Vol 7 No 1 - International Costumers' Guild, Inc.

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Vol 7 No 1 - International Costumers' Guild, Inc.

Costumer's Quarter[yVolume 7 Number 1 January/February/March 1994


[f 00 @ [M] If [}{] ~~@Oif@OOWell, here it is!! My first issue as your new editor. It both was andwasn't quite as difficult as I expected. I received great support fromthe costuming community and family and friends as well.You may notice that this issue contains some recurring columnsthatlfelttheiCGmemberswouldappreciate,aswellasagreatreprintof the article from Stitches Magazine on the Dracula movie costumes.This was brought to my attention by Julie Ann Hyll who livesin the U.S. Virgin Islands.I do need more articles and artwork from you! I am also lookingfor tidbits for the Tips and New Products columns. If you don't wantto write a full article on something, see if what you have in mind maybe suitable for one of these columns or maybe you can suggestanother column you would like to see.I will be attending CC 12 in February and would love to hearsuggestions, questions, comments, etc. I need as much feedback aslean get from you in order to produce thekindofnewsletteryou want.Negative or Positive, I wantto hear from you.lf you won't beat CC12or prefer another method to waylaying me, my mailing and e-mailaddresses are in the column to the right. Talk to me!- Maura Rebholz, EditorCostumer's Quarter[y17860 Newhope Street, Suite A-296Fountain Valley, CA 92708Compuserve #72712,1411Internet: maurar@netcom.COMPublished in association with:The International Costumer's GuildAttn: Debbie Jones, CorrespondingSecretary1444 Arona StreetSt. Paul, MN 55108EditorMaura RebholzVolume 7, Issue 1January/February/March 1994Printed by:Copy ShoppeFountain Valley, CaliforniaThe Costumer's Quarterly is copyright© 1994by Maura Rebholz. All rights revert to theauthors and artists upon publication. Thismagazine is distributed to all members of theInternational Costumer's Guild. Separatesubscription rate is $10.00 a year. [All checkspayable to the "International Costumer'sGuild" and mailed to Betsy Marks, ICG Treasurer,P.O. Box 1223, Beltsville, MD 20704-1223.]Unsolicited manuscripts are encouraged. Nosubmissions returned without a self-addressed,stamped envelope. Send all correspondenceto:The Costumer's QuarterlyAttn: Maura Rebholz17860 Newhope Street, Suite A-296Fountain Valley, CA 92708Advertising space is available atthe following rates:Full page - $25, Half page - $15Quarter page- $10, Business card - $5April/May/June 1994 EditionSubmissions - March 31, 1994Anticipated Mail Date - April 30, 1994Copyright and trademark names, symbols ordesigns used herein are provided solely for thefurtherment of custuming interests and are notmeant to infringe on the copyright or trademarkof the person, persons or company thatowns them.2 The Costumer's Quarterly- January/February/March 1994


Costumer's Quarter{lJLVolume 7 Number 1 January/February/March 1994Columns:2 From the Editor. News, pleadings, information, etc. from the Editor2 Deadlines: Deadlines for submissions and anticipated mail date for the next issue4 Upcoming Events: Costume-related events in the future11 Next Issue: What's anticipated in the next issue12 New Patterns, Products & Publications: New items we've heard about13 From the ICG President: Messages from the current ICG President19 Tzps, Tools & Techniques: Readers sh~ring tips, reviewing tools and techniques20 Sources: Sources for items mentioned in this issue23 Guild Chapters: A current list of existing Guild ChaptersArticles:5 Why You Shouldn't Put a Zipper in Your EliwbethansA short history of the zipperby Janet Wilwn Anderson6 Blood Gore and EmbroideryReprinted article from Stitches Magazine on the embroidery for the Dracula movie costumesby Nancy Kuehl14 Vote to Defeat Motion 1A dissertation on why Motion 1 should be defeated at the 1993 ICG Annual Meetingby Steve Swope15 Opposing Ranks -Pass Motion 1A dissertation on why Motion 1 should be passed at the 1993 ICG Annual Meetingby Janet Wilson Anderson16 Didn't Get Your Quarterly?Information on what to check if you haven, been getting your issue of the Costumers Quartertyby Maura RebholzCover Art by Wendy PurcellEdited by Maura RebholzAA AAAThe Costwner's Quarterly- January/February/March 19943


UpcomingEventsCostume Con 12Dates: February 18-21, 1994Site: Santa Oara MarriottSanta Oara, CARates: $50- ICG, $60 non-ICGAddr: GBACG/Costume Con 12c/o Bruce McDermott2801 Ashby AvenueBerkeley, CA 94705Notes: For more information write to:Jana Keeler, Chair223 Addison StreetSan Francisco, CA 94131Balticon 28Dates: April1-3, 1994Site:Hyatt Regency Inner HarborBaltimore, MD$90 single/dbl, $108 triple/quadRates: $40 at the doorAddr: Balticon 28P.O.Box686Baltimore, MD 21203Notes: GoHs are Mercedes Lackey,Lany Dixon, Fredrik Pohl, SueWheeler & Duane ElmsWesterCon 47Dates: July 1-4, 1994Site: LAX Airport HiltonRates: $45 until12/31/93supporting $25Addr: WesterCon 47c/oSCIFIP.O. Box 8442Van Nuys, CA 91409Notes: GoHs are George R.R. Martin,Real Musgrave & WilliamRotslerCostume College 1994Dates: July 8-10, 1994Site: Sheraton Newport BeachRates: $25 ICG, $35 Other til 2/24194Addr: $35 ICG, $45 Othertil6/10/94c/o Costumers' Guild WestP.O. Box 6066Altadena, CA 91003Notes: Time Traveler's Gala tickets $25ICG, $35 OtherCanadian 1994Dates: September 1-5, 1994Site: Winnipeg Convention CenterRates: $85 US/$95 C til 9/6/93 (attend)$25 US/$30 C til9/6/93 (supp.)Addr: ConadianP.O. Box 7111Fargo, ND 58109Notes: 52nd World Science Fiction Conwith GoH Anne McCaffreyCostume Con 13Dates: May 26-29, 1995Site: Toronto, Ontario, CanadaRates: $25 US, $35 C through 9110/93Addr: Costume Con 13Box 784, Adelaide Street P.O.Toronto, OntarioCanada M5C 2K1Notes: For more information:CompuServe: 76437,1712GEnie: C.Lyon4Canada Remote: Martin MillerFax: (416) 699-55124The Costumer's Quarterly- January/February/March 1994


Dates:Site:Rates:Addr:Notes:Dates:Site:Rates:Addr:Notes:NASFic•95July 13-15, 1995Atlanta, GAWrite for informationNASFicdo NASFic Atlanta 1995P.O. Box 47696Atlanta, GA 30362In conjunction with DragonCon.Intersection - 1995August24-28, 1996Scottish Exhibition & ConventionCentre in Glasglow,ScotlandAttending $85 til 9115/93Intersectiondo Theresa RennerBox 15430Washington, DC 2stume Con 14Box 1095Renton, W A 98057-1095Why You Shouldn,Put a Zipper In YourElizabethans!by: Janet Wilson Anderson... Talking to a new costumer at a localRenaissance Faire who was wailing pitifullyabout the requirement for laces tofasten her bodice together. "Why," sheexclaimed, "can't I put in a zipper?""Because they weren't invented yet," Ireplied. She looked at me in amazementand inquired as of what date she could usethem. I wasn't really sure either, and wassurprised when Ilookeditup. I thought youmight be, too.The zipper was first patented in 1893 asa neat invention to eliminate the tedioustask of buttoning up your shoes. Luggagemanufacturers tookalookanddecided thiswas a great idea for their cases, and zippermanufacturing became well-establishedbutnot for clothes.The zipper ftrst arrived in men's clothesin the early '20's. In 1925 the famousplayboy Edward,PrinceofWales,cametothe United States and impressed peoplewith how fast he could get in and out of hispants - of course, due to the new-fangledzipper.But it took nine more years for zippers toinvade women's clothes and it wasn't untilcontinued on page] 1The Costumer's Quarterly - January/February/March 1994 5


BLOOD, GORE &By Nancy KuehlI•.·ft'"I6The Costumer's Quarterly- January/February/March 1994


A withered figure slithers down awall like a lizard hunting for prey. It iscloaked in a brilliant red robe that trailsbehind, splashing color on the cold graywalls of aforbidding castle. This is not just· any nightmare figure, however; it is thevampire, Dracula, and the robe he wearsis embroidered with the golden dragonsof the Dracula family crest- dragons thatwere created by Penn & Aetcher of NewYork.Wait a minute. How did embroideryget into the picture with all this blood andhorror? It's Hollywood, dahling, and it'salso a Francis Ford Coppola film.Coppola's recreation on film of authorBram Stoker's legendary literary creatureof the night relies heavily on costuming tocreate a feeling of style reminiscent of thelate 19th century. The director is said tohave had a vision of costumes that do notjust clothe the actors, but actually createthe set. This vision was ably imparted tocostume designer Eiko Ishioka, who, intum, enlisted the services of Sally AnnParsons of Parsons Meares Ltd., a NewYork-based costume design shop. Parsons,realizing that elaborate embroiderywas necessary for a period feel, enlistedthe aid of embroiderers Andrew Marlaand Ernie Smith of Penn & Aetcher. Thetwo share a theater background, and theirsmall shop-12employees at present-hasbecome well known for its specialtyembroidery and embellishments, particularlyon costumes. Currentshowcreditsfor the shop include The Will RogersFollies, ·Miss Saigon and the nationaltouring production of Phantom of theOpera.Marlay and Smith were delighted totakeontheDraculajob, which they admitwas one of the most interesting-if not themost difficult - assignments they haveever had. Penn & Aetcher has been inbusiness for eight years, and the shop has,in fact, built a reputation for being able todesign and embroider the uncommon.The latestfilm versionof Dracularevolves aroundperiod costwnesincluding thetraditionalembroideryoftheera.But thetrickiness anddelicacy of theembroiderycreated achallengefor oneNew York-basedembroideryshop.Although Penn & Aetcher is acknowledgedfor its variety of antique machinesand old-fashioned production methods,the shop soon learned that Ishioka wasmore interested in what modem equipmentcould do. With one exception, theembroidery for the Dracula costumeswas, in fact, done on a two-head. "Wewanted to use our specialty machines,but the designer's vision of the embroiderywas a very flat, smooth, shimmerylook. .. satin stitch," Marlay says.The pair worked closely with both thedesigner and Parsons Meares. ''We had ameeting with Ishioka, saw the sketches,talked through her ideas and showed hersome samples of our work. Then webegan to create samples for the costumesand work them up from sketches tofinished garments. We worked veryThe Costumer's Quarterly- January/February/March 19947


... they wereworkingwith very expensivefabrics onwhich therecould be nomistakes. Someof the fabricswere priced at upto $150 a yardSnakeDressclosely, albeit long distance, becauseshe was in California," Marlay says.The duo found the work experiencepleasant, but also challenging. "It wassudden death," says Smith, who notesthey were working with very expensivefabrics on which there could be nomistakes. Some of the fabrics werepriced at up to $150 a yard, according toSmith and Marlay.Because of the expensive material,very often Penn & Aetcher had onlyone piece to work with; any mistakes orproblems had to be worked out beforethe fabric was embroidered.Because of the requirements of thevarious designs, the embroiderers encounteredotherproblems,aswell. "Youcouldn't hoop the cut parts because theembroidery wentrightouttotheedgeofthe seam line, so we developed techniquesthat are special to us," explainsSmith. "The designer did not want theembroidery to be stiff and rejectedtearaway and cutaway, so we had to goto other backings we use that are outsideof the industry-they are supple and don'tadd bulk to the embroidery" (The embroiderersprefer to keep those alternativemethods confidential.)Among the costumes the pair embellishedwas an intricate bridal dress worn·by the character Lucy. The costumeincludes a ruffled lizard collar - or ruffreminiscentof the Elizabethan period.As with other costumes in the movie, thegown combines elements of painting,screenprinting and embroidery. Althoughthe designer wanted the mostauthentic embroidered look possible,Smith and Marlay maintain that theprohibitiveexpenseofembroideringtheentire costume led the designer to combine screenprinting with paint, while theparts of the gown within camera rangewere embroidered."They wanted to make sure that everythingseen in a closeup was embroidered.ltwas areal challenge to match upsilkscreening and embroidery and havethem register on these oddball shapes,"says Smith. When a small part of acostume covers six feet of screen, details8The Costwner's Quarterly -January/February/March 1994


matter, he adds."The collar is embroidered on plasticscreening (nylon filter cloth) that's like avery fine sort of crinoline fabric.lt is likewhat you see on a screen door; it turnstranslucent when it's lit from behind,"says Marlay. The collar embroidery wasdone using a satin stitch in white polyesterthread with silver metallic. "It had tobe poly," says Marlay, "because theyused a lot of blood, and it had to bewashable.'' However Jshiokaalsowantedthe collar to be of museum quality. "Shewas very specific about it," says Smith.The realities of the wedding dress scenesreally imposed upon the historial vision.Ultimately, the polyester thread and nylonfilter cloth gave the embroiderers astable background for the collar, whilestill allowing the delicacy needed forclose-up shots.The workout the costumes were putthrough also affected how they weremade. "The big concern was the bloodonalmostevetything," saysMarlay, whoremarks that several copies were madeof Lucy's wedding dress. "There wasgoing to be embroidery all the way downthe front of the white panel on that gown;we only ended up doing it to the waist,because she was supposed to do a lot ofcrawling around."The duo also stitched lace for thewedding hat, which was subsequentlycut from the film. "The original hat wasembroidered like the collar. When weput it together, they felt it was too heavyfor the actress, so they simplified it. She'sactually wearing a mock -up hat that wasdone for a fitting. It was never meant to bea costume," says Marlay.The most difficult piece of embroideryPenn & Fletcher prepared for the moviewas the bodice of Lucy's "green snakedress," Claims Marlay. The bodice wasmade in two big pieces cut on the bias,with each piece partly seamed and darted."It was very tricky to frame up, hoop andget all embroidered, so that when it cameoff of the hoop, it was just this beautifulembroidered half-bodice, which had acenter front seam. They had to 'upholster'the foundation garments and the corsetwith this bodiee."The difficulty of the bodice project,Lucy'sWhite DressThe Costumer's Quarterly - January/February/March 1994 9


White Dress DetailAnother elaboratepiece in thefilm is Dracula'smultimediagilded coffinrobe, which wasinspired by thepaintings of19th-centuryAumian GustavKlimt. The robeincludes embroidery,paintingand gold-leafplus the ftlm's accelerated productionschedule, meant the shop staff had to putin two all-night sessions to complete thedress in time. "With movies, there is noroom for late," Smith says.Another green dress - worn by thecharacter Mina- proved challenging becauseits delicate leaf design on the bodiceused three different colors of thread togive it a variegated, orombre, look.lt wasa difficult punching job, says Marlay."That was done literally a stitch at a time,"he says. "I punched it with a very carefuloverlap and a blending of color and stoppingand starting. Where the colors overlapeach other, I had to punch and spacethem a stitch at a time."Another elaborate piece in the ftlm isDracula's multimedia gilded coffin robe,which was inspired by the paintings of19th-century Austrian Gustav Klimt. Therobe includes embroidery, painting andgold-leaf. The embroiderers actually receivedmetallic gauze that had been goldleafed,distressed, stained and painted.They embroidered over the material in aspiral patteminvokingtheartistry ofKlimt,says Marlay. The embroidery was thencut up and pieced into the design of thecostume. "We received the pieces in largeswatch size, embroidered them, and thenthey went back to be assembled like aquilt," recalls Mar lay.The vest Dracula wears under his whitecoat in a scene lit by candlelight alsoinvolved mind-boggling demands. Thedesign, which incorporates the dragoncrest, has 180,000 stitches and "took forever"to punch. "There were probably 60hours of punching time in there," saysMar lay. "There's detail in it that's so small,Crest Vestalotofitwentinonestitchatatime.Ithinkthat was the most complicated punching,"he adds.The dragon crest also appears on a redrobe worn by Dracula Penn & Aetchercreated a variety of these robes in differentfabrics, as well as different lengths andscales, because of the demands the differentscenes placed upon the costume, saysSmith.One of Lucy's nightgowns was alsomemorable in terms of the demands itplaced on the embroidery shop. The embroideryon the gown was done by handand was the only hand-embroidered piecePenn & Fletcher prepared for the movie."It was done in a chain stitch called tambour,"says Marlay, who adds that theorganza material used for the gown was10The Costwner's Quarterly -January/February/March 1994


Wedding Dress Detailabout 10 years old. The fabric was handpaintedandthenembroidered.The fabric'sage and gossamer nature made it a productionnightmare. "It was shredding onthe beading frame when we were workingonit.Itwasveryfragile,"saysMarlay.Sleeplessness and stress aside, it isobviousthatMarlay andSrnitharepleasedwith the work their shop produced for thefilm Says Marlay, "It was absolutelythrilling work. It was very, very hard, butI was so proud of the results."Article copyright 1993 by Wiesner Publishing.Reprinted with permission from the February1993, Volume 7, Number 2 issue of StitchesMagazine. Inset photos courtesy of Penn &Fletcher.·-----------·:Oops!!:III In the Fall 1993 issue of the I1 Costumer's Quarterly, an error was 11 madeintheConFranciscoMasquer- 1I ade Winners list. It was shown that II The Chancelor won Best in Master IOass-Workmanship. TheChancelorI byPaulaChrist-PickettandVaughn II Pickett actually won Best In Show- II Workmanship and The Klingon II Ceremonials by Max Cervantes and I1 Mary Cordero won Best In Master 11 Class-Workmanship.lapologizefor 1I any problems this error may have Icaused-Ed.Why You Shouldnt ..continued from page 5after 1936 when the eminent designer ElsaSchiaparelli used them to fasten the back ofher dresses that it won broad acceptance inwomen's fashions.So, girls, no zippers in the Elizabethans,nor in Victorian ballgowns, the Edwardiantea gowns nor even in the flapper dresses,but guys, you can emulate the speedyPrinceofW ales from the '20's suits on. "Zipme up, honey" is strictly a post-'30's phrasefor the ladies.Source: "Let There Be Clothes, " LynnSchnumbr::rger, 1991.NextIssueI expect to have the following offeringsfor the AprilJM:ay/June 1994 issue:• How To Prepare A Great Kilt• The William Ware Theiss Collection• A review of "Museum of Jewelry"• Gaelic for Costumers• Information on the Bata Shoe MuseumBut that doesn't excuse you from sendingin items! Just remember, if articlesdon'tcome in on their own, I start nagging!-Ed.·-----------·The Costumer's Quarterly - January/February/March 1994 11


New Patterns,Products&PublicationsSeepage20for supplierandsourr:einfonnation-Ed.The SilkwormThis is a newsletter for silk painters andthe planned format includes a question andanswer column, The Grapevine, and informationabout educational opportunities,merchandising, etc. It is going to be publishedon a bi-monthly basis beginningwith the January/February 1994 issue.Charter subscriptions are $10 per year.Freaks of Fashion: TheCorset & The CrinolineThis is a new printing of an 1868 bookby WilliamBeny, written when the crinolinewas going out and the corset controversywas in full swing. It presents a lookat odd fashions from ancient times up to1868, including corsets for women andmen, hairstyles, crinolines and hoopskirts.This new paperback edition includes 54full page illustrations and notes on AmeliaBloomer and the Dress Reform Movement.It is available from R.L. Shep at$21.95 plus tax and $2.00 shipping.The Complete Guide toPractical CuttingThis is a new edition of an 1853 book byEdward Minister. Although the originalwas published as two separate volumes,they are now being presented in one edition.This is early Victorian and includesall types of men's tailored garments andsome women's garments, plus uniformsfor Army, Navy and Civil Dress. It isavailable from R.L. Shep at $31 .95 plustax and $2.00 shipping. Softbound.German Slash and PuffMedieval Misc. "Period Patterns" hasdelivered the long-awaited woman's GermanSlash and Puff pattern. It covers designsfrom 1500-1545AD and has sixdifferent gowns withthreeadditionalshouldercapes. All sizes ranging from 6-20 areincluded. Offered by Raiments at $18.00.Folkwear PattemsFolkwear has 6 new patterns. The two inthe Metropolitan line are the 1913 PoiretCocoon Coat and a 1920 Afternoon Dressby Jean Babni. In their Ethnic line theyhave a Japanese Hakama Pants pattern.There are two new 1950's patterns - a1950's Swing Suit and "At The Hop"which includes a circle skirt, blouse andsweater, complete with a poodle applique.The sixth new pattern is a "Nursery Days"collection for babies. These are offered byRaiments.Art in DressThis is a new printing of a 1922 book byP. Clement Brown on the flowering of theArt Deco style in fashion. It presents adressmaking system for all types ofwomen's wear and also has clothes forchildren and young women. This newedition includes the original illustrationsbut additional illustrations have been addedfrom another 1922 publication to roundout the reader's knowledge of the periodfashions. It is paperback and availablefrom R.L. Shep at $17.95 plus tax and$2.00 shipping.12The Costumer's Quarterly - January/February/March 1994


From the ICGPresidentby: Pierre E. Pettinger, Jr.The 1994 Annual Meeting of the InternationalCostumer's Guild will be heldon February 21, 1994 at CostumeCon12. The site will be the Santa ClaraMarriott, Santa Clara, California Meetingtime and room will be announced inthe convention program schedule. Thismessage contains the following:1. Preliminary Agenda for the 1994Meeting2. Motion 13. Motion 24. Nominated Officers List5. A VotingProxyforthe 1994Meeting(see page 21)The preliminary agenda reflects thoseitems I have received official notice of orthose items carried over from the 1993meeting. It is not too late to bring items ofbusiness to my attention. If any suchitems arise, the fmal agenda, which willbe available at meeting time, will reflectthose items.Any individual who wishes to run foran ICG office should contact me as soonas possible. At this time the current Presi-. dent, Vice-President and Treasurer are'running for the 1994-95 term. There areindividuals who have expressed interestin running for the offices of Correspondingand Recording Secretaries. However,any individual may run, or nominateanother invidual, if they desire. Ifyouwishtonominateanindividual,pleasesupply me with their name, address andphone number, so I may determine ifthey are willing to serve if elected. Youmay also nominate yourself.Contact me if you have any questionsabout the meeting.1994 Annual MeetingPreliminary Agenda••••••••••••••••••••••I. Call to OrderII. Minutesill. Treasurer's ReportIV. Old BusinessA Motion IB. Motion2C. TrademarksV. New BusinessVI. CC15 Site SelectionVII. Election of OfficersMOTION 1:Moved-To delete from the Guidelines ofthe International Costumers' Guild Guideline# 15 which currently reads:"Once a person has won at a level, theymay then claim to be ranked as such. Inother words, a person is calleda'Journeyman' after they have won in theJourneyman category."MOTION2:Moved - The ICG will present to ForrestJ. Ackerman a special award and plaqueshowing our esteem and high regard, andrecognizing him as the 'Father of ConventionCostuming.' The presentation of thisplaque is to be a Conadian, the 52ndWorld Science Fiction Convention, at theMasquerade. Presenters shall be the Presidentof the ICG, accompanied by a representativeof each available chapter. Costof the plaque is to be covered by a specificamount donated from each chapter, saidamount to be determined by an equal splitof the cost of said plaque.O:mtinued on page I 6It is not too late tobring items ofbusiness to myattention.\The Costumer's Quarterly -January/February/March 199413


Vote to DefeatMotion 1by: Steve SwopeThe motion wasintended to completethat task byputting the guidelineinto a formthat matched itsapparent intent.The issue before us concerns a guidelinewhich attempted to define the termsto be used to describe the various skilllevels of costumers, based on their performancesin past masquerades. Unfortunately,the wording of the guideline wassuch that one needed to win at a level inorder to use the term appropriate to it Thiscreated undefined regions ("VelveetaZones"), in which the logically correctterm did not apply. Even worse, it meantthat a first -time entrant was insufficientlyqualified(undertheguideline)todescribehimself or herself as a Novice!The straightforward solution to thisproblem would be to reword the guidelineso that the terms apply to the lowest skilllevel at which someone is permitted tocompete. At the ICG business meeting atCostumeCon 11, a motion to do just thatwas introduced However, amid voicedconcerns that the ICG was somehowgranting titles of rank by applying namesto the skill divisions, the motion wasaltered to the point of unrecognizability,intoaform which attempts to deal with theproblem by eliminating the guideline entirely.This altered version was then placedin parliamentary stasis until CostumeCon12, at which time it is to be debated further,and perhaps some decision reached.The motion, as originally introduced wasintended to do one very simple thing:remove the undefined regions (aka"VelveetaZones") produced by the wordingof the guideline. Nothing else. Theguideline in question has already beenadopted by the ICG, in its admittedlyimperfect form. At the time of its adoption,the difficulty in its wording wasdiscussed, but it was deemed better toadopt it as written (ending the long anddifficult process of putting a guideline inplace at all) and clean it up later. Themotion was intended to complete that taskby putting the guideline into a form thatmatched its apparent intentIf there are any wider issues, such aswhether stating the criteria for the use ofcertain terms to describe levels of expertiseconstitutes the granting of "titles ofnobility," and whether such a thing isdesirable if it does, they are far beyond thecontinued on page 1614The Costumer's Quarterly- January/February/March 1994


Op•1ngRanks- PassMotion 1by: Janet Wilson AndersonOnce again, the International Costumers'Guild at its upcoming annual meetingwill be discussing the issue of establishinga rank system. This rank system wouldbestow upon individual costumers Guildsanctionedtitles of "Novice Costume,""Journeyman Costumer" and "MasterCostumer," independent of aspecificcompetition.First, let's clear away the major misconception.This issue has little to do with theskill divisionsystemforcompetition. Mostof us agree that running competitions on asystem that allows beginning and intermediatecostumers recognition for their workin "protected" divisions separate from theadvanced costumers is a Good Thing. Itencourages beginners, provides intermediateswith a target for improvement andrequires the advanced to continually testand expand their skills against their peers.While the definitions may vary from competitionto competition and venue to venue,the concept seems to work and few wouldargue with the ICG sanctioning it, as wehave.However, independent titles are a verydifferent matter. Granting titles is a dangerousand tricky business, with two bigproblems. First is the issue of worthiness -on what basis do you decide who getsennobled? And, even more importantly, isthe philosophical issue of the goals andobjectives of the ICG itself.First let me bore you with a little history.(Those of you who have battled this issuesince the early '80's may skip this part andgo straight to the *****'s.)Peggy Kennedy, about 14 years ago,first proposed that it would be fairer ifWorldcon competitions were run, not as afree-for-all where everyone competedagainst everyone else, but with some recognitionthat there were some costumersmore experienced and skilled than others.She proposed a skill division system.Bjo TrimblefrrsttrieditoutatDenventionin 1981, and lots of folks liked it! Chiconin 1982 announced that they'd run theirmasquerade that way, and then didn't.Shock! Dismay! Much discussion at thepostmortem and general support for goingback to the divisions, particularlyfrom those who had thought they'd beencompeting at the Novice andJourneymanlevel. Marty Gear, who was running thenext year's WorldCon masquerade, waspersuaded to reinstate the division system.CostumeCon, which got started in avery modest way in 1982, also used thedivision system from the start for its competitions,generating still more support.continued on page 17First, let's clearaway the majormisconception.This issue haslittle to do with theskill divisionsystem for competition.The Costumer's Quarterly -January/February/March 199415


Passing themotion in itspresent form(removing theguideline inquestion) wouldnot eliminate the'~lveetaZo nes "...Defeat Motion 1continued from page 14scope of the originally proposed amendmentand not germane to the issue itaddresses. If a discussion of such furtherissues is desired, then it should be calledfor on its own merit, not wrenched from amotion whose purpose is entirely differentWhile such manipulation may belegal from a parliamentary standpoint, itcompletely violates the spirit of the originalmotion.Bear in mind also that what is to be votedon is a change to a guideline. Nothing in itis binding on anyone in any way whatsoever.Chances are, people will call themselveswhatever they like, no matter whatthe ICG recommends. (Arguably, thisrenders the entire set of guidelines a vacuouscollection of ineffectual pronouncements,but it would still be nice for it to bea tidy and internally consistent vacuouscollection of ineffectual pronouncements.And, binding ornot, the guidelines are stilluseful.)Passing the motion in its present form(removingthe guidelineinquestion)wouldnot eliminate the "V elveetaZones;" ratherit would combine them, along with thecurrently well-defmed zones, into onemassive region of doubt and uncertainty,in which there won't even be so much as asuggestion of proper nomenclature.I therefore recommend that the motionin its present form be defeated, in order toallow the original motion to be reintroduced,and to allow any other issues relatedto the guidelines to be discussedseparately, without all the emotional andparliamentary baggage with which therecent debate has saddled them.From The Presidentcontinued from page 13Nominated Officers Ust• •••••••••••••••••••••President: Pierre E. Pettinger, Jr.Vice-President: Patrick KennedyTreasurer: Betsy MarksCorrespondingSecretary: Janet Wilson AndersonRecordingSecretary: Dana MacDermottNews Flashes!The Costumer's Guild West has announcedthat they have formed a committeeto bid for the 2000 Costume Con -CostumeCon 18.There are rumors that the Australian Sub­ChapteroftheCostumer's Guild West willpetition for full Chaptemood at CC 12.16The Costwner's Quarterly- January/February/March 1994


Pass Motion 1continued from page 15postmortem and general support for goingbacktothedivisions, particularly fromthose who had thought they'd been competingat the Novice and Journeymanlevel. Marty Gear, who was running thenext year's WorldCon masquerade, waspersuaded to reinstate the division system.CostumeCon, which got started in a verymodest way in 1982, also used the divisionsystem from the start for its competitions,generating still more support.The initial definitions proposed byPeggy and adopted at the WorldCon levelmore or less by consensus (remember,there was no Guild, no general costumer'sorganization at all!), said that you had tocompete at the Master level after threewins at WorldCons. Immediate modificationsarose with three wins at Journeymanbumping you up to Master, or anywin at Master level if you challenged thedivision making you permanent at thatlevel.Then in 1983 Sally Fink, with the bestof all possible intentions, created the MasterCostumer button - and all hell brokeloose. Sally's intent was that those whowere required to compete at the Masterlevel in WorldCon competition shouldwear her button so that others would knowwho to go to for advice and information.It would provide a little recognition of theknowledgeable among us. It didn't workout that way.Egos flared. Some of those who got abutton got arrogant. Some of those who.didn't have a button and thought theyshould, pouted. Some of those who didfelt others who did were unworthy. Somevery talented costumers who no longercompeted felt slighted. Others who nevercompeted felt their work was denigrated.It was a very unpleasant and messy time.(I have the AP As to prove it.)In 1985, while this whole controversywas raging, theiCGwasformedby Martyand myself during CostumeCon 3. Overthe next three years much discussion ofthe division system took place within theICG. The issue of CostumeCon winsbeing equivalent to WorldCon wins wasmuch debated But titles of rank remainedinformal, with some folks using them andothers not.At the ICG meeting at CC6, the issuewas deb~ withsomeheat. Titles of rankremained unsanctioned, withastrongfeelingthattheexperiencewith Sally's buttonswould indicate that this wasn't a goodthing for the ICG to get into.Then at CC9 the ICG voted to try toregularize its guidelines for competitions,including skill division system definitions.Included in the package of guidelinespresented for vote was one sanctioningtitles of rank. It passed, but immediateproblems with the language arose. A competitorstarted as nothing, became a "Novice"after winning at that level, passed outofNovice and became untitled again untilwinning as a Journeyman, passed out ofJourneyman and again became untitleduntil winning as a Master, whereupon the"Master" title was bestowed. AtCC 11, thelanguage issue was addressed, and thematter tabled so this issue could be examinedindependently of the skill system. AtCC12 it will be put to a vote.********Now we face the subject head on. Thebiggest issue remains: Do we, as an organization,want to set up a heirarchy of"nobility" within our group? Do we wantto declare some of our members more"worthy" than others? And then, if so, onwhat basis?Let me address the second issue first,since if we can't determine a fair way toaward the honor, we probably shouldn'tdoit at all.The proposed titles are "Master Costumer,""Journeyman Costumer" and"Novice Costumer." The proposed basisis competition wins at WorldCons andCostumeCons. One achieves titles of rankbased on the number and level of wins onstage at these events.As proposed, there is no distinctionamong wins. SF and Historical wins aretreated as the same. One could be a "MasterCostumer" after winning in the SFcompetition and never have made a historicalcostume at all, and vice-versa.Also, only CostumeCon and WorldConwins count to grant titles. Those competingandwinningatnon-intemational eventsThe biggest issueremains: Do we,as an organization,want to setup a heirarchy of"nobility" withinour group?The Costumer's Quarterly- January/February/March 199417


Its only criteriafor admission isan interest insome aspect ofcostwning. Youdon't even have towear or 111i1kecostumes tobelong -just beinterested in themBased on history,titles play to theworst side ofhuman emoition,and I fear whatthey will do to theICG.are not recognized at all. If there is noCostumeCon or WorldCon near you for anumber of years and you can't get to these,the ICG would not grant you title recognition,even as a Novice.Thirdly, workmanship wins are totallyignored. One could presumably be dubbeda "Master" with limited knowledge oftechnical skills and a narrow range ofstage-grabbing talents. (I know - I was in1983, under the Fink rules!)Fourthly and worst of all, this basistotally ignores other forms of costumingability beyond those demonstrated in ourpeculiarly-defined stage competitions -design,research, technique, academic, non­SF or historically-oriented (ethnic, dance,clown, theater, etc.) are deemed unworthyof ICG recognition. Personally, I know anumber of costumers whose work I acknowledgeas masterly who never haveand never will compete in a masquerade,and I'm sure you do, too.On this basis, the ICG would let peoplecall themselves "Master Costumers" whocould, in theory, have few skills outside anarrow area of expertise, and the ICGwould deny the titles to those who haveextensive skills and knowledge but whochoosenottodisplay them in stage competitions.Frankly, I think this is ridiculous!Okay, you might argue, change the titles:"SF Competition Master," "HistoricalCompetition Journeyman," etc. This bringsus back to the problem of those whocompete regionally, but not internationally.Do we cast them into outer darknessas unrecognized? Or do we further complicatethings with "Regional SF CompetitionMaster" vs "ICG SF CompetitionMaster?"And do we start setting up a system torecognize those who win at workmanshipor at design competitions or in the dollcontests? "ICG Future Fashion DesignJourneyman?" "Regional SF WorkmanshipCompetition Novice?" "ICG HistoricalDoll Master?" etc. Title proliferationbeckons ....Or what about a system to recognizeskills not demonstrated in various ICGcompetitions? Someone one proposedmerit badges like the Girl Scouts. (ABlackworkbadge? AGlitzbadgewithtwosequins for mastery of both rhinestonesand glitter?) And then, if you get so manymerit badges, you get a title? (And thenwho sets up the criteria and administers theprogram???)Does this whole thing seem to be fallingof its own weight? I hope so.Philosophically, I admit to rampant egalitarianism.The ICG I co-founded has as itsgoals the sharing of knowledge, the encouragementofasenseof community, andthe promotion of costuming as an endeavorworthy of respect. Its only criteriafor admission is an interest in some aspectof costuming. You don'teven have to wearor make costumes to belong -just be interestedin them. And for those of us who do,it was supposed to be a place where wecouldleamfromeachother, be appreciatedfor the work we do and the art we create.The ICG I envisioned was a welcomingp!ace to all costumers. Competition costurninghad a role to play, but it was by nomeans the only thing we did. The ICG wasa place where those who chose to enjoy theartform in non-competitive ways were justas "worthy" members as those who puttheir stuff on stage. And one where skillsand knowledge of all kinds were for sharingwith one another, not for boastingabout.I deeply fear that setting up narrowlydefinedtitles of rank will work againstthese goals - even assuming we can reachsome agreement on the definitions themselves.Egos are part of the human condition,as is arrogance, insecurity, and thedesire to raise oneself up by putting downothers. Based on history, titles play to theworst side of human emotions, and I fearwhat they will do to the ICG. Given thedefinitional problems, at a minimum theymay simply make us look stupid.Personally, the only title I want or needfrom the ICG is "member." I hope the restof the membership will agree with me andvote to oppose the recognition of any otherrank by passing Motion 1. Remember,passing this motion will not eliminate theskill division competitions.18The Costumer's Quarterly -January/February/March 1994


lips, Tools &TechniquesAcrylic Medium (or I amso cheap)by: Susan L. TakerAcrylic medium is wonderful stuff forcostuming usage and can even be used todilute acrylic paints (for which it wasoriginally designed). Animal X recommendedusing acrylic medium as an inexpensivesubstitute for Fray Check in anearlierQuarterlyarticle. Remembering that .hint, I began to play with it as costumingproblems arose.Where do you get acrylic medium? It isusually carried at art supply stores that sellacrylic fme art paints. Craft stores will alsohave it in their painter section. The mosteconomical way to buy it is in the largercontainers available at the bigger art supplystores. A 16 oz. bottle costs about $7 to$10 (or $.44 to $.62 per oz.) as comparedto Fray Check at $2.50 to $4.00 per oz. atfabric stores. It comes in glossy and mattefmishes. I tend to just get glossy since I alsouse it to apply glitter and to fray checktissuelameandothermetallicfabricsalongwithmoremattetexturedfabrics.Sincethematte textured edges are usually seamedges and not seen, the glossy mediumworks just fine.I fray check fabric edges as soon as I cutthe piece out to minimize shredding. Onoccasion, especially with tissue lame orother loose woven metallics, I have appliedthemediumalongthecuttinglineandlet it dry before cutting out the piece. Justremember NOT to use your good scissorsto cut.For fray checking, I use one of theempty, small (1 oz. size) and fine tippedfabric paint bottles which I fill up from alarger container. You then apply it to theseam edges similarly to fabric paint.Acrylic medium is very fluid and soaksThe Costumer's Quarterly- January/February/March 1994into fabrics easily. For fray checking I runa moderate line of the medium along theback side of a seam edge (no more than1/8" to 114" wide). The medium will soakm.It takes a little time for the acrylic mediumto dry. I have never timed it preciselybut it should be around 7 to 15 minutes. Ifit takes 15 minutes or more, then you areusing way too much medium or yourcastle is particularly cold and damp!Once dry, the medium can not bewashedoutoffabricsorcarpeting,soworkon a protected surface. I often hang ordrape fabric pieces to dry in the bath tub,because I can peel the medium off hardsurfaces like porcelain and metal.If an accident happens, or you want toremove some acrylic medium, it can bewashed out while still wet. Wash the pieceout with warm (not hot) water and soap ordetergent. There are also brush cleaners,found at art supply stores, that are supposedto be good at removing the medium.I have not tried them and do not know howwell they will work on fabric, or if they willaffect the color.Acrylic medium seems to be very chemicallyneutral andlhave not had any troublewith discoloration or fabric "melting." Iam not so sure Fray Check is quite soinnocent. The medium may get cloudy ifdiluted with water, so it is best to use itstraight.Acrylic medium is just a bit stiffer thanregular Fray Check. For the thicker weaveupholstery-type fabrics acrylic medium isperfect.Iliketouseitwithmetallics(whichseem to shred instantaneously) butl wouldprobably neverusemediumor Fray Checkon fmer fabric like velvet or silk (a sacrilege!).You may want to decide based onwhat you are creating. For stage costumesI would use the acrylic medium, for softer,flowingclothinglmighttry Fray Check or,betteryet,zig-zagtheedgingoruseFrenchseams.Acrylic mediumseems to be verychemicallyneutral and Ihave not had anytrouble withdiscoloration orfabic "melting. "19


Don't microwaveBVD'sfornwrethan about threeminutes!Finally, as with all costume techniques,experiment before you use acrylic mediumon your good projects. Make sure to test iton a sample of the fabrics you are using tomake sure that a bad chemical reaction willnot occur and to give you a feel of howmuch/little medium you need to use.Acrylic medium is a versatile substancefor other costuming uses since it dries clearand is water resistant. For instance, I use itto apply glitter on the magic wands I makefor kids. (I brush on a layer of the mediumand then sprinkle on the glitter.) It holds theglitter well and does not wash off so thewands will last longer. So experiment withit and tell the rest of us what you havediscovered.Microwaving Clothingby Maura RebholzThis is definitely a tip to remember inour microwave society. I had the pleasureof recently spending some time with acostumingfriendofmineandstaying atherhouse for several days.One day we decided to go to a movieand, while attempting to get dressed, herhusband discovered that he didn'thaveanyclean underwear in the house and the pairsin the dryer were not completely dry. Myfriend decided to microwave one of thedamp pairs to dry them quickly.She set the timer for six minutes and atabout four minutes her husband and Ismelled something odd. When she pulledthe underwear from the microwave aftersix minutes, it was smoking!She put this down to steam and set theunderwear down to let it cool off. ItW ASNT steam - the underwear was onfire!Her husband doused the pair in the sinkto make sure the fire was out and then wasleft with a soggy (no longer damp!) pair ofunderwear with black bum marks on it.So, here's your tip, don't microwavedamp BVD's for more than about threeminutes!R.L. ShepBox668Mendocino, CA 95460(707) 937-1436RaimentsP.O. Box 93095Pasadena, CA 91109(818) 797-2723 (limited hours)10 AM to 4 PM Tues-ThursFax orders to: (818) 791-9434CServe: (do Anderson) 72437,674A catalog is available for $5.00. TakesMastercard and VisaStitches MagazineWiesner Publishing7009 S. PotomacEnglewood, CO 80112(303) 397-7600Subscriptions are $28 per year, publishedmonthly and twice in May. This is amagazine geared toward the commercialembroidery industry.20The Costumer's Quarterly - January/February/March 1994


1994 Annual MeetingProxy Assignment FormL(please print) assign my vote to and authorize the below-namedmember of the International Costumers' Guild, belongingto ________________(please print) Chapter to represent me in all business coming before the 1994 Annual Meeting of the InternationalCostumers' Guild.Assignor:Nrume: _______________________________ __Address: ______________________________ __City: _______________________ _ State: _____________ _ Zip: _____ _County: _________________________________________________________ ___Chapter: ______________________________ _Signature:, ______________________________ __Assignee:Nrume: _______________________________ __Address: _______________________________________________________ _City:, ____________:.___State:,__________ Zip: ___________County: _________________________________Chapter: ______________________________ ___Signature: ______________________________ __Notes:• The Assignee and Assignor must B01H be members in good standing of the International Costumers' Guildin order for this Proxy to result in a valid vote.• This page may be removed from the Costumer's Quarterly and used as a Proxy form. The back is preprintedwith the mailing spaces for it to be sent to ICG's Corresponding Secretary .If you do not want to remove the pagefrom the Quarterly, a photocopy is perfectly acceptable.The Costwner's Quarterly -January/February/March 1994 21


To:The International Costumers• GuildAttn: Debbie Jones, Corresponding Secretary1444 Arona StreetSt. Paul, MN 55108~--------------------------------------22 The Costwner's Quarterly- January/February/March 1994


Guild ChaptersThis magazine is sponsored by the International Costumer's Guild. For your membership dues, youreceive 4 issues of this magazine per year. Some chapters also have a local newsletter, meetings andlocal discounts. We currently have 16 chapters and we are still growing!Costumer's Guild WestP.O. Box 6066Altadena, CA 91003Dues: U.S. $20/year$1 0/year for additional household membersICG Subscription - $15/yearCanada & Mexico - $24.50/yearInternational Air Mail - $32.50/yearGreat White North Costumers' Guildc/o Costumers' WorkshopBox 784 Adelaide Street POToronto, Canada M5C 2K1Dues: $12/yearGreater Columbia Fantasy Costumers' GuildP.O. Box 683Columbia, MD 21045Dues: $15/yearHeartland Costumers' Guildc/o Shirley Schaaf1818 WashingtonKansas City, MO 64108Dues: $1 0/yearThe Lunatic Phrynge Costumers' Guildc/o Vicki Warren1139 Woodmere Rd.Pottstown, P A 19464Midwest Costumers' Guildc/o Pierre Pettinger2709 EverettLincoln, NE 68502Dues: $12/yearNew England Costumers' Guild(aka Boston Tea Party & Sewing Circle)c/o Eastlake318 Acton StreetCarlisle, MA 01741Dues: $15/yearNY/NJ Costumers' Guild (Sick Pups)c/o Mami85 West McClellan A venueLivingston, NJ 07039Dues: $20/yearNorth Star Costumers' Guild(The Minnesota Mafia)c/o Sherrin Houtman3237 Garfield A venue South, UpperMinneapolis, MN 55408People Your Mother Warned You Aboutc/o Animal X7201 Meade StreetPittsburgh, P A 15208Dues: $8/yearRocky Mountain Costumers' Guild7121 South Webster StreetLittleton, CO 80123Southwest Costumer's Guildc/o Kim L. MartinP.O. Box 39504Phoenix,~ 85069Dues: $16/yearSt. Louis Costumers' Guild(aka St. Louis Ubiquitous Tailoring Society -SLUTS)c/o Nora & Bruce Mai7835 MilanUniversity City, MO 63130Dues: $12/year single, $16/year 'couple'Wild and Woolly Westsern Costumers' Guildc/o Katherine Jepson19 Taraglen Court NECalgary, Alberta, Canada T3J 2M6Dues: $20/year (Canadian)Quarterly- January/February/March 199423


Bulk RateU.S. PostagePAIDNewport Beach, CAPermit No. 2941HE INTERNATIONAL COSTUMERS' GUILD'SCost:umers QyarfifliJ17860 Newhope Street, #A-296Fountain Valley, CA 92708Please ForwardAddress Correction RequestedTo:

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