Frank's Jacket Studs (Research)

I was flipping through my Mick Rock book today trying to study the stud layout on Frank's collar.  There is an interesting photo on page 146 where his collar is flipped up and you can see the underside.   I don't think those are regular metal jacket studs - they look like metal brads from an office supply store!!  Anyone else see that, or am I going crazy?

Frank's Band-Aids (Research)

Frank has two crossed band-aids on his left inner elbow.  Blood-stained.  His right glove goes above his elbow, but his left glove looks a bit lower to expose the band-aids.

Frank's Sweet T Corset (Research)

Frank's corset is one of Sue Blane's unique master-pieces.  It seems like a simple deal, but the straps are deceptively closer in the front (which emphasizes Tim's masculine shoulders) and then attach far apart in the back - almost in the armpits!  You just can't achieve this look with a simple scoop-neck tank.

By my count, the corset has 12 (maybe 13?) sets of eyelets - and the 7th and 8th sets are closer together (typical of Victorian style corsets that laced separately from the top and bottom and tied together in the middle).

Frank's laces start at the bottom and tie off at the 2nd set of eyelets (the first is left unlaced); but there is no connecting lace between the bottom two eyelets so you'll want to cut and knot the ends before lacing up.  Once you've adjusted your laces  to fit I recommend tying a double-knot under the bow.

The corset - like most of Frank's wardrobe - looks distressed and worn.   Some sequins have fallen off and left shiny glue remnants of their existence, and the original binding along the top edge (still visible down the center front and bottom) has been removed exposing the white lining and a slightly frayed edge.  It also looks like some boning has been removed, though you can still see the channels.  Judging by the way the fabric wrinkles, I think the only boning left in the corset is along the eyelets in the center front.

I have separate blog entries for my Research on the Sequins, Embellishing Frank's Corset and Frank's Corset Pattern (which I need to adjust the eyelet placements).

Costume Design Process

Like all creative works, costume design is a process.  A lot of times what you set out to create is not the same as the end result, and it's often in the final fittings that most of these changes take place.  Details are added.  Costumes may need to be aged or distressed.  Limited budgets mean working with what's already on hand and becoming familiar with the local thrift shops.

One of the coolest things about Rocky is that Sue Blane designed the costumes for the early stage productions and the film so you can see her work transpire from stage to film (and back to stage) - check out her 1979 interview on the Rocky Music website.

In the Roxy cast Kim Milford sported blue trunks.  Looks like Peter Hinwood almost did in the film, too.

A test shot before filming shows Richard O'Brien's vest pinned together differently and without the blood stains - a look he would return to a few months later in the 1975 Broadway production.

Columbia's top hat got a new hat band, and in some shots you can see her bow tie also got a new band.

Almost nothing that Frank wears is pristine.  There are holes in his fishnets and gloves, raw edges on his corset, repaired rips and blood stains on his lab apron, and ripped armpits and elbow in his dinner corset.  It's in contrast to how clean-cut Brad and Janet are, so it adds meaning when Janet rips her slip.

Trying to emulate a "worn" look is tricky.  You can cut the holes and leave the edges exposed, but it's still going to take time to get the complete effect; like letting some of the sequins fall off, or the fabric softening from wear.  My point to all this is to have fun and enjoy the process!

TCJ2 & Delays

I've been deciding on how, where and what I should include on this post - those of you already friends with me on FB know some of what has been going on with me lately.

Barkley, my dog that turns 16 in May, had a stroke on March 10th.  He wasn't able to walk for the first several days and the steroids the vet gave him made him incontinent, but he gradually improved and stumbled around.  He actually seemed to get quite a bit better and even resumed chasing a few squirrels. 

Then he began having seizures.  Initially very mild but becoming volatile and I have to say traumatic to watch.  The vet reluctantly put him on Phenobarbital because it, too, has side effects.  I sleep about 4 to 6 hours most nights, but only in 2 hour intervals.  I hope Barkley continues to improve, but I'm also prepared for the worst. 

I'm not as far along through my orders as I expected to be.  I have three orders on my desk that are ready to ship this week, and 2 more that are nearly finished.  I'm hoping my mother can come down and watch Barkley to let me get back on track.  I will always reply to your inquiries - and please don't ever apologize for asking "how much longer" because I know you are anxious and believe me I want to get them all out to you.  If you need to cancel your order just drop me a line.  One of the disadvantages of being a one-girl workshop is not having anyone to help with the rough times.

I would say my odds of attending to TCJ2 are 50% at this point.  I have already purchased my tickets and booth, but without the time to make the con merchandise I can't afford the trip, and I'm uncertain what Barkley's condition will be and if I'll feel okay leaving him.  Thank you everyone for being so patient with me - and I promise I'm doing what I can to get back on top of it all. 

One last thing - anyone that has corresponded with me about ANY projects (Rocky or other), please make certain that it's submitted through my order form.  That is the only way to ensure it ends up on my official work queue and doesn't get lost in the shuffle of 3000 e-mails.  I've been forgetful and extra flakey without sleep.

Janet's Hat

Working with a "winter white" hat I found on eBay, I matched a near-white chiffon fabric for the band and bow.  If you look at her hat in relation to the color of Brad's shirt, you can see it's not quite as white.  Trying to find the right shape hat is hard enough.

Create the band by cutting a 4" - 5" wide strip of chiffon on the bias.  The bias will adjust to the hat's curve and lay more smoothly around the crown.  I pressed both long edges under and added a couple of lengthwise pleats. Position the band around the base of the crown and pin into place.  Secure it by hand with needle and thread - preferably all the way through the hat.

I made the bow by cutting two 22" x 4" long strip of chiffon with tapered ends.  Bag line and leave a slit on the side to turn right side out and press.


The bow is basically pleated together.  Starting from the center I folded it accordion-style every 2-1/2" - the tapered ends left slightly longer. I hand-stitched the back of the folds together and then scrunched the back to give the bow a full effect.  You'll have to play around with this to get it how you like.  Secure the bow over the hand band to hide it's seam - either with hand stitches or even glue.

The hat rests far back on her head and you'll need to add a hat pin to get the same effect.  Her hat also acquires some dimples - presumably from her own hand holding it down as she runs.

Frank's Shoes (Research)

Frank wears 4 pairs of shoes in the film; all of them are platforms with peep toes and chunk heels.

The first are the iconic "Sweet T" heels with the white glitzy heels.  They're platforms with a chunk heel and a rhinestone buckle.  It looks like a glittered base with a few scattered rhinestones.  If you're working with all-black shoes you'll want to paint the heel white before applying the white glitter, otherwise it will look splotchy.  You'll also want to shellac/clear coat them to reduce "shedding" - but do this in very light layers or it will turn yellow and dull.

Pleaser shoes have a "Dolly" series that all have the platform and chunk heel, but it's hard to find the right toe/heel combination.  Check Snaz75.com or eBay.

The second, worn for the duration of the lab scenes up until the dinner scene, are almost identical, but without the white heels.  You can buy two pairs of the same "Sweet t" shoe, or you can devise  a removable white "heel cover" for Sweet T.

He wears boots with the dinner corset.  The boots are knee high, again with the platform and chunk heel.  His ankle bracelet is worn over his right boot.  They look 'skin tight' (stretchy?) and have lacing up the front back that wraps around and ties in the front - though a zipper has got to be in there somewhere.


And finally the floorshow heels.  They're similar to the Sweet T heels - but black with red rhinestones.  They also have a rhinestone buckle. The Anal Retentive Costume Site has photos of the actual shoe, which is more  helpful than any screen cap, and you can see how  the edges are scalloped.  You can also see where Sue Blane inserted some gussets in the side of the vamp to accommodate the width of Tim's feet, and may be done on the other heels as well.

Frank's Cape (Research)

Frank's iconic cape is black satin lined with silver lamé. It has shoulder pads and there is pleating across the back under the collar to accommodate its fullness. My best guess is that hem is at least 12 to 15 feet around.

He keeps it closed across his chest with his hands, but if you're going to be  doing a lot of walking around before your reveal you might want to consider a small closure at the  neck.

The collar can be stiffened with buckram (available at most fabric stores, typically used for hat forms) and, if needed, a few well-placed pieces of nylon boning.  The collar looks like it might have 5 obvious boning channels spaced evenly around.

When choosing your fabrics, consider  two fabrics of a comparable weight.  Otherwise a heavier fabric is likely to hang unevenly over its counterpart as it sags more under its own weight.

Simplicity Pattern #2499 has a nice 5-piece cape  (6 with the collar) where the center back piece could be widened more to accommodate some pleating.  I know on large-scale projects like this it's tempting to cut some corners, but make sure to cut your fabric on the grain as the pattern specifies or your cape will drape oddly, as well as pucker at the seams.

Frank's Dinner Corset

It's easier to tackle if you break it down into 3 main elements; the corset, the chiffon blouse, and the overlay.

The corset:

Using the method described in my duct-tape pattern tutorial you can easily draft your own, custom corset pattern.  Once the torso is wrapped simply draw on your corset lines with the appropriate dip in the center front and the rounded off bottom.  Draw your intended seams and if you like, where the boning channels are.  When you prepare your pattern from these pieces don't forget to add a seam allowance on all of your pieces.  At some point I will try to post my actual pattern, but only in limited  sizes.

Velvets are flimsy and slippery to work with.  I recommend flat-lining your fabric  with cotton (or whatever you prefer) to stiffen the fabric.  I literally just spray-glue the back side of the fabric and lay it down on the lining fabric, thereafter treating the fabrics as one.

My seam allowances are stitched down to form channels for the boning, and the rest of the channels are created with single-fold bias tape.  The top and bottom edges are also finished with single-fold bias tape, hand stitched to the inside.  I opted for a side zipper - which won't change your seam allowance, but just be sure not to close up both side seams.  Also, you won't want to put boning against the zipper, but I do have boning on both sides of the eyelets in back.

The blouse:
You might get lucky on eBay or a thrift store, otherwise you can use any simple tunic pattern.  Simply adjust the neck hole to be an oval and have the blouse open in back.  I bind off my neck opening with narrow double-fold bias tape for  a clean edge.   Chiffon is another flimsy, pain-in-the-ass fabrics to work with.  For the back opening I just wrapped a 1" strip of the embroidered tulle around the edges.  I stitched down the soutache loops about 1" apart, catching them twice with the edge stitching on the tulle.

If you have a hard time finding black shoulder pads, just cover white ones with black fabric.

The hardest part is attaching the blouse to the corset - you'll definitely need a person or a dress form to get it lined up all the way around.  I pinned mine together about every 3" inches, then I hand-sewed it together from the inside along the top edge of the corset - right into the bias tape.

The overlay:
I've sometimes found silver on black lace at the store which works well, and I also sell the overlay as a separate piece.  If you're really dedicated you could actually hoop some tulle and sew the flowers yourself with metallic silver thread.

Like the blouse, it will be easier to line it up if it's on a person or dress form.  I apply it with a simple running stitch by hand all around the edge.  You could also secure it with a few discreet dabs of fabric glue - careful not to let the glue bleed through other layers below.

The 9-patch rhinestone buttons are fairly easy to find, but the 6-pointed stars and black-leaf sequins continue to elude me.  The rest of the rhinestones  I just apply with Jewel-glue.

Frank's Dinner Corset (Research)

The Anal Retentive Costume Site has posted amazing photos of the actual dinner corset they procured at the 25th anniversary convention in Vegas (hey, I was there!).  For the longest time  it was generally assumed the corset was black.  Turns out it's a dark purple paisley print - but the velvet doesn't reflect much light.  If you are going to use a paisley print, the darker the better.  Otherwise, black will still look nice on stage, and is much easier to find!

The corset looks to be 8 panels; 2 center front pieces, 2 side front, 2 side back and 2 center  back. The boning across the front is incorporated into the seams and supplemented in a fan-pattern across the four front panels.  The top has subtle curving with a slight dip in middle and a more pronounced dip across the bottom.

The back part  of the corset has 4 panels with boning in the seams, and an extra bone on the side back pieces at an angle.  8 sets of eyelets, flanked by more boning on each side of the eyelet channels.  The lacing looks pretty much like black shoelaces knotted at the bottom and tied at the top.

The blouse is chiffon with a wide, rounded neckline.  It has black shoulder pads and rips in the armpits and the left elbow.  You could probably modify a store-bought top for this purpose.

The back part of the chiffon blouse has, by my count, 11 small 2-hole clear buttons.  The button plackets are treated with the same embroidered mesh as the floral overlay.  The button loops are black  soutache, but elastic cording will also work (and fray less).  At the end of the scene it looks like the chiffon has ripped away from the  button placket.

The overlay is a series of large flowers embroidered with silver metallic thread.   The overlay begins over the right shoulder, crosses down the chest and ends under his left breast.

Scattered around the entire top (mostly the chiffon blouse) are rhinestones, 9-patch rhinestone  beads, some black "leaf shaped" sequins (hard to see, look on his right breast), and some 6-pointed star rhinestones (I have yet to ever find these).