 8-year-old mentally . Kat has goodcoordination and has learned to dosimple crafts, including sewing andserging. Job situations are prettygrim for retardates, so we've searchedfor something creative Katcould do to earn her own money.Kat found what she wanted in a dollmagazine: marottes (folly-heads orjester sticks.) We already haveseveral doll molds to make papiermache heads; as Kat progresses, shemay make porcelain marottes as well.Shall we resist using the Templemold? Shirley we jest!With bright fabric scraps, bells,flowers, sequins, beads and ribbon,Kat can produce marottes for craftsand doll shows. Though 'mom' hasscraps, Houston has no Textile Areato 'refuel,' so Kat will use thoseup fast. Kathryg needs your unusualcostume scraps and trimmings,please. She's not asking for bigscraps you're saving for a futureproject, just little ones, odd cuttings,and spoiled pieces you can'tthink what to do with; even postagestamp-sizedbits can be serged for'crazy-quilt' effects. She can alsouse odd bits of sequins, beads, etc.If you have a HUGE amount ofgoodies, contact us first aboutpickup at a con, SCA event or othergathering or for refund of yourpostage.In trade, for every box of or badof scraps, etc. you send her, she'llmake you a marotte signed and datedby her hand - each piece guaranteedto be a unique and original KathrynTrimble work if art. Fair Enough?Bjo & Kathryn Trimble2059 Fir Springs DriveKingwood, TX 77339(713) 359-4284Science Fiction and FantasyNeedlework Guild FormedThis Guild was founded by Suzette Haden Elginin July of 1989. Its purpose is to provide a forumfor the exchange of information and to promoteSF&F needlework. This includes crochet, knitting,tatting, counted cross stitch, embroidery, andquilting. For more information write to:SF&F Needlework Guild175C RiverbendAltamonte Springs, Florida 3271427The Costumer's Quarterly- Fall 1989


Costume Con 8Dates: February 16-19, 1990Rates: $30 from June 11, 1989- Feb. 1, 1990$40 after Feb. 1 and at the doorAddress: 3216 Villa Knolls Dr.Pasadena, CA 91107This is the next Costume Con. It offers greatfacilities and a competent staff. Proposedprogramming items unique to this Costume Coninclude the Great $1.98 Everyone is Equal, Designand Make it on the Spot competition. This eventwill challenge the creativity of all participants,who will be provided with a large pile of materialsand given one hour to build an entire costume onthe spot. Another special event is the Hall CostumeCompetition on Saturday themed "A Saluteto Hollywood". Those wishing to make costumesbased on movie sources are invited to show themoff at this time, and perhaps win a prize1990 Assembly of the Friends of theEnglish RegencyMarch 3-4, 1990Doubletree HotelVentura, CaliforniaMemberships are $60 until December 31, 1989Murphy's LawsThis is the annual convention for afficianados ofRegency dancing. For memberships or mor information,write to:Elayne Pelz15931 Kalisher St.Granada Hills, CA 91344Costume Con 9Dates: February 15-18, 1991Rates:$30 from Sept. 11, 1989 to June 10, 1990$35 from June 11, 1990 to Feb. 1, 1991$40 after Feb. 1--J: 1991 and at the doorAddress: Costume Con 9c/o Kathryn CondonP. 0. Box 194Mt. Airy, MD 21771Compuserve ID: 72310,3005MCIMAIL ID: RROBINSONThis is the next Costume Con on the East Coast. Itoffers the same facilities as Costume Con 3 (theColumbia Inn, Columbia, Maryland). Also, muchthe same staff as Costume Con 3. Buy your membershipnow while they are cheap! We will keepyou posted as further details come in.Is there a convention or exhibit that we should be listing??If so, LET US KNOW! We can't know everything on ourown. We rely on our membership for our info, so speakup! •:•for CostumersGolubs 2nd law of homebuilding and costuming:A carelessly planned costuming project takes threetimes longer to complete; a carefully planned onetakes only twice as long.Homer's five thumb postulate: Experience variesdirectly with material ruined.Eng's principal: The easier it is to do, the harder itis to change.Schmidt's law: If you fiddle with a thing longenough, it will break or ravel.by Karen TurnerRingwald's law of workbench and sewing tablegeometry: A horizontal surface will soon be piledup.Prissy's rule: If you don't know what you'redoing, do it neatly.Teleco's 2nd law: There are two kinds of tapethekind that won't stay on and the kind that won'tcome off.29The Costumer's Quarterly - Fall 1989


Guild ChaptersThis magazine is sponsored by the International Costumer's Guild. For yourmembership dues, you receive 4 issues of this magazine. Some chapters alsohave a local newsletter, meetings, and local discounts.Greater ColumbiaFantasy Costumer's Guild ~P. 0 . Box 683Columbia, MD 21045Dues: $15 a yearCostumer's Guild West /c/o Janet Anderson ·3216 Villa Knolls Dr.Pasadena, CA 91107Dues: $14 a yearThe Great White North ,/'Costumer's Guildc/o Costumer's WorkshopBox 784 Adelaide St. POToronto, Ontario CANADA M5C 2K1Dues: $12 a yearThe NY/NJ Costumer's Guild(aka The Sick Pups of Monmoth County)c/o Mami85 West McClellan Ave.Livingston, NJ 07039Dues: $12 a yearMidwest Costumer's Guild /c/o Pettinger2709 EverettLincoln, NE 68502Dues: $12 a yearNew England Costumer's Guild(aka The Boston Tea Party and Sewing Circle)c/o Carter120 Eames St.Wilmington, MA 01887Dues: $15 a yearConfederal Costumer's Guild t/'c/o Susan Stringer3947 Atlanta DriveChattanooga, TN 37416V\.-~' (..::..« C ke&- ~ (. Id.. "'""~ eo. c.. r.•Lunatic Fringe Costumer's Guild t/'c/o Vicki Warren1139 Woodmere Rd.Pottstown, P A 19464PYMWYA Costumer's Guild(People You Mother Warned You About)c/o Animal X707 Amberson Ave.Pittsburgh, PA 15232Dues: $8 a yearMontreal Costumer's Guild2274A Beaconsfield Ave.Montreal, Quebec, CANADA H4A 2G8Southwest Costumer's Guildc/o Patti Cook3820 W. Flynn L.,.Phoenix, AZ 85019Wild and Woolly Cos!u!ller's Guild ·fk 0 .... s-. ~ . C...C.cr...t L ... lc.t..~ "'-"'.p.-.e; :8 ox. 11188 Station M- \


Bulk RateU.S. PostagePAIDSan Jose, CAPermit No. 5072THE INTERNATIONAL COSTUMER'S GUILD'S()!!turner's-f2,uarterly1693 PEACHWOOD DRIVE SAN JOSE, CA 95132To:~-------------Please ForwardAddress Correction Requested( Time Value )

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