Fancy dress up in town tonight…going over all the skirt’s stress points so I don’t leave a trail of antique metal bits and crystals. 🙂
Checking the undersewing on all these pleats on this 1878 beauty♡
Victorian (to 1901)
So You Want To Be In The Movies….
Waiting for the next scene to be shot. As usual in film, it’s hurry up and wait.
Over the years we have been involved in a number of film and television projects, both in front and behind the camera, and often people will approach us saying something like: “Gee, that looks cool, how do I get in?”
The short answer is: “Very easily”. The long answer is: “Harder if you expect to be paid something approaching a living wage.” Most of the time the interest is working in front of the camera, typically as an extra, or “background talent” as it’s often referred to in the entertainment industry. People view a finished production and decide that it would be be fun to be paid to wear period clothing and be seen by their friends. Of course, there’s also the elements of magic and glamour (“Wow look at me!”) that go hand-in-hand with the entertainment industry (or “The Industry” as its referred to here in Los Angeles).
The reality? “Hurry up and wait” summarizes it pretty much. Extras will often spend long periods of time waiting for shots to be set up and then when they’re finally utilized, it’s for very short periods of time, sometimes mere seconds. It requires a lot of patience and it can be be very boring. As far as meeting famous actors and such, forget it- unless an actor is in an exceptionally good mood and is one of those unique people who can check their ego, the rule is STAY AWAY. That may sound obvious but in many instances star-struck people sign on to be extras in the hope of being “discovered” or otherwise getting close to their favorite actor; usually that’s a sure way of getting fired from the production in short order and it’s just plain bad manners.
And then there’s the matter of pay…on a legitimate (i.e. “Hollywood” production), the pay can be pretty decent, especially if you bring your own wardrobe and props and often this means reenactors. For a period piece (i.e. a production set in some non-contemporary time period), this is usually the case and this is where the bulk of our experience has been. It makes perfect sense in that the production company is spared the expense of having to hire extras, rent separate wardrobe, props, and sometimes weapons and horses. The production company is getting a package deal with someone who is familiar with their clothes and accessories and knows all about who they’re portraying- the best example here are those playing American Civil War soldiers. This can significantly reduce costs for the production company.
On the flip side, production companies working on a low budget making a period piece will attempt to cut corners by attempting to hire reenactors a fixed day rates with the “day” sometimes stretching up to 14 hours or more. Also, in many instances the production company takes advantage of star-struck reenactors who will work for almost any rate just for the cachet of having worked on “X” production.
Needless to say, this is horribly exploitative and just plain wrong on a number of levels. Besides simply working people long hours for little pay, there’s sometimes the issue of being put into dangerous situations. More importantly, it sends the message that a production company really doesn’t have to treat the reenactor extras with much respect. We have witnessed this ourselves in many instances, even to the point where the extras were not even provided water on a production being shot in a remote desert location (fortunately that was resolved rather quickly when the extras threatened to walk off the production).
OK, now that we have painted a pretty negative picture of the entertainment business, at least as it pertains to extras and reenactors working as extras. we also need to note that with the right kind of director and production staff, working as an extra can be an interesting and even creative experience. Often times, reenactors are able to provide an element of authentic detail that would be otherwise overlooked which in turn can enhance a production and add to its ultimate value. These productions can be few and far between but when they happen, it more than makes up for all the aggravation found on lesser productions.
Now, here’s some practical advice if you’re planning on working as an extra on a period piece:
- Make sure you understand exactly what you are being paid for and what you are expected to bring with you in the way of costumes, props, et al. Surprises are not fun.
- Know your call time (when you are supposed to report for work) and where you are supposed to be. DO NOT BE LATE!
- Bring a portable chair of some type- you are going to be doing a lot of waiting so you might as well be comfortable.
- If you have made an arrangement with the wardrobe department et al. to appear in a specific costume with specific props, SHOW UP WITH WHAT YOU AGREED TO BRING! Do not do a switch because you think it might “look better” or that you know more than the costume designer- you don’t or you would be working as the costume designer.
- Be cooperative and have a good attitude even if the production is having problems or you have an issue with something. A good attitude is infectious, a bad attitude brings things down and in some cases can make bad situations much worse.
- On the flip side, if something is unsafe or something is seriously wrong (like someone having a medical issue), bring it to the attention of the production staff. You shouldn’t have to suffer in silence.
That’s it in a nutshell. We look forward to seeing you on set! 🙂
I’m ready for my close-up…
And Now From The House of Worth
The Master Himself
Today we take you across the ocean to Paris, the capital of fashion in the late 19th Century for a brief look at one (of many) creation by Frederick Charles Worth. Worth was one of the first “name” fashion designers who pioneered what ultimately was to become the Haute Couture system that ruled the fashion world for almost a century.
Along with creating his own dress designs, Worth also commissioned his own custom fabrics and in particular he patronized the French silk industry centered in Lyon1Unfortunately, the silk industry in Lyon has diminished since the late 19th Century and today, Prelle et Cie is one of the few silk weavers that remain. Prelle’s silks have been used to restore a wide variety of historic sites worldwide and they even recreated many of the silk fabrics used in 2006 film Marie Antoinette.. One such creation that Worth commissioned from the firm of Morel, Poeckès & Paumlin in 1889 was the Tulipes Hollandaises (“Holland Tulips). The design was intended to push the silk weaver’s art to its limits, the design has a three-foot repeat in the pattern which made it difficult to weave.
Below are two pictures of the textile’s design:
The tulips are depicted in bright colors set against a black background and some commentators have characterized it as an “aggressive” design intended to make a bold statement, especially given the size of the design repeat.
As part of the 1889Â Exposition Universelle in Paris, the products of French industry were exhibited and naturally the textile and couture industries were part of it. The above textile was put on display and it ultimately was awarded a grand prize.
The above fabric was ultimately made into an evening cape that was designed to show off the tulip design to its maximum advantage:
Front View- Evening Cape, House of Worth, 1889; Metropolitan Museum of Art (2009.300.1708)
Rear View- Evening Cape, House of Worth, 1889; Metropolitan Museum of Art (2009.300.1708)
Here’s a view that’s a bit less sterile than what is normally encountered in a museum setting.
The above evening cape shows off the silk textile to its maximum advantage. Some could argue that it’s excessive and perhaps even gauche but that was the nature of Haute Couture in the late 19th Century and given the spirit of the time, anything less would have been dismissed as banal. Less was definitely not more during the Belle Epoch. 🙂
Lawmen, Madams and Those Who Are Going to Show Them How It’s Done…
We have been in the costume game our entire adult lives, and believe us, we’ve seen it all. One of the oft-repeated phrases we hear from people who are new to the genre is the passionate cry of “We’re going to show them how it’s done!”
We do appreciate their enthusiasm and passion, however costume interpretation is subjective and history is always redefining itself. Here in Tombstone, specifically in the gunfighter genre (yes, crime has a name) the concept of transformation applies here. Here, any adult can strap on a pistol, wear shiny clothes and become a “lawman”, “cowboy”, or just plain “outlaw”. And on the female side, it seems that every woman becomes a madam in a bright red shiny  dress.
While we can appreciate the joy in someone time traveling to the 1880s, what we do find disconcerting is the selfish cry of “We’re going to show them how it’s done!” Generally this is said by visiting troupes of the gunfighter genre, fueled for competition to see who can be the biggest, baddest, and most wicked gunfighter or madam in competition.
For many gunfighter groups, being able to perform in Tombstone has taken on the status of a holy pilgrimage to the point where each considers their particular performance to be the “one true gunfight.” Over the years, the City of Tombstone has been host to many gunfighter groups and there have been many excellent performances given.
Unfortunately, some of the groups’ manners leave a bit to be desired. We have seen groups berate the announcer, event organizers, and even the town in general over perceived grievances both big and small ranging from a simple mistake in announcing the group’s name to when their performance was to be scheduled. The gunfight events held in Tombstone are organized by volunteers and mistakes are bound to happen, that’s just the nature of the beast.
Worse, are some groups’ after-hours manners. We have witnessed many an alcohol-fueled tirade on Allen Street over the years, none which there was any call for. This does not bring credit to the group in question nor the event. In fact, such rude actions only fuel some Tombstone residents’ desire to eliminate the events all together (many outsiders seem to regard Tombstone as some sort of Western-themed amusement park like Disneyland rather than a functioning town with real people).
So for all you gunfighters and madams, if you are going to reenact law-breaking activities, please show some respect for the town and its citizens for giving you the opportunity to perform. They do not have to permit this- it is a privilege, not a right.
In the end, nobody can show anyone “How it was done” since none of us were there in Tombstone in October 1881. Only the Earps, Clantons, and McLaurys can do that. 🙂
The Power of Color, Texture, and Light
Successful garment design is a combination of several elements: design, fit, fabric, texture, and luster (i.e., shine). We here at Lily Absinthe propose to add one more to the above: suitability for a given place and time. The elements (indoor/outdoor) affect the appearance of the garment. Some fabrics were never meant to be viewed in natural light, they were meant to be seen in a ballroom or other indoor venue that is lite with either candle, gas, or electric light.
When one transgresses these boundaries, the end result give a harsh and unnatural result. For example, shiny satins worn in the noonday sun only serve to look harsh and glaring; the end result is a visual effect that  is the equivalent of running one’s nails across a chalkboard. However, this same fabric when shown to its full advantage indoors looks rich and beautiful, if not luxurious.
Below are two examples of different fabrics and their appearance:
The above dress is meant to be seen in natural light. Matte, sheer cotton layers create non-reflective surfaces that absorb sunlight, not reflect it.
Dana Delany from Tombstone.
In contrast to the first dress, this dress is meant to be seen under artificial light. It is rich and highly reflective, utilizing the available light to its full advantage (note, lighting of the late 19th Century is much more dim than what we are used to today). However, in sunlight it would look like cheap tinfoil.
Saloon girls from What Have I Done.
Here is an example of when the rule is intentionally broken showing the harshness of the shiney reflective fabrics in the noonday desert sun.
Meryl Streep from Out of Africa.
Above is another example of color at work. Here the colors of the outfit are matte and remain muted in the harsh sunlight and brilliant foliage of Kenya.
Whether designing for a  production or simply making something for yourself, one must be mindful of the interaction between light and fabric.