Nora Scout

Tech

Montana Shakespeare in the Parks

Throughout my five years working at MSIP (three as a costume shop apprentice and two as a stitcher) I’ve had the opportunity to learn from and collaborate with a professional costume shop. Along the way, I’ve learned skills such as dyeing and distressing, tambour beading, leatherwork, and tailoring, as well as adding to existing skills such as stitching and altering.

Below are some handpicked examples of my work.

Clipping the bodice around the center front point.

Understitching on the sleeves.

Hand-stitching the piping on the inside of the bodice.

Pattern match! So proud of how this turned out.

The most important detail of this dress was the pattern matching on the center front panel. The cap sleeves were lined with mesh to minimize bulk and then understitched. The top and bottom of the bodice were piped. When turning the piping around the center front point, I used a clapper and lots of steam to make it lie flat.

Prick stitching along the roll line.

Collar before adding the facing.

Stitching on the collar interfacing to provide structure and shape.

My first ever blazer! The first rule I learned was “Tailoring is all about hovering.” With this in mind, I prick-stitched and hand-sewed many elements of this blazer. I also learned how to properly press the roll line of the lapel: I used a towel and tailor's ham to get the perfect press without creasing the garment.

Pattern match.

The completed mock-up.

More pattern matching and topstitching.

This pleated skirt, consisting of 16 panels, was all about precision. In addition to pattern matching each panel, the rows of top stitching had to be exactly the same length so the pleats matched up. All of the pleats were pre-pressed before assembly.

This tambour collar was created for King Lear, in the show of the same name. Backed with cotton, snaps were added so that the collar could be detached from the shirt for laundering.

Quick-rigging before and after. The tie is permanently attached on one side of the collar, with snaps on the other for easy access during changes. The cuffs were also quick-rigged using elastic.

Examples of distressing for Henry V. The distressing levels in this show were quite high, with lots of mud and staining added to the battle pieces. While these are painted examples, I also used tools such as a rasp and sandpaper to add an element of texture. For a lighter, more sun-stained look, white paint was dry brushed onto garments that needed a lower level of distressing.

Floral crouching, created on a tambour loom for a jacket lapel.

Hand-stitching examples.

A frog for swordfighting. Frogs connect to the belt and function as a carrier for the sword. Made with leather, artificial sinew and metal for reinforcement.

Added the grey pleats to the dress, made the cape.

Distressed the hem.

Quick-rigged the shirt and tie to the vest.

Reset the sleeves, refitted the shoulders and center back.

Giant Puppet Lantern Workshop

During the ten-day giant puppet lantern intensive, our 11-person group created two giant puppet lanterns. We learned how to build a strong but lightweight frame, what the best materials are to conduct light, and how to sculpt the puppet faces: one was built with willow withies and wet strength paper, and the other was sculpted out of clay and constructed with worbla. We also took a movement workshop to learn how to animate the puppets.

First day of school!

Wings made of willow withies for structure.

Adding fringe.

Building one of the body units.

Marking the pattern pieces for the worbla.

Heating the worbla to assemble.

Adding wet strength paper to the base.

More fringe.

Fully assembled ripstop body.

Sewing Projects

I am always learning new skills and techniques: for my personal projects, I love to challenge myself and add to my skill set. For my next project, I want to try drafting pants. I’ve patterned lots of shirts, bodices, and skirts but I don't have as much experience with pants, so I’m looking forward to learning about the different pattern shapes and measurements to create a new (to me!) kind of garment.

For this dress, I focused on pattern drafting and working with the two layers of fabric. The satin layer of the skirt is 8 panels, while the georgette layer is 16 panels to add volume. I wanted this dress to look like a watercolor, so I used layers of two different fabrics to create a unique color and texture.