The last bit of sewing I’ve done is a few costumes for the Sink the Pink Winter Ball. Sink the Pink is, to quote the Guardian, “a camptastic rave up, a joyous mess of face paints, glitter and wigs!” And last night’s ball was no exception. Three thousand people at the Troxy, hours of joy and all kinds of wonderful. Apologies in advance, my brain is still resetting itself after getting in at stupid o’clock so words are a bit of a struggle today.
But, look! Here’s Jono Kitchens of Hot Heels. If he can’t teach you how to dance in nosebleed heels, no one can.
This was actually the second piece I put together for Jono. There were 5 pieces in total for four people, which I’ll post later once I’ve sorted through pictures. This piece came about because I’d already cut out and sewn the top half. I was thinking I might need to attach it to the leggings I was making for one of the other guys, Ted. I had my doubts about the leggings staying up during the choreography. I needn’t have worried!
The fabric wasn’t as much of a drama to work with as I had expected but it is very, very unforgiving. No unpicking or pinning as it shows every puncture. In the beginning I used pegs to hold the pieces in place but the fabric kind of sticks to itself and I’m not really pinning as much as I used to anyway. The only thing I had to be careful of is not getting any puckering around the points.
I’d loved to have added some huge shoulder fin pieces but I had to be mindful of the really vigorous choreography. He wore this during the opening number, I was pretty thrilled at how it looked under lights and how the light worked on it.
Powermesh was a treat to work with. I can’t believe I haven’t used it more. Yes, I should’ve added binding round the neck and arm holes but, it is what it is and it looked wonderful on him. Pretty much anything looks wonderful on these guys, I could’ve sent him out in a bin liner and eyeliner and he’d make it work.
I spent so long looking at this fabric in the last few days that at times I may have slipped into that familiarity breeding regret stage. I got to a point where I kept thinking anything I’d made out of this fabric just looked deflated, sad. But costumes exist in a different form when they aren’t worn. Especially when the costume is for dance. It only really comes alive on a body, in movement, and even more alive under lights, onstage. Looking at a garment off the body is like looking at a bunch of ingredients for a meal before you start cooking. You see how it’s going to work but it isn’t really the same as the finished product.
In this case, the finished product was pretty delicious.