The Velvet Tart: It's a Real Thing Now!

One morning I woke up and was like, "Today I will launch my sewing career. I have talent, and I need money. I want to do what I love." Then I began writing a business plan, revising my logo and banners, and collecting photographs of my work.

That was 2 weeks ago. I consider this an improvement on the 2 years until now that I've been "planning" entrepreneurship. This morning I actually did it. My business plan isn't quite finished, I don't have any ready-made stock in the Etsy store yet, but I still went FUCK IT WE'LL DO IT LIVE. Because I am Fearless!

dammit, I don't have a bunny suit.

I am super excited and super caffeinated and super, utterly terrified. Which is different from being Fearless (I'll explain later). Which calls for the best of cute memes:

optimistic hedgehog is optimistic!

Thanks, li'l bitty hedgehog. I will do all the shit.

Begin at the Beginning.

The weather is finally warm and staying warm in Minneapolis, and it feels like my creative mind is starting to thaw. Maintaining the status quo at the Haus of Manna has been paramount to the (relative) sanity of both of us over the winter. 

Is it over? **4 inches of snow** (repeat until May)

We made it! And the house stayed mostly tidy! And I started writing my business plan!

Oh yeah, started a business plan. I figured it would take one evening and a glass of rum to knock it out, but that was before I spent 3 hours researching business plan writing technique. So I work on it a couple of hours a few nights a week, and I feel like that's alright. One of the most challenging bits so far has been crafting a Mission Statement that encompasses all my myriad interests into 24 words or less (the hyphenated word counts as just one). 

Mission Statement: I will tailor and create items that give expression to the clients' ideal selves. With sensitivity and ebullience I help communicate their personality and body-confidence.

Yes, I am actually using the word "ebullience". It means "cheerful and full of energy", which is exactly how I am when talking clothes with a client. After I've had morning coffee. And lunch coffee.

Coffee is the only thing keeping both of us alive right now.

Writing the business plan means I've had to look at and analyze the entire big picture of how I want to run my business and it makes me ultra-uber-really-really-terrified.  I've never operated officially as an entrepreneur, will I be able to succeed? My time management for projects in the past has been horrendous, and I'm scared of failing, disappointing clients, and tarnishing my reputation. Even though I've improved my discipline, and even finished several projects on time recently, the past is still my little black rain cloud.

Except my rain cloud isn't cute and doesn't sing and doesn't like honey.

However, I can't deny there is a persistent feeling that this is what I have to do. Sewing is what I love to do, and the enjoyment my clients take from my projects encourages me. Having a Mission Statement reminds me of my ambition, and reading it feels like a self-affirmation. Keeping up my motivation and self-esteem may be the most challenging part of starting a business. I hope that I'm not the only entrepreneur to feel this way.

wink wink. You know what I mean?

Coffee is My Co-Pilot

I have skipped weekly postings about the awesome things going on at the MN Renaissance Festival, and now it's 4th weekend! What was I thinking?

Oh, right. I was thinking about the costuming projects I have to finish, my own costume to finish, and like 74 other things about performing and preparing for Fest every Friday. Because of Labor Day ("don't mourn, organize!"), this was only a 4-day week, too. Shit just got real.
...well, as real as Fest things go, anyway.

Lists are fun! Here is a list of things I have learned about costuming this summer:

-Always buy enough fabric for the project on the first fabric run. If you're not using a pattern, as I am wont to do, buy twice as much.

-Making clothes for children is fast and adorable. I complain that I can't find female-sewing-bloggers who aren't making clothes and crafts for their spawn--now I understand why they choose to phone it in by just making baby clothes (that's right, I said it).

-Cats eat string. Then your roommate has to pull threads out of Spaz's butt, which is icky. He's a stanky cat. So clean that shit up.

-Overlock machines are a gift from the gods.

-Overlock machines are possessed by the devil.

-Electronica/hip-hop/breakbeat/alt-rock/hardcore (specifically Mindless Self Indulgence) music is the very best for inspiring momentum to buckle down and sew all day.

-Finding the energy. the confidence, and the courage to continue sewing even though you're depressed and stressed and sad and you really need to curl up on the couch and stare at the wall for 9 hours...that is fucking difficult.

That's exactly what I had to do this week, though. Deadlines cannot wait for me to get my shit together. People cannot attend the Renaissance Festival naked because I couldn't make their clothes. They would be shivering.

If you know of any female-sewing-blogger who isn't making clothes and crafts for children--please post the link! I would love to find more creative people's work to read!

Finished Projects, All White.

I love colors! Obviously not in my own wardrobe, which is given to shades of black and stripes. In general, though, bright & bold colors inspire my imagination. Both my yarn and fabric stashes overflow with colorful selections with which I can plot and plan and fantasize.

Ergo, I'll be sorting my brag posts chromatically. I start with the color comprised of all color: white. Mainly because these photos were the impetus for this theme.

Rocking out--FOR SCIENCE!

A wedding dress was brought to me, 3 days before THE Day. It needed just a wee bit of adjustment at the sweetheart neckline. It took me more time to disassemble the dress than to perform the tweak! A locking backstitch modified the neckline, invisible fell stitches to close up the lining, and plastic snaps swapped out for metal.

Hand-stitching bridal wear; the most terrifying form of meditation.

The most frightening part about working on this dress was making sure my hands were clean the whole time. Still, the end result fit the lovely bride like a pretty, lace glove!

Except, you know...right side out, like a normal person.

This shirt I was commissioned to replicate exactly from the client's favorite that he had worn out. He wanted 3 shirts identical: the ruffled collar, the french seams, and even the double layer of cotton plisse used. Lucky for him, I found the exact fabric at my fabric outlet warehouse.

I'm pretty sure the dress form is what
makes the shirt look feminine. Mostly.

I bought enough fabric to make this one, to gauge how much time it took and what order of steps I needed for such a project. When I returned to get more fabric, I struck out. I could not find the bolt anywhere! I wandered through every. single. aisle. of S. R. Harris, but could not spot it!

S.R. Harris is like this, only more organized.
And the Ark is 50% off the marked price.

The shirts weren't due until August, so I didn't panic too much; I was months ahead of schedule! Those months passed. I looked in chain stores, online, and re-combed the warehouse. None fabrics. Until last week.

A warehouse employee and I picked through the aisles. The countdown to the deadline is a month away, and now the client has been asking after his shirts. Still nothing. I chose a random bolt of cotton to make do, and resigned myself to disappoint yet another client.

Then I looked up. I was storming through the rayon/lycra aisle, and here was the exact plisse I needed. Out of all the sections where plisse should have been (seersucker, broadcloth, cottons, linens), who decided to stuff it on a shelf with all this rayon?!

Froofy, yes. Artificial? I think not.

8 yards of washing and ironing later, I am about to start on the last 2 shirts of the order. This fabric is so lovely to use, I'll be returning to the outlet for more as soon as I can afford to.

...If I can manage to find it a 3rd time. Cross your fingers, you may want to buy from me something made with this great stuff!

It was like sewing with the dreams of little babies.

How To: Alarmingly Large Sesame Street Muppets!

This past Halloween I agreed to make 2 Sesame Street Martian costumes for some coworkers.

Translation from Martian: "Help us! Help us! We are forced to perform
lessons for children! We are astrophysics professors! Why won't anybody help us?! 

Apologies to my friends at the The Ridiculous Puppet Company, LLC I will most likely forget my "Muppettiquette" (portmanteau, bitches!) and use the terms "muppet", "puppet", and "frikkin' pink abomination" interchangeably. This is technically bad form, my cherished readers, and you should head over to the website of The Ridiculous Puppet Company to learn why. At least, watch their videos from The Institute for Ridiculous Science.


I digress. I told my friends I would make their Martian costumes. Not the just the muppets, mind you; full-size costumes for full-size humans. The arrangement for the costumes was made about a week before Halloween, and as per usual, my procrastination burned that down to 2 days before Halloween to build the costumes. Here is my tutorial on

How to Build Two Adult Sesame Street Martian Costumes
at a Frantic Pace Because You Put it Off to the Last Minute:

Step 1) Blow off the project for a few days. Claim to be "formulating the process" in your head.

Step 2) Obtain your materials. When you realize you only have about 52 hours before the costume deadline (Halloween costumes are pointless in November), go to the local fabric store for materials. When you discover that their stock of novelty fur is decimated because Halloween, ditch them and drive over to the local fabric warehouse/outlet/wonderland that is S. R. Harris (only in Minnesota, ha). S. R. Harris has everything. Except, apparently, any muppet-appropriate faux-fur.

Non-Minnesotans: It's basically this, but more organized.

Step 3) Obtain your materials, for realzies. Return ashamedly to the chain fabric store and purchase whatever you can. In my case this was curly faux fur in neon pink and white (Convince yourself that making a spooky zombie Martian would be just as hilarious). Other materials you will need: matching pipe cleaners, 2" styrofoam balls (2 for each), black felt for pupils, a styrofoam ring or dome (cut in half to make 2 pieces), floral wire, black knit mesh fabric (1 yard, 60" wide), matching thread, and lots and lots of coffee.

Step 4) OK, these steps are going to be a lot more vague from here on out; I'm on a time-based deadline to publish this post and I still have to upload & caption the photos!

Step 5) Fold the faux-fur inside out, cut large U-shape to form the mouth. Begin worrying about how much the fur is shedding, because it's getting all over your room.

Abandon all fur-free hope, ye who travel here.

Step 6) Cut out the mouth shape from the black mesh. Set aside, to be repeatedly lost amidst the chaos of tools and scraps flying everywhere.

Step 7) Sew the body shape. Through trial-and-error. For 4 hours. Coffee. Then serge the black mesh (where the hell did I put it?) in over the mouth-hole. You now have a creepy, screaming, gaping, lifeless shell that is still shedding pink fur everywhere.

Monster construction has never been so cuddly!

Step 8) Trim half of the styrofoam ring or dome to fit into the bottom lip of the puppet. Sleep-deprivation has set in by now, so try on the muppet-form, eyeless, and make sure the mechanics of the lower lip work. Yip-yip-yip-yip-yip-yip-uh-huh, uh-huh, yip-yip-yip-yip... Scare the cat out of the room.

puppet bone! um. Not that way, perv.

Step 9) Attach black-felt pupils to styrofoam eyeballs. Take a length of floral wire and sink both ends into the eye ball in a gruesome fashion. Thread the wire ends through the top of the puppet form and secure. Have a staring contest.

I lost. Better have more coffee.

Step 10) Use the pipe cleaners to make antennae, thread and anchor those onto the puppet, just behind the eyes. Avoid eye contact with muppet.

...it can see my soul...

Step 11) Cut strips from the bottom up into the body. Leave the edges raw, because if your room is going to be coated in pink and white muppet-shavings, then so will the client's room be.
...kidding! Leave edges raw because it is now 2:00am and you still have a second puppet to make.

Step 12) Repeat steps 5-11 to make a second, even creepier (didn't know that was possible) white, zombie Martian. Wad both puppets up and stuff into plastic bags, so they can't stare at you anymore. Collapse into bed and get 2 1/5 hours of sleep.

They'll stare anyway. Oh, will they stare.

The reception of the costumes was great. The friend wearing the pink one had even practiced movements to mimic the "body language" of the Martians; the two of them went on to win the "Nerdiest Costume" award at our company's Halloween costume contest. I'll add their photo later; I didn't have the forethought to bring my camera, but 3 hours of sleep will do that to a lady.

They looked so convincing in their costumes that I discovered: even though I made them, these large, unblinking, inarticulate creatures still activated my slight automatonophobia. I'll consider that a job well done.

Photo credit to Klamkins. I couldn't even
get within 5 feet of either at this point.

Except I still have pink and white faux-fur dusting my workspace. The project I can never forget.

My work is based on this Instructable. I was able to discover some engineering improvements, though. I plan to make one last Martian to employ them in an orderly manner. During waking hours. Without sobbing into the faux-fur.

Humble Pie Tastes Crap.

It's ok, Meatloaf says, "Two outa three ain't bad".

You know how the saying goes, "You can have it good, fast, or cheap; you can only pick two". Last week I had to drop the "good", and the result was "bad". Quite bad. I was frantically making costumes for a show; my first attempt at professional costume design. Now, I do judge my work harshly, but calling it "bad" wasn't a product of my hyperbole. My client straight-up told me how awful these costumes were; told me how my lack of professionalism and shitty time-management screwed over the show. That sounds kind of mean--except for the fact that it's all true. If I manage to book any future clients, I owe it to them to learn from this clusterfuck. I owe it to myself to break my bad habits.
Working really hard to get something done and knowing that it's still not going to be good enough sucks balls.

MICE can do it better than I can?! RAGE QUIT

Okay, pity-party is over. Who likes reading list articles? I love me a good list article. Throw in some fun pictures, cussing, and plenty of kitties--click-throughs shoot right up. Writing about this embarrassing, devastating experience as a light-hearted list hopefully will take away the sting of failing so miserably. So here is my list of

THINGS I LEARNED WHILE FAILING AT COSTUME DESIGN

1) Sketch, sketch, sketch. To get a solid idea of how a costume will be built and how it will look, you must sketch. A lot. Because how a costume looks effects several other factors; lighting, set design, costume changes, movement, combat (if you're lucky), and overall theme. The director has an idea of how the show will look, your costume ideas had better line up with that. 

There's crazy in my creativity? It's more likely than you think.

2) Make mock-ups for large costume pieces first. When somebody puts on something you made; something that matches up with all the measurements you carefully took, and it doesn't fit, is really discouraging. Having to take the costume back, disassemble it, adjust it, rebuild it, or even...kinda
fudge it into looking better burns up your time and is just fucking frustrating. Make adjustments
at the beginning of the process. Do the largest/most complicated pieces first; to make sure they
get done even if you run out of time. The actors need as much time as possible to rehearse with
large-slash-complicated costumes. Because...

Even Dior had to make mock-ups

3) It's hot on stage. Yes, the costumes have to look good, but they also have to be some degree of comfortable for the actor inside them. This actor is embodying somebody else; remembering script, cues, choreography, costume changes, exits, and entrances. All of that is ever harder to do if they are roasting under the cans. Simplify and fake the structure at every possible opportunity. It also cuts down on the amount of work you'll have to do. Back to your Sketches!

She burst into flames, but they gave her a standing O for it.

4) Meet a deadline? Tell director. Miss a deadline? Tell director. Directors love communication. They have to keep pretty much the whole production in mind while they are directing. The stress of juggling all of those balls (heh, juggling balls) is exponentially multiplied if you can't add your ball in when it's expected. Keep the director up to date, in the loop, whatevs; so they won't have to waste time chasing you down to check in. If you're running behind, they need to know that, too. Swallow your fucking pride and tell them what you can do to make up for lost time; the director may even shuffle some crew around to get you more help. There is nothing wrong with accepting help (as long as they can manage to not sew their fingers to the costume). 

I drew a blank for a helpful picture. So here's a kitteh.

5) Efficiency throughout costume changes; a mixed bag. If you plan the costumes changes carefully, you may be able to streamline your workload. Reusing or concealing pieces means less things to make, and less time to change. However, building the costumes to be changed in a hot minute takes some clever engineering. Also, testing. A lot. of testing. You don't want a snap popping open or a velcro strap giving out at the wrong time.

Even Dame Edna's wardrobe malfunctions were classy.

6) Collaboration happens, whether you want it or not. The director will give you feedback (because they're the director). The actors will also have feedback; because they have to wear whatever monstrosity you've created. It's important to not take it personally, because it's about the costume, not your skill. Feedback is not about just the costume; directors and actors discuss entrances, exits, costume changes, accessories, props, character development, and script--and you have to be there for all of it. Maybe a costume gets cut, or ensemble is changed; it's still not personal. It's part of the job; listen to
everything laid out so you can glean the info you need to improve the costumes.

"Hm...not what I had in mind for Rum Tum Tugger..."

7) I should probably get some training. When it came to the actual process of designing costumes for a show; I was in over my head. I wasn't even aware I was about to drown. The job isn't just designing and sewing costumes; it's about you helping the director to create people. The show is a world inside the theater, the costumes become possessions of the characters; stains, patches, tears and all.

The day-to-day process of designing costumes isn't a piece of cake, either. You've got to use your resources to procure all the correct clothing to be used. Sometimes you build it, sometimes you buy/borrow/rent it. Sometimes you delegate certain tasks to other people. You must stick to the deadlines for each phase of building; making sure every actor is has a complete costume. You also have to keep track of costume changes, when they happen, how they happen, and make sure the director is on board with all of it. Sounds exhausting? It is, and I didn't even do it right!

Tim Gunn be like- Corduroy? Really?

I didn't know any of that shit. I had hoped I could just pick it up as I was doing it; by way of osmosis for the routine of costume design. Pretty sure it doesn't work like that. If I can assist a real costume designer to watch and learn what is actually done, I'll be way more comfortable trying to design for a show again.

DONE

Snack Time!

Last week I promised to release my mission statement for my sewing business, my services and my pricing. That didn't happen. To me, it's just another blown deadline, in a long, long....(really damn long) history of falling short of my goals.

To you, my gorgeous readers, it's probably confusing. Maybe even disappointing. It definitely shouldn't be surprising; still, I do apologize.

Sew! Today I give you a tiny teaser of the name and logo of my soon-to-be sewing venture. My target audience has "a sense of humor, a touch of glam, and a streak of cheeky." I introduce to you:

That sassy vixen is me! Let me style you!

Velvet Tart: costume & couture. I created the name sometime last winter, with the help of my then-husband. It's been waiting in my brain all this time, and after a summer of brainstorming type arrangements, I ended up indulging in my own vanity. I am the mischievous dame winking and smirking my way into your wardrobes!

The colored squares comprise my color palette, and are not represented very well (I used the built-in camera, sue me). Starting on the left they are: a bright salmon, navy, this warm purple that's sort of 80's, and a sunny, sherbet-y orange. I used color theory, friends.

There it is! More on Velvet Tart to come; but it's now 8:08 am--I'm late to start sewing! Story of my life.

About that..."time management" thing...yeahhh...

It's a little embarrassing that the day after I make a determined, proud pep-talk about how I'm going to get my shit straight....I dive right back into that hot mess. No sleep + costuming + skeletons + sewing + math + microwave burritos = body temperature drop and unexplained crying jags. So I went to sleep. Lots.

This evening I caught up on a pile of computer work I've been neglecting and applied for a couple of jobs. One was for a cake decorator position. I have always loved watching and fantasizing about being a cake decorator. You get to draw, paint, and sculpt in frosting! How could that possibly be awful? It can't be awful--because CAKE! Besides, I've seen the tiny sculptures those kids on Cake Boss have made and I know I have way more talent than that. Disclaimer: I don't want to be a cake decorator just because I obsessively watched all the Cake Boss that Netflix had.

It's because I watched all the Ru Paul's Drag Race Netflix had.
All those ladies were serving confectionary realness. Can't you imagine some Queen's bustier pattern all up on a cake? With glitter and jewels and eleganza?!

While I'm waiting for the cake-painting job offer, I'll finish costuming for which I was commissioned for a play next week. My time management for that has been crap, so I'm way behind. Lucky for me, the director is sympathetic, resourceful, and forgiving. We teamed up and scoured his costume stock to reduce my workload. Making the masks for the last vignette has been delegated to a cast member who actually makes masks, thankfully.

I'm feeling more confident about finishing my work for these costumes, now. However, I'm stuck with a lot of extra fabric since I won't be making as many things. It's nice fabric. Bought for Edwardian/Victorian costumes. I think I may just know what to do with it....

I don't know where I meant to go with this entry, but I'll end it with this: Friday I intend to drop my business mission statement, list of services, and pricing on this blog. Photos of past work and an Etsy shop to follow, hopefully finished by this weekend. Check in tomorrow--I'll be open for business!