Archive for the ‘Blog’ Category

Vintage Vogue 285

Tuesday, February 19th, 2013

V2858-6I have this pattern, Vintage Vogue 2858, that I love and has been sitting in my pattern drawer since it went out of print.  Like, oh, 2008?  It is beautiful, but so far remains unused.

It shall be unused no more!  I have 3.5 yards of gorgeous red velvet with which to make the long, evening version.  It shall be decorated with gold braid, the skirt lined in a gold fabric, and I will acquire red opera-length gloves and red and gold shoes.

Do you see where I’m going with this dress?  I hope you do because it’s part one of three for my next big art project.  There will be sunbursts and LEDs and a truly amazing 40s hat.

Sixth Doctor coat, premiered at Dragon*con 2012

Tuesday, September 4th, 2012

One of the benefits of doing a less well-known Doctor is that you are not one of a sea of Nines, Tens, or Elevens.

Downside is that fewer people recognize your costume. 🙁

But the people who do get super excited about it. 😀

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Tenth Doctor suit: it sounded like a good idea at the time.

Tuesday, August 7th, 2012

Ask any Doctor Who cosplayer and they will go on and on about how hard it is to find the Tenth Doctor’s trademark suit fabric.  Dark brown with tealy-blue pinstripe, the outfit was originally based off a pair of Gap pants the costumer thought were perfect and had matching fabric commissioned.  Needless to say, finding appropriate fabric from which to sew your perfect Ten suit without scouring eBay for months for every single pair of those Gap pants you can find and then carefully cutting your jacket from them is difficult.  For a while Joanns had a linen blend that was, while not perfect, a passable potting soil brown with turquoise stripe. People set up charts and maps of stores that still had the fabric in stock.  It is long since gone.

In a theme for my life, I don’t remember how or why it came up, but at some point I offered to make a friend of mine a Ten suit if I ever found appropriate fabric.  Possibly because I like dressing up, didn’t want to alone, pestered her until she agreed, and a female version of Ten was something she would accept doing as it was neither too obvious nor too weird.  A suit is a suit and it could be worn as workplace wear with the added benefit of stealth geekery.

Finding the fabric was a big if though, so I didn’t expect too much of it.  There are places that offer accurate reproductions of the fabric, right down to dye color, stripe width, and fiber content and weave.  They’re about $60 a yard.  Costuming can be a serious hobby.  I wasn’t going to go that far.

Some time last December, I was in Britex Fabrics (oh frabjous day!) for something with the idea in the back of my head that I would keep an eye out for brown fabric with thin blue stripes.  I wasn’t expecting much.  Ha.  I was wandering through the third floor when I turned around and there it was.  Brown suiting fabric with blue pinstripes.  It’s not a perfect match for the original.  It’s not cotton sateen, the stripes are much thinner, woven rather than printed, in a different pattern and width, and the colors are a bit different.  The brown is darker and the blue has a bit more green.

I didn’t care.  I called her, thankful that she picked up in spite of being at work, and excitedly announced that I found It.  I had found Ten fabric.  I needed her permission to buy, on the agreement that she would pay me back, and was granted it.  I purchased four and a half yards.

The fabric I found is really, really classy.  It has a beautiful drape and I love the stripe pattern.  It’s much more suit-like.  Besides, I wasn’t going for a screen-accurate reproduction.  I was doing an interpretation.  This was going to be a woman’s suit, not a man’s suit for a woman.  Genderswap, not crossplay.

It took a while to chose a pattern to use, partly because I am picky and partly because my friend was no help.  I was making her a Ten!suit, that was more than enough to make her happy; opinions on style and cut and the like were not forthcoming.  I eventually remembered that I had a Simplicity pattern of a retro 1940s woman’s suit that had all the details I wanted.  It had vertical princess seams, rounded rather than pointed lapels, a neater fit, and two-piece sleeves.  I suggested that pattern to her and then the opinion came in: that it was PERFECT.

Thus, an epic costume was begun.  I even have enough fabric to make a matching fedora.  😀

Femme!Sixth Doctor: the birth of insanity

Tuesday, August 7th, 2012

Perhaps one of the most memorable looks of Classic Doctor Who is the Sixth Doctor’s striking frock coat ensemble.  Described as “an explosion in a rainbow factory”, the coat is an eyesore of vivid colors, mis-matched prints, unrelated textures, and unusual layout.  Combined with yellow and black striped trousers, equally bright vests, red spats, and a rainbow umbrella, it’s a garish visual representation of the Sixth Doctor’s chaotic and unstable nature.

It’s precisely why I love it.

This year, through a series of whirlwind events, I’m part of a themed cosplay group for Dragon*con.  We’re doing genderswapped Doctor Who.  Eleven female Doctors and a handful of male Companions.  Let the double takes, the commentary, the hilarity begin.  I had already promised a friend that I would make her a Tenth Doctor suit (see related post) so that was that locked in.  I had originally planned to make myself Donna’s lovely purple dress from “The Fires of Pompeii” to coordinate, but when the massive genderswap!Who project began, it didn’t take much persuasion to convince me to leave that for another time.

I, of course, placed dibs on Six.

How, thought I, could I do an interpretation of the Sixth Doctor’s look that was female but not too difficult to create?  (I have seen the Sixth Doctor’s outfit done as an 18th century court gown complete with pocket panniers.  I <3 cosplayers.)

I don’t remember how or when the idea came to me, but soon after I was designing, of all things, a lolita-eque version of Six.  Ruffles!  Poofy skirt!  Not the most original, but fun.  I would be the eyesore you wanted to hug.  Or run away from.  Either works.

Then I began to search for the right fabrics.  And searched.  And searched.

San Jose Short Film Festival Pt1

Thursday, December 16th, 2010

The San Jose Short Film Festival (Dec 9, 11, 12) completed its second year with a stunning array of high-quality short films from around the world.  Shown in downtown San Jose at the Camera 3 theater, it was a small but vibrant festival celebrating short films under fifteen minutes long.

“Blueberry” (dir. Matthew Sanger) is a twelve-minute short from the United Kingdom that will steal your heart with its innocent charm while having you on the edge of your seat with building suspense.  Starring Harley Bird as Daisy, a small girl for whom the world is forever wonderful.  Convinced that mummy has simply gone on holiday (without either her or her father and with her uncle) and that daddy (Jay Simpson) has the sniffles and an eye infection (that he treats with “medicine”), Daisy falls in love with an enormous python in the pet shop and takes it, the eponymous Blueberry, home.  Soon Blueberry becomes the focus of Daisy’s play and attention, but there is something not quite right with the snake…

“Los Gritones” (“The Screamers”) (dir. Roberto Perex Toledo) is a short film from Spain that reminds you that good stories can be told in very little time.  The shortest film it the festival with a running time just under two minutes, including the title and credits, Los Gritones allows you to share a moment of revelation with a couple as they yell into an urban void.

The Pale Man of “Pan’s Labyrinth”

Saturday, July 3rd, 2010

The Pale Man, perhaps one of the most disturbing monsters created for film, at first appears to have no eyes.  In this eyeless state, he is the blind guardian of the sumptuous, but forbidden, feast laid out in his Underground banquet hall.  Though he is shown through the paintings to be a fearsome and horrifying monster who eats the multitude of children he catches with his gastronomic temptation, his stillness and his apparent lack of sight render him seemingly impotent.  It is not until Ofelia gives in and eats some grapes in the classic blunder of both true fairy tales and the Greek myth of Persephone that he comes to life.  He lurches into motion in the background as Ofelia is obliviously savoring the grapes in the foreground.  Then, in a gruesome moment, he picks up the orbs on the plate in front of him and inserts them into the holes in the palms of his hands, revealing them to be his eyes; he is not as blind as previously thought.  This action, combining the exposing sense of sight with the active force of hands, is where his might lies.  He is not a fast or gainly creature; he may chase his prey, but is easily outrun.  It is, however, impossible to hide from him and as there is no exit from the hall, he is guaranteed to win.
A possible source of inspiration for this imagery is the hamsa (Arabic) or chamesh (Hebrew) hand of Islam and Israeli folklore.  Hamsas frequently include an open eye in the center of the palm and are amulets for protection and warding off the evil eye.  They symbolize the protective hand of the Creator, or God.  The similarity of the hamsa to the hand-eyes of the Pale Man is a grotesque inversion of such a protective symbol, turning it into the power a frightening, destructive horror of a beast.  The Pale Man’s antithetical hamsas becomes the evil eye the charm is supposed to vanquish.

Transsiberian

Sunday, November 16th, 2008

Transsiberian

Good news, the Russians are the bad guys again!  Suspense on the rails hasn’t been this good since Hitchcock’s Strangers on a Train.

Beautifully shot in the stark and snowy landscape as well as the increasingly claustrophobic train interiors, the film, noir-ish thriller set along the eponymous Trans-Siberian railroad from Beijing, China to Moscow, Russia, traces the journey of two couples, a corrupt Russian police officer and his henchman, and a bag of heroin dolls.