Large-sleeved Bolero pattern drafted

I did a pattern-drafting course in Róisín Cross Silks in Dún Laoghaire, Co. Dublin under Sarah Foy. It was very good. I designed a pattern for a bolero. A large-sleeved bolero.

I made copies for all the ladies in the class and posted them to them as Christmas presents!

 I made it up in a colouredy silk but I found it hard to match anything to the bolero and I never actually wore it; I put on weight and it no longer fit. So I gave it away without taking a photograph.

 All I have are these pictures of the pattern! And the pattern itself.

"Meditate where you're at" cushion

I intend to meditate more often. So why don't I? I'm not a lazy person and I'm good at keeping my word - so usually when things aren't happening there's an explanation for it. And if I really truly intend or want to do the thing... then I should search for the reason that it's not happening.
I got a meditation chair, thinking that would entice me

 ... but I'm still not meditating. And I think it's because:

• it takes up a lot of space > so there aren't many options about where it can be
• the chair is a permanent fixture > I can't move it from place to place depending on where the sun shines or if one of the rooms in my place is occupied

For a while, I thought I wasn't using it because it had no cushions, but I made cushions so I had overcome that obstacle!
I'm staying away from home, alone on a semi "retreat"right now (which is why I'm thinking about meditating!) and I started scribbling and designing an idea for a "Meditate where you're at" cushion - because really all meditating requires is sitting on your bum on the floor and concentrating. I'm a big believer in posture; striking a pose has a huge effect so sitting on the couch wasn't working for me, I need to be crosslegged. The tiled floor is cold here and the cushions were too small... hence the requirement to design something.

I'm thinking it can fold.

The black line indicates a zip. And it's got a handle on it, not sure where yet

There's loads more work to be done! I'm writing about it here so I can throw out the scribbly bits of paper that I've been designing on!
For the filling, I researched some Ikea baby foam mattresses, Vyssa Slappna:
160x70x7 €30
120x60x5 €20
When I go home, I will ask someone to sit on some paper or fabric on the floor and draw around them to get the shape and dimensions.
Regarding the shape, I'm not fully decided on it yet, not entirely sure that I like the heart shape above. I had dismissed this shape, however, and focussed on progressing with the other, the folding etc is working out with the heart shape.

This is what happens with design - an idea must get discarded, sometimes for no valid reason other than a whim - but I suppose that's what designers are for, trusting their whims and following them!

Operatic Costumes

I've had my debut as Costume Designer for Lyric Opera Productions! I've worked in Wardrobe with them for a year and a half and now I've been entrusted the bigger job of creating the "vision" of who wears what. Not only that, the programme notes that I am also Wardrobe Supervisor. My skill levels are being tested to the maximum!
The opera is Tosca. Not a difficult one to costume. In the National Concert Hall. Two shows done, one show to go on Tuesday, 20th May 2014.

Act one: Congregation (chorus)

 Act I: Ecclesiastical procession

Act II & III: Tosca

Spoletta, Sciarrone, Jailer

Julie Feeney's Clocks Dress

Julie Feeney is a singer, songwriter, composer, orchestrator, entertainer, performer, musician... from Ireland.

She's very supportive of fellow creative Irish people. She's familiar to people as "the singer who wore the hat on her head on the Late Late" but she's becoming a household name what with appearance on TV shows like The Hit and sell-out concerts in the National Concert Hall, in lovely sometimes remote, varied locations all over Ireland as well as New York and other places in USA and who knows where else... I digress...

I contacted Julie Feeney because I was interested in her forthcoming opera, BIRD. Maybe I could be somehow involved, especially with the costumes.
But at the time of my phonecall, she discussed with me a dress that she'd like made to go with her latest album, Clocks. She's had a "pages" dress designed and made for her pages album. Here's a pic of it that I stole from her website www.juliefeeney.com

So I took on the challenge. Here's my sketch drawing and finished product #1

See the beautiful buttons I used on the back of the blouse and at the cuffs. It goes with my 'design philosophy' of scale. A garment needs to be appreciated by the wearer, the fit, the comfort, small details, usefulness of pockets, warmth etc. Then the garment is to have an effect on other people: what they see, what it communicates about the wearer, the colour, the shape and style. And in the case of costumes, what does it look like from the stage, what does the audience see.

Here I am, leaving my apartment before Christmas with the dress, petticoat and shoes to drop them over to Julie Feeney. It was bad timing because it was such a busy period, we didn't have time to fit it and take a picture of her in it with me so this one will have to make do ;)

I added the gold cummerbund. And gathered the hemline to give it a ruched effect. These were design changes which consider the view of the audience member. The wonderful clockwork patterns on the fabric of the blouse and hem was ordered from Spoonflower.com.

The petticoat pokes out from under this ruched hem. Kind of like the clockwork of a dress. A little peep into the inner workings of a skirt! Just like you'd take a look at the inner workings of a clock. (Me and my notions!)
And the shoes... I blogged about the process of making them previously.

I chose them for the solid chunky heel but they aren't platforms. There's bits of clocks glued on to them. They do sparkle. But silly me, Julie doesn't ordinarily wear peeptoe.
The whole project has been such a steep learning curve. Julie hired me as her PA for a while because of the relationship we were building up around the dress. That was hugely fun and challenging. Other projects have come my way and I feel better equipped to tackle them because of this experience.
I hope to post a picture of Julie in the dress soon; of the two of us; or of Julie at a concert, performing and wearing my... nay, HER Clocks dress!

My Personal Blocks

What are those multi-coloured pieces of cardboard on that hanger?!

I've been doing a pattern-drafting course at Róisín Cross Silks in Dún Laoghaire with Sarah Foy. It's a brilliant class. I'm learning so much, flying along.
Have done skirt and bodice blocks. The green peeping out from the back is my skirt block:

Could be better curved I guess between hip and waistline. And sorry you can't see the darts very well.
I went with shades of red/orange/yellow for my bodice blocks, it was especially important to differentiate between the skirt block of it and the stand-alone skirt block.

 And the sleeve is cut from red cardboard.

I'm enjoying it sooo much. I'm also doing an art class in NCAD "Drawing Approaches" on the same day. There is no doubt about the class I prefer, although the art class is excellent - I have a natural draw to the pattern-drafting, problem-solving, practical, tangible aspect of the design-work as opposed to the artistic expressive drawing output!

Songs of Stage and Screen

I'm doing the "costumes" for Maynooth Musical Society's upcoming production: Songs of Stage and Screen.
It's a variety show so they aren't really costumes, just bits the perfomers put on to help the audience understand the song a bit better - a hat, jewellery, apron, scarf etc. I'm having a ball.
Come see it if you're near the Glenroyal Hotel on Friday (5th April 2013) at 7:30 or Saturday at 2:30 and 7:30.

Costume Design for Opera

I am having the experience of a lifetime. In Brussels shadowing the assistant costume designer for a production of Lucrezia Borgia at La Monnaie|De Munt.

Photo from La Monnaie|De Munt website taken by P. Hoffmann.

On the other hand, I don't believe in experiences of a lifetime. I think everything can be made happen again.