What I like about this exhibit is the layout is intuitive and a great refresher for designers and clothing history enthusiasts alike. From why bias cut charmeuse is the perfect silk for a 1920s dress to how designers have worked to create couture fabrics for specific fashion lines; the lay out of the exhibition flows brilliantly. Check it out!

"Doubles" references a second, third, fourth, or sometimes 10th copy of a garment for film or theatre. These "doubles" can be created in a costume shop or bought depending on the needs of each show. But, why would a production need a "double" for something? It is slightly different between film and live theatre. 

The need for "doubles" in film usually stems form something happening in the filmed scene that would do damage to or change a costume piece. This could be anything from spilling water on oneself to a bloody murder scene. Any time a costume piece could potentially be changed while filming the costume department will ask if a "double" is needed. This way while filming an actor can change out of the "damaged" clothing into a new piece for another take without slowing down filming. 

Other reasons for needing "doubles" in film and also theatre sometimes result from a traumatic action such an explosion, war, cake face plant, etc. that would significantly alter a garment in the plot of the production. When this happens, a crafts person would be hired to take an identical costume piece and alter it to the aftermath of the action. This way an actor can change into the damaged or altered costume instead of wading through a bog to get muddy. 

A third reason for a "double" would be the need for an identical looking person or stunt double. This time a double would be made or bought for someone standing in for the original actor. You can see this happen in Phantom of the Opera while the Phantom leads Christine down to his lair. 

So, anytime you see a character getting soup spilled on them or escaping from the temple of doom, realize there was a costume design team with at least one "double" waiting in the wings for a second take or scene. Sometimes they have a whole wardrobe rack. 

As I have begun my professional career as a costume designer I have run into a few things that I didn't realize were givens when working on a show. There are a few things I needed to budget for/remind people I needed/etc that were already there and waiting as a student. I thought I'd share a few of these so those of you leaving academia in the near future will be more prepared.

1. If your production is renting rehearsal space you will need to also rent fitting spaces (or have fittings at your apartment). Having worked on shows I knew this in the back of my head, but when it came time for me to design a show this completely threw me for a loop. Sometimes depending on the rehearsal space rented you can use part of the room and set up screens (not ideal but it will work). It is important if you need the space you get that rental put in as a line in the production budget. Sometimes though, production has budgeted all their rentals for the rehearsal space and there isn't much leftover. These are the times you get creative. I have done fittings in apartments and rehearsal space bathrooms. 
2. Where will costumes be stored? Thankfully I have designed small shows that can live in bags at my apartment, but if you are designing a show that is larger you'll need a space to keep costumes until you move into your theatre. The rental can double as a place for fittings potentially, but if you don't have it budgeted in, you'll have to get creative. Sometimes if it is a small show producers, stage managers, and directors can offer up some space. Other times, actors who are amazing at remembering their pieces will keep them at their homes until move in day. My personal ideology is keeping the costumes together or with the stage manager if they are needed to rehearse scene changes/transitions/blocking. 
3. You have to hire stitchers/a shop or do alts yourself. Thankfully I have my own sewing machine and am comfortable with alts. But, if you don't have a machine or have a few alterations you feel you can't complete, it is important to find stitchers/seamstresses/etc you trust to complete the task. Also, pay them as good of a fee as you can. Some costume budgets are tiny, but make sure there is another line in the budget for labor. 

Most of these tips have to do with budget or the non-design side of costume designing. They are still very important to keep in the forefront of your mind when budgeting and organizing the set up for your production. 

I thought I'd circle back around and revisit the Paper Portfolio that I had written about while I was interviewing for graduate schools. Having now finished my MFA I thought I'd give some updated tips. For the most part the only time you will need to have a physical paper portfolio is when interviewing for school (grad/undergrad) or in very specific summer stocks, regional theatres, etc. 

1. Start with a page dedicated to your Resume. It is classy, gets info across quickly, and sets a sort of "index" for your portfolio.
2. Give credit where credit is due. Some photos on the two sample pages above have names attached. Make sure you credit the photographers as well as your fellow designers and director. If one photographer took all the photos on one of your pages just credit them in the header with the other designers. It keeps the page looking clean.
3. Show side by side sketches and productions shots so those hiring you can see how you represent things and how they materialized. 
4. Create your portfolio digitally so you can have it printed but also available on an iPad or in a PDF to email. Although most places will be happy to follow a link to a website (take a look around if you need inspiration), sometimes having something you can "flip through" is also a good idea. I used photo shop so that I could keep my template and fonts the same throughout. 
5. If you are a designer fill your portfolio with mostly designs. Save the last page or two for crafts, technology, or art. Reverse this if you are a technician.

The final page of a portfolio is usually an odd single page (since you started with the resume), so something that is a little different than what is filling most of the portfolio can be a fun way to end/start the discussion you want to have with a future employer or educator. ​

 and EdwaOn the first installment we learned about witch costumes. On this second installment, I wanted to focus on other monsters. Notably, vampires, Frankenstein's monster, and mummies. The trinity of Halloween monsters. Before looking at some historic representations of the three, let's briefly review the origins of each myth. 

FYI: The green guy with bolts through his neck is Frankenstein's monster. Frankenstein was the doctor who created him. Read the book by Mary Shelley and all will be made clear. 
​
One of the first vampire movies was the black and white silent film, Nosferatu. It was filmed in 1921 and is thought by many to be an unauthorized adaptation of Dracula by Bram Stoker. The movie also set a precedent that is believed to this day. In the movie, vampires are injured or killed by sunlight. No where in Stoker's novel was this mentioned; only that vampires are weakened. 

The mummy curse is thought to have been perpetuated or created by the Victorians. There is no evidence that Egyptians believed mummies were cursed or could get up and walk around after being mummified. Supernatural explanations and spiritualism was popular during the Victorian and Edwardian eras. Sir. Arthur Conan Doyle, the creator of Sherlock Holmes was a noted spiritualist during that time. 

After researching the trifecta of costume monsters I have realized that although we see them as quintessential parts of Halloween, unlike witches, these monsters weren't as prevalent in Halloween dress up. Skeletons, bats, and black cats tended to show up more and much earlier in history when I was researching. Hopefully this is a jumping off point for anyone who wishes to do more in depth research into any of these three iconic monsters.  
Resources:

• Mental Floss-11 Nightmarish Facts About Nosferatu
• Origins of A Mummy's Tale
• Arthur Conan Doyle's Interest in Spiritualism
• Justine's Halloween
• Smithsonian-Halloween Costume Guide
• New York Times-How this Makeup Wizard Created the most Recognizable Monster of All time