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Saturday, October 19, 2013

New Levels of Geekery

Most of the costumes I post about on here are historical or at least have some historical influence, but make no mistake; I will sew just about anything that strikes my fancy, and I am super geeky. I have seen almost all of Star Trek--all of the movies and almost every episode of all of the TV series except the animated one. I'm a huge fan.

I've always been rather hesitant about cosplaying Star Trek, though. See the Starfleet uniforms that are the most flattering on the women are the ones from the original series, but I'm not the miniskirt type. It's just not going to happen. And those dresses don't look the same once you lengthen them to knee-length. But most costumes of any of the jumpsuit uniforms (Next Generation, especially) look like baggy pajamas. That is not attractive.

Then Salt Lake City got its very own Comic Con this year! (And Utah is a geek haven, so it did ridiculously well for its first year. Yay, Utah!) Anyway, I couldn't really afford to take time off work to go, but a very talented artist friend, Stewart Craig, had a booth there, and his sister-in-law helped him at it and wanted to dress up. They initially asked me for a Next Generation uniform for her, but I'm not sorry that they changed their minds from that. We ended up settling on the uniform from the beginning of Deep Space Nine and all of Voyager.

Emily wanted to be a Science officer, but I couldn't find the right fabric in the right color, and if I was going to make this costume at all, it was going to be as good as I could make it, so I wasn't really willing to use fabric that wouldn't look right just to give her the color she wanted most. Luckily, she was okay with command red, as that was actually the easiest for me to find in the fabric I wanted to use.

My husband is extremely crafty too and usually makes the accessories I can't make myself for my costumes, but he didn't have a lot of time, so we bought the comm badge and rank pips from Xscapes Sci-Fi Originals. We did change the comm badge to magnet on instead of velcroing, though.

One of the reasons I was glad to be making a Voyager uniform is that most of them are not jumpsuits at all. They are jackets and pants with an undershirt. I think this is much more sensible to wear because let's face it, if you're wearing a jumpsuit, and you have to go to the bathroom, your clothes have to come almost all of the way off. That is not convenient. So let's all agree that future people are going to need to go the bathroom just as much as we do, therefore they are not going to start wearing jumpsuits all the time.

Okay, back to the actual topic. The pants were the easiest part. I used New Look pattern 6519, modifying the pants only a little to eliminate the side zipper and give it a fly zipper and a hook and bar closure. I should have modified them slightly more to add small slits at the bottom front of the pant legs so they would fall open over the boots, but I did not, due to time constraints.

The jacket was more tricky. I used Simplicity pattern 2284 as a jumping-off point, but it took more modification to become what I needed. I used the longest sleeve, but eliminated cuffs and openings. For the body of the jacket, I omitted all pockets and decoration, and the shape of the jacket is actually pretty good for what I needed. It's too long, but shortening it and adding a waistband were pretty easy. Some parts got complicated, though. The women's jackets are fitted in front, but have pleats about an inch wide on either side of the back of the jacket just inside the shoulders, so I had to modify the back panels to allow for that, and that fullness in the back makes it a little tricky to actually get the front to look fitted.

The real headaches, though, were the color block across the shoulders, and the zipper. I think it's fairly obvious why the color block was difficult. I had to figure out the exact size and shape of those pattern pieces, making sure that all of the seams would line up just right. That went surprisingly well, but I did have to redo a couple of the pieces once. The problem with the zipper was that it needed to be (or act like) an invisible zipper because the jackets on the show don't have zippers showing, but it's a jacket, so the zipper needed to separate on the bottom. Separating invisible zippers are not something you need most of the time, so they're not easy to find. Jon and I did find one, but it had this big, chunky zipper pull that really hurt my sensibilities. Yes, even when my costumes are not historical, I have issues with inaccuracy. I'm picky like that. The solution I eventually settled on was to buy a black plastic separating zipper and actually sew it on the inside of the jacket, with the zipper pull hanging to the inside. Each side of the zipper was sewn far enough in on the fabric that the front edges of the jacket touch each other the way they would with an invisible zipper.

Okay, so my seams don't line up perfectly, but I think this is very close.
 Then comes the undershirt. That really shouldn't have been much of a challenge. I didn't even bother to buy a pattern for it because it's just a mock-turtle with a short invisible zipper down the back of the neck so that the neck could be quite fitted. But I was conveniently forgetting a truth you'd really think I'd have learned really well by now: my sewing machine hates extra stretchy knits with a firey burning passion. And yes, I had a very stretchy fabric for the undershirt.

Because I am a dental assistant by day now, I was sewing right up to the wire on this one, and I started the undershirt (after just barely finishing the other pieces) late on the night before the customer needed to wear it. That shouldn't have been a big problem either, but instead of actually sewing the pieces together at all, my needle just kept shoving the fabric down into the machine. I couldn't even get it to sew crappy, rippley seams. Nothing. I thought of some potential solutions to this problem that didn't involve a serger--because I don't own one and by no means had the money to go out and get one or time to borrow one--but I didn't have a lot of time for experimentation. If it worked, it would have been great, but if it didn't, I would have lost a lot of time on it. So Jon and I set to frantically hand-sewing this undershirt. We eliminated the long sleeves it should've had and the whole bottom half of the shirt so there would be less sewing to do, and we barely finished it on time, but it looked awesome! And apparently, Emily was grateful I made the modified undershirt because it was pretty hot in the convention center, so yay for desperate measures working out for the best.

And now for pictures of Emily at the convention. I will go ahead and say upfront that I am fully geeky enough to feel kind of cool to see the costume I made photographed next to some of these people even though I was not there to meet them.

I include this one with some girl I don't know cosplaying 7 of 9 because it shows the fit of Emily's jacket better than most of the others.
Emily and Dwight Schultz aka Lt. Barclay
Emily and John Eaves, designer of the Enterprise E and a lot of other cool stuff
Emily and John de Lancie aka Q
And I really shouldn't have to caption this one, but I will anyway: Emily and William Shatner aka Captain Kirk (obviously!)

Sunday, August 4, 2013

Ball Gowns, Bed Sheets, and Newspaper Men

I can finally bring myself to post about my Civil War ballgown because I have made up with it. When I initially finished it in time for the Dickens Ball in December (very fun event, by the way--you should totally go if you're in Utah this December), I was generally working on it when my husband wasn't around to lace me into the bodice, so it was difficult to check the fit. I put it on my dressmaker's dummy, but that is only generally the correct size, not the exact right shape. The result was an ill-fitting bodice that was off the shoulders too much...and before you criticize me for historical inaccuracy by saying that it should be off the shoulder, I must inform you that I used a design with braces (think decorative suspenders), which makes it significantly more likely that the shoulders would have been covered, even in the 1860s.

Too make my night more frustrating, my method of constructing the flower garland that attaches to the front of the skirt wasn't very strong, so it came apart during one of our more vigorous dances. I ended up having to take parts of it off and pin a couple of small bouquets onto my dress. Also, my cage crinoline was not done before I finished the skirt, so the shapes of the two (skirt and crinoline) did not correspond correctly, causing my skirt to lift strangely in the back. I know I'm a big baby, but it definitely dampened my spirits to have the dress I had intended to be rather spectacular fail spectacularly. Yes, I like attention, and yes, it probably only failed particularly spectacularly in my own mind, but none of that changes my disappointment at the time.

The beginning of the night--the garlands hadn't broken yet, but you can definitely see the odd way the braces were falling off my shoulders
This shows the lift at the back of my skirt from the crinoline and skirt not really matching the way they should. On a more positive note, it also shows my hair and hairpiece, which I did like.
This is after the garland broke. In my opinion, the skirt falls a little flat without it.
Not long after that ball, I fixed the garland, but it took me six months to work on the bodice again. In June, Old Glory Vintage Dancers performed and taught at the Thanksgiving Point Princess Festival, and I finally fixed my bodice so that I could wear the gown without all the frustration. Here are some pictures of the modified dress with a more normal hoop skirt under it. I wore somewhat eccentric jewelry with my gown that night because the featured princess for this year was pseudo-African. It was supposed to be in honor of her. The ball was also a masquerade.

Just this weekend, Jon and I went to a steampunk themed game night at a friend's house, and of course, Jon and I don't need much excuse to wear costumes. And we each have a few different steampunk costumes already, but we also don't need much excuse to come up with new costumes. Mine was mostly parts of costumes I've worn before, but in a day, I made a new skirt out of one of our old bedsheets. The fitted sheet was worn out, but the fabric of the flat sheet was still good, and it had a sateen (satin weave, but made of cotton) stripe that I liked. I got lucky and had many yards of trim that Jon won for me once that matched the sheet quite well. I used the same pattern for this skirt as for my embroidered red one; I just omitted the train because I wanted it to be more of a walking skirt. I think it turned out nicely.

Jon wanted to pretend to be doing a photoshoot of me.

And of course we like dancing poses
Jon bought a nice bowler hat a while back, and we found some nice mid-19th century pants at Gentleman's Emporium. He already had the vest and bowtie, and I altered one of his dress shirts with French cuffs to have a more rounded collar. He made simple arm garters out of lightweight leather and carried one of my antique cameras. I think he made a rather dapper Victorian newspaper man.

Jon is incurably silly.
Jon and me with his sister and cousin, who were also at the party
And now, just for fun, I will share the pictures I have from a steampunk photo shoot I was in. I modeled a few accessories for Kelley Emporium. I really want the parasol, the fascinator/hat, and the choker from the second photo down (the one I'm wearing in the other two photos is my own).

Tuesday, July 9, 2013

A Foray into Colonial Times

On the Fourth of July, my husband and I walked in a parade in West Jordan, Utah with Old Glory Vintage Dancers. We could wear costumes from any historical period that the group reenacts, but we wanted to be colonial, in honor of our nation's founding, so I made our first American colonial outfits.

For my costume, I was trying hard to avoid needing to buy new fabric because we had/have a lot of events coming up for which I need new costumes, and we don't have a lot of money, so I needed to make fabrics I already owned work as much as possible. The yellow brocade skirt I made to go under my Elizabethan gown was actually an appropriate shape to work for certain styles of colonial women's clothing, so I decided to start with that. Since this is a round skirt and not an oblong one, I would wear a bumroll under it rather than panniers. Then I found some dark blue linen in my stash that would look good with it. That I used for a jacket/bodice similar to this style. I also wanted to make a fichu (shawl) similar to the one in that picture, but I had little time, and the costume was for use outdoors on a very hot day. I may still make a fichu later.

To make the jacket, I did not want to spend the money on a pattern and didn't manage to borrow one from a friend in time, so I actually modified a pattern I had previously drafted for a cotehardie. The seams are probably not really right for this later time period, but the overall shape looks good, and I decided to accept that as good enough for my first one. I changed the neckline and shortened the sleeves, took in the seams to fit closer to my waist since the pieces would stop there instead of flowing into a skirt, and made a rectangle with two rounded corners, which I gathered onto the top to make the peplum/skirt portion.

My headwear actually took the most time. I was going to buy one from Jas. Townsend and Son. It's very nice, and I recommend it, but as I said, I was trying to cut costs anywhere possible. I happened to have four perfectly normal straw hats that I had acquired very cheaply at a thrift store sometime last winter to cut up and turn into various types of historical hats and bonnets. I started with one of these and picked out the stitching, leaving myself with a much shallower crown portion and coils of straw braid.

I then sewed the coils back onto the crown making a wider brim, but it was still not wide enough, so I took apart the brim of one of my other hats and added those coils of straw braid as well. My hat was wide enough, but I felt the crown wasn't quite as shallow as I wanted so I took apart the top of it to reshape it. I took out the flattest part of the top, removed part of the sides, and sewed the top back on to the now-shorter crown of my hat.

The brim of the hat was a little ripply, so I dampened it and weighted it down to flatten it. The only step remaining was to add ribbons to tie it onto my head. I also made a string of bows and sewed them around the top of the hat.

During the colonial period, women wore various styles of cloth caps under this style of hat. I made one out of soft white fabric in my stash and eyelet lace. I did not use a pattern, nor did I truly draft one. I just free-handed the approximate shapes and adjusted it until it fit about right. It may not be perfect, but I think it looks nice.

I apologize that these are crappy cell-phone pictures. I will probably replace them with  better photos at some point.

As you can see, the ribbons tie behind the head--this was typical for the time period. It also turns out that this type of hat is very difficult to keep on even with ribbons, so I was glad to have the cap underneath it because it gave me something to pin the hat to with my hatpin.

For Jon, I made a new "puffy" shirt using a modified version of Butterick pattern 3072. I also used this pattern to make him a colonial waistcoat, although instead of making mock pockets according to pattern instructions, I put in actual pockets between the outer fabric and the lining. I was in the process of making him proper fall-front breeches, but due to my actual paying job and some family emergencies, I couldn't finish them in time. So instead of wearing breeches, long stockings, and buckle shoes, he wore a pair of fitted costume pants he already had with tall boots to fake the look of the period. I intend to finish the breeches as soon as I can.

Monday, June 3, 2013

Fun with Steampunk

I feel the need to include a disclaimer at the beginning of this particular post. I wrote it weeks ago--about a month, actually. But due to some issues with Google (no, it wasn't my computer because I tried working on this on several different computers), I could only upload about half of the pictures until today. The problem turned out to be less Google's fault and more a conflict with Firefox because my remaining photos uploaded just fine in Google Chrome. Does this mean Google has trouble playing nice with the other kids? I don't actually think so. Updates for various programs/apps sometimes cause temporary conflicts. Now you may continue on to the interesting part of my post.

Recently, a friend had a steampunk ball for her birthday party. Old Glory Vintage Dancers taught some actual Victorian dances, accompanied by TLC Trio. It was a blast. But leading up to it, being part of the dance group and all, I had to figure out what to wear. I had an adventurer-type steampunk costume, but that wasn't what I wanted to wear to a ball, and I have to admit that I didn't really want to wear too much borrowed stuff. I really like having my own costumes. I also didn't really want to wear my steampunk corset over my Regency dress like did to Salt City Steam Fest last year. (I know that steampunk typically involves Victorian clothing if it includes anything actually historical at all, but it still looked cool.)

I was afraid I wouldn't have time to make anything new because I started a full-time job recently, so I don't get to sew full-time anymore. Money is often also a concern since nice fabrics aren't cheap, but this time, I knew I had some beautiful embroidered dark red taffeta that I bought a while back on clearance that would be perfect for a late Victorian skirt.

I wanted to make something really elegant and formal for the skirt, partly because that's the direction I wanted to take this particular costume, and partly because I wanted the skirt to be useful for reenacting and not just steampunk. I like versatile costume pieces because they allow me to effectively have more costumes. My plan was to make a bustle skirt, but as time began to run out, it became less and less likely that I would be able to make a bustle and draft and make the skirt to go over it...and possibly a new blouse.

I remembered that I had gotten some sort of late Victorian pattern from a friend, but I couldn't remember what, so I went digging. It turned out to be this pattern from Truly Victorian, which is a "natural silhouette" style skirt, meaning mainly that, while ladies would still wear petticoats, no bustle would be worn. I suppose you would consider the skirt on the right below natural-looking when many of the alternatives of the day had major architecture underneath.

1870s fashion plate
 So I had a pattern, which eliminated the need to draft one myself or make a bustle, but I still had no time the weekend before the party or any of my evenings. Then the Thursday before the party, I went home from work for lunch (I live really close to the dental office where I work), and before I was even done eating, I got a text saying our only afternoon patient had rescheduled so I didn't need to come back in after lunch. Since the office isn't even open on Fridays, that left me with a day and a half (and a little of Saturday morning) to work on my costume.

I worked hard and by Friday afternoon, the skirt was basically done. I had wanted to put some trims on the bottom, and that wasn't done because I couldn't find any that I thought went particularly well with the fabric, but it was otherwise complete, so I put it on my dummy to take a look at it, start taking photographs and figure out precisely how I was going to get the train out of the way for dancing. But I took one look at it and found it deeply disappointing. The shape was uninspiring, and not in any ways I could easily fix because I hadn't made any actual mistakes. After imagining something really beautiful, that was very upsetting, so I took a break. I modified a shirt for my husband because he wanted something different from last year too, read a book, and generally stewed. I even considered not wearing the skirt on which I had worked so hard and just wearing the Regency dress.

Saturday morning, I decided I would wear it after all, so I put some buttons and loops on the seam allowances in the back to pull up the train from the inside, just making the back a bit more poofy, and I made a choker out of some the scraps from the skirt and a pendant I have that has one of Degas' ballerina paintings on it. The blouse I had intended to make fell by the wayside, so I took a quick shopping trip to Target to see if they had anything that would work, as I didn't want to wear my rather Victorian-looking blouse that, though it looks so great, has long sleeves and a high neck. It's lightweight, but it is still very hot to dance in. I was in luck, and I found a cute shirt that was completely modern, but could blend just fine with the skirt since I was going to wear my steampunk corset on the outside again. And--the real goal of the shopping trip in the first place--it had short sleeves and a more open neckline.

The best news of all is that after I had pressed the seams and darts flat and put a petticoat under it--not so much for authenticity's sake since I wasn't reenacting as in hopes that it would give the skirt a better shape--I liked it better. I'm still not sure I'm as in love with it as I'd hoped, but I didn't have to spend the evening in a skirt that I hated.

I'm including this one because you can see the nylon "horsehair" braid that I used to stiffen the hem of the skirt.

These next two show the train bustled up so I could dance. 

Now I'll say a little about Jon's costume for the evening. He mostly wore things he already had--khakis he had modified with a leather knee-patch, awesome leather tool belt with interesting things in the pockets, Harley boots. This was his first time wearing the bowler hat, but we bought it a while back. The shirt, however, was a new creation for this event. It started out as a perfectly normal, white, button-up shirt. Jon picked off the part of the collar that folds over, and I re-top-stitched the remaining part of the collar and picked off the front pocket. Then I made the trapezoid thing you see on the front out of two layers of sturdy twill I had on hand sewn first inside-out with a spot left open to turn it, then turned right-side-out and top-stitched. I made some button holes in it and sewed some brass buttons onto the shirt, and it was almost done. The final touch was to "dye" the shirt in Pero (a coffee substitute) because I don't drink real coffee and I didn't want to sacrifice any of my delicious herbal teas to the project. It looked pretty cool, but I probably should have figured out a better way to set it because it tinged his undershirt.

Jon/s costume for the evening was more adventurey.  He was wearing a friend's goggles for the picture. 
And I am also pleased to announce that TLC Trio's "Skyfall" music video is up on Youtube! A lot of people worked really hard on it, and we're all very excited to see the finished product and share it with everyone, so please watch it, like it, share it.... (This video has been up a while, now. See disclaimer at the top of this post.)

Friday, March 15, 2013

More "Skyfall" Pictures!

This post is really just to make up for the lack of good photos in my last post. Doing the music video, I got to work with a lot of amazing people, some more directly than others. I already knew the musicians and some of their family members, and I had met Brian Wesley, the camera guy and co-director/producer, before, but I got to know him better through this project. We also had some really talented actors, dancers, etc. that I got to know as I costumed them. And one of the indispensable members of the crew was Rebecca Mabey of Effervescent Media Works, who did the lighting and took some amazing photos during the shoot.

Skyfall Music Video Shoot

I'm showing off her pictures partly because you will get to see pictures of the characters I couldn't show you in my last post and better pictures of some of the others, and partly just because this whole project is awesome, and I'm very excited about it. So I hope you enjoy these pictures, some of which display my handiwork, and some which will show you some of the other people who worked (or are still working) on this production and the work that has gone into it.

Thursday, March 14, 2013

I Costumed a Music Video!

Yes, I fully realize I stink at posting regularly--or anything resembling regularly. I apologize, but I can't really promise that will change. This time the lapse is partly because of getting very busy, but before that, I didn't post because my relationship with the project I was working on was very bad. It still is, so we'll get to that at a later date. For now, we're going to skip that and go straight to the project I just finished.

About a month and a half or so ago, my friend Dave Young asked if I would be willing to do the costume design for a music video he was planning. He's the manager for TLCTrio (and father of the pianist), and they had just done a cover of Adele's "Skyfall." It's a great song, and their cover of it is excellent as well. The video was going to involve a live chess game with some great intensity and betrayal. Dave wanted me to essentially create this chess set.

I feel the need to explain at this point that being a costume designer does not necessarily imply making all the costumes. In a theater or film context, being a costume designer means determining what each character would wear and acquiring or creating those items--or directing others to create them. A costume designer for a major theater or movie production would have a whole team and would most likely not do much, if any sewing. That last part is not true of me, but I did have help in the form of my wonderful and sexy husband and our friend Kimberli Grant.

Because of the short time frame of production, we took a trip to Hale Centre Theatre's costume department to see what they had that might work for us. The amazing Brooke Wilkins pulled a variety of options for us that she thought might work for a chess set, and several of them worked right off the bat. Keeping in mind that the costumes needed to be primarily white or primarily black to be clear which "team" they were on and that many of the costumes had to come in pairs or sets of eight, the theater had better options for the black side than for the white, but Brooke was really great at helping me come up with other options when I didn't like everything she had pulled initially. She knows their huge collection amazingly well, so you tell her what look you're going for, and she knows just what you need and where to find it.

They still didn't have what we needed for every chess piece, so we had to create some of our own costumes--most notably the Black Queen. (Note: I'm not sad about that because I love really creating things.) Hale had a dress that could have looked great for the part, but it had a train, and our Black Queen is a competitive ballroom dancer who would be dancing in the video, so a train was a bad idea. The Black Queen was supposed to be fairly edgy, so her costume was designed with a lot of leather and metal. I borrowed some of these pieces, Nanette provided her own shirt, and I made both skirts. Her tiara was from Hale.

Hale did have an excellent 18th century coat and crown that we rented for the Black King. Ryan provided everything else he wore except the sword--that belongs to my husband. He must be a really good actor because when I met him to measure him, he was one of the nicest guys I have ever met, but he played a really great Black King. (In case you haven't figured it out, the black side was supposed to be sinister.)

Hale also provided us with great Black Bishop and Knight costumes. The actors provided their own pants, the bishops had to have their own black button-up shirts, and we borrowed boots for the knights, but Hale provided us with the parts that really made the costumes--except for the weaponry. Jon and I provided the knights' swords, and someone made really cool staffs for the bishops. I don't appear to have any pictures of the Black Bishops in costume (but I can at least show you the costume piece we rented from Hale), and the Black Knight I photographed had not yet been issued his sword. I guess you'll have to watch the video.

All four rooks actually provided their own costumes according to instructions. They wore pencil dresses (black and white, respectively), with sexy tights and high heels. The Black Rooks had arm sheaths containing throwing knives, and the White Rooks had flintlock pistols (replicas, of course). The idea was to achieve a femme fatale look, and I think they really pulled it off. I have no pictures, though. You'll have to watch the video to see them too.

The pawns were probably the hardest to plan because what, exactly, should a pawn look like? I realize they represent foot soldiers, but if I dressed them like that, they would run the risk of looking too much like knights, which would be visually confusing. But Hale saved me again. They had a huge stock of black tulle cloaks--way more than the eight I would need for the Black Pawns. (I know. That doesn't sound all that pawnish, but bear with me.) Tulle is cheap and cloaks are easy to make, so we decided to make matching white tulle cloaks for the White Pawns. (Cloaks may be easy to make, but I really have to thank Kimberli for making them. I couldn't have finished everything own my own in time.) With all-black or all-white clothing on underneath, and all carrying silver poles, they looked surprisingly cool. And the difference between the worn black cloaks and the pristine, new white ones that I thought would be a problem actually worked in our favor to create this impression of the black side being sinister and the white side being good. For uniformity's sake, we bought them all scrubs pants, but they provided their own long-sleeved t-shirts. Being barefoot was not my idea, but I think it looked cool.

Hale had a great dress and crown for the White Queen, but I provided the jewelry (my pearl belt needs work and needed help to make it through the day, but it looked great as part of the costume) and the dagger.

I really struggled with the White King's costume. When Hale didn't have something I wanted to use for the Black Queen, I really quickly came up with an idea for her. Admittedly, that idea had to get modified, but that was no problem. But the White King was elusive. I didn't want him in a coat similar to the Black King. It didn't seem to fit his character. But how should he dress? And then I thought of the Student Prince. (I believe it originated as a stage musical, but as I'm familiar with it, it's a '50s movie that I thought starred Mario Lanza, but apparently does not. Oh well.) Ultimately, my White King's costume didn't end up looking that much like the Student Prince, but it is what gave me the inspiration I needed to get past my block. Hale had a white coat that looked kind of like a military officer's dress whites, and I added (in a completely non-permanent way) red and gold epaulettes, a matching red and gold collar, medals, a citation cord, and a white dress cape. With a gold cord running diagonally across his chest to hold his saber (Jon's replica Confederate saber), Austin's own grey slacks and dance shoes, and another crown from Hale, the costume really looked great.

The White Bishops also caused me some issues in planning, but eventually I settled on making them "Musketeer"-type tabards, and they were to wear all-white clothing and black dress shoes underneath. Luckily, they both owned white pants.

This shows a sample of one of the bishops' staffs. They were each unique, but this was my favorite.

The White Knights were another piece for which Hale could not provide anything I really loved, but the costume design was simple. Long-sleeved white shirts with sleeveless grey t-shirts over them to create the illusion of "gear," white tabards with gold sun emblems on the chests over all of that, light grey scrub pants (to make sure they would be the same color of grey), black boots and arm guards, and swords and belts.

It seems only fair to at least show you the musicians at this point, even though I was only minimally responsible for their clothing, simply because it is their video.

And for your viewing pleasure, one of their previous videos, which I was also involved in. Do you see me and Jon?

P.S. Filming for this just happened on Monday, March 11th, 2013, and there is actually more to the video than the actual live chess set, so the video won't be available until the other shoot and all of the editing have happened. I promise to post a link when it is up.