ART TEASE CLOTHING

This database holds a ton of useful materials for embroidery! many different types of stitches in various difficulties, all incredibly useful!

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The Backstage Photoset Series: Damage and Repairs

I think I want to talk about common repair techniques themselves another day because the only good examples I have pictures of are patches and that doesn’t even begin to cover the plethora of different things we do to fix different things.

#1 is one of those fun examples of a non-stretch fitted seam getting blown out because it takes a few tries to find the delicate balance of sourcing material with the correct balance of translucency and durability. And then doing high kicks in it until a better solution is found.

Damage isn’t always as intense as that picture of a Raoul jacket getting caught on a doorknob and being completely torn to shreds (impressive, memorable AND uncommon). But sometimes it IS last minute and when your performer has to go onstage but he tore out the end of the zipper (#2), sewing something while someone’s wearing it isn’t an every day occurrence but it does happen. If you’re dressing a principle, those on the spot repairs are even more necessary- all eyes are on the star.

Just as much damage comes from stress on the area over time, pulling and rubbing being some of the main forces (I sound like a science class now). Pictures #3-5 are great examples of what wearing a costume and doing the exact something in it/to it 8 times a week will do to fabric. Even the best set sleeves will eventually have a compromised seam around the armscye when it’s that fitted and always getting tugged on. The bias binding in the other two pictures isn’t part of the original costume’s construction, but is rather a “last resort” way of mending a hem that is too far gone to keep being hand mending, zig zagging or patching (and usually as the costume ages, the repairs increase in that particular order of drasticness). This kind of thing happens to a lot of costumes; the boning rubs against bodice fabric (also see #7), which also wears against the skirt fabric (hence patches in that area being ultra common), skirt hems are always dragging on the ground if not getting caught in a heel.

#6 I wish I could find a better picture of what happens with knee-slide heavy choreo, but the fact that every single pair of pants has a giant rectangular patch in the knee pad is not a design choice, the stitchers just do great work. And choreographers love knee slides so pants end up on the repair rack a lot. A LOT.

The last pic was from an article about the show maintenance of Phantom costumes in Vegas and every single Meg costume is on the repair rack because the actress was on vacation. I figured I’d include it because some repairs are long term, they can’t be done in one morning or even two if the performer needs to wear it that night. If an entire sleeve needs to recut and patterned from that existing sleeve, which will need to be taken apart, we usually wait till the actor goes on vacation and we know that there is time to tackle something like that without worrying about getting it completed in time for preset. 

Allina Liu, Fashion Designer