Costume Research: Primary Sources

The best source is the original source. This is called a primary source. In this case: the film. Subsequent DVD (2000) and Blu-Ray (2010) versions have revealed details that were previously difficult to discern on 35mm or VHS.

Photographs can be the next best thing and can reveal details not clearly visible on screen (re: the subtle paisley pattern on Frank's dinner corset). If the photographs were taken on the set while filming they may still be considered a Primary source, however promotional photo shoots and anything taken during pre-production (before final decisions were made) may need to be examined more carefully; for instance the photos of Little Nell in the church. Obviously taken on set, but notice the hat band is not black, she is not wearing socks, and it doesn't look like the shoes have any glitz. It's also possible other (less obvious) modifications could have occurred at this stage (for instance; does the bustier look longer on the sides?) You just can't be certain. Of course, depending on what you are researching, it may not matter.

In some cases extant pieces have survived and been collected by fans. When deciding whether an extant piece can be considered a Primary source you need to consider:

1. What is the provenance of the piece?  How was it acquired? Whose hands did it pass through? Is there documentation?  I have always been of the opinion that the onus is on the owner to provide proof, not on me to believe their word.
2. Were there duplicates of the same piece made? How many? Are they identical?
3. Has it been altered?  Repaired?  Used in subsequent productions that may have modified it?

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!

Modifying Patterns

Specifically this post is about altering an existing corset pattern, but you can use the same technique to modify any other commercial patterns that need a little tweaking.

Supplies:
Tru-Grid Graph Material
Colored Markers
Pattern to Modify
Tape (optional)

My workspace already has a gridded cutting mat on it, which makes it really easy to line everything  else up.  Most pattern pieces will mark the natural waistline, which is an excellent place to start.  I laid out all my pattern pieces across the table in the order they are sewn to each other, lining up the natural waistline.  This gives you a sense of the garment's overall shape; how high it comes in the front, how low in the back, etc.  You may want to tape the pattern pieces down so they don't shift.

Next I placed my Tru-Grid Material (which is somewhat transparent) on top of my pattern pieces.  You may also want to tape this down.   I began with a red line all the way across my Tru-Grid to define the waistline. If you want  to lengthen or shorten your pattern this line will be crucial.  Next, I traced out the original pattern in the size I chose.  If you're between sizes, you can even mark those changes now (i.e. size 14 chest, but 12 waist).  You will also want to transfer the supplemental lines for boning and all the pattern notches (triangles) on your new pattern.

All that's left to do is redesign your pieces.  I recommend using a different color marker than you used for the original outline.  For the floorshow corset, I recommend straightening out the top across the bust, and shortening the bottom to get the right  effect (their corsets of course are worn completely backwards and upside down).  I also lengthened the lower back of mine.  For men, I would reduce the severity of the curved seams.

The instructions are generally the same,except you'll want to put eyelets where the corset busk would normally go in front, and a zipper up the back.

My Thoughts On Costuming

Since I have a big ol' costume site, I thought maybe I'd share my (personal) costume philosophy.  It's not meant as an appeal to anyone - and I don't believe there is a right or wrong way.  I love screen accuracy.  But I also love effort and inventiveness.  A costume doesn't have to say "I spent $800" if it says "I spent a lot of time creating this!"

Rocky Horror is a hobby, and hobbies cost money.  Buy what you need to and make what you can.  I think even the smallest budgets can create great things if someone is willing to put in the time and effort.  That's why I share a lot of my methods, patterns and research.  I think a Frank corset made out of black duct tape and cut into to the right shape would look quite impressive compared to a flimsy lace negligee from the thrift store.

Me as Columbia, September 2006

In most cases, I'd start from the character's opening scene. If you can nail your entrance you'll grab people's attention, and they'll be more forgiving of your short-comings later on.

As for a budget?  If you're getting in for free, I would set aside at least the cost of a ticket price every week/month.  If you enjoy people paying that much to see you perform, then it's pretty reasonable to invest that much in your performance.  At least.

Custom costumes are great - but they can be expensive.  Figure out what you can start with, and what you can upgrade later.  Sometimes you can even recover some of your costs by selling off your starter costumes and put that money towards your upgrade.

And finally, don't forget the details.  They will set you apart!  Maybe you can't find the perfect Janet barrettes, but you can still cut up white cardboard or foamie and stick it on a bobby pin. I've used nail polish to paint the blue stripe on Columbia's ring.

It helps if you're on a cast that shares the same philosophy.  It's a lot more fun to share the stage with other people who are as invested in a good-looking show as you are.

Buying Corsets

Corsets have exploded in popular culture over the last 2 decades and it seems like everyone and their sister began making them to sell online. I've taken issue with a lot of these products so I figured I would give the run-down on what to look for (or ask about) since price is not an indication of quality.

Fabric

Corsets can be made with any fashion fabric on the outside (i.e. Satin) but should have a suitable strength layer.  I prefer coutil, though a high-end twill or drill is also sufficient.  That being said, good luck finding a high-end twill at your big-box fabric store that doesn't stretch out like a pair of tight jeans from dryer and feels baggy 30 minutes later.  Most professional corset makers will use coutil.

Boning

You have 3 types of boning:  Rigilene/plastic, steel, and spiral.  You can buy the Rigilene stuff at your local fabric store and it's generally intended for bodices and strapless dresses.   Under pressure the Rigilene will bend and warp, but it's also easy and inexpensive to replace.   The flat steel stays seem to be the most common in commercial corsets - but I've seen those become permanently flexed in a short amount of time.  Spiral bones are the best, but are the most expensive and require special equipment to cap the ends before using.

All that being said, once you drop a zipper in the back of a floorshow corset it doesn't really matter.  Zippers are not designed for horizontal stress any more than the aforementioned Twill fabric.  So now you pretty much have a lace-up bustier.  And if you're going to drop a zipper in a corset you may as well use a cheaper fabric and plastic/replaceable boning that's cheaper (and easier to dance in).

Fitting

This one haunts me in my sleep.  If the lacing gap exceeds 3 or 4", it's too small.  Your seams won't line up where they should on your body. It will probably be uncomfortable to wear (and perform in!)

Also worth noting; figure-modifying corsets (usually with a busk closure) are sized 2" less than your natural waistline.  So if you have a 26" waist you would buy a 24" corset. If the gap is more than 3 or 4" your corset doesn't fit you. The seams are designed to lay against the body in specific places, accounting for the curves of your front, back, and sides. If the corsets back is creeping around to your sides, it's not giving you the proper support it's designed to.

Finally

Know what you're paying for.   If you're buying a professional-made corset you want to make sure you are getting your monies worth.  If you are making your own costume for floorshow it's fine to use affordable options so long as you understand the corners you are cutting.