Monday, July 12, 2010

Behind The Garter Belt: Scarlett James


Scarlett James, the Countess of Burlesque is the founder and executive producer of The Montreal Burlesque Festival Sept.23rd to 25th Coming up you can also view her in all her splendour's glory July 23rd for the Toronto Burlesque Festival.

What is the importance of costuming to the burlesque performance.? Do you come up with the act or the costume first?
For me, the costume is essential to the performance, it has to be well thought and has a bit of history in it, it is important that the pieces you remove are all like pieces of art and must be treated as if.
Sometime the act comes from an idea about the costume, or a piece of music, sometime from a dream. It is never the same

When did you realize that your costumes had to be custom made and not off the rack?
From the day I saw burlesque for the 1st time! and I like to be very creative so it is definitely an opportunity for me to express my creativity

What inspirations do you draw from?
I get inspired by fairy tales and fashion, silver screen sirens.

Do you get inspired from vintage burlesque photography, movies or performers?
Yes absolutely! but I don't want to copy I just want to understand the historical bits of the costume and create something new from there.

What are your favourite costumes that you've made? What was the most challenging?
Hmmm, hard to say. My champagne glass number was quite something as the lace had to be sewn bits by bits and cutting an 18 ply boa just for the seam of the dress torn my heart! The most challenging was the Exotic Bird number, the tail, but it was just a lot of work to achieve the whole!

What is the funniest thing that has ever happened to you while making something?
having my big cat running away with my feathers and having to run after him in the house to get them back?

What materials do you get the most excited about working with?
Swarovski crystals, feathers, silks and all precious material really

Explain the importance of closures and fastenings on costumes for the burlesque artist?
it is simple, they have to be strong yet flexible, should never come undone by themselves yet easy to unfasten

What was your most bizarre costume?
I don't think I have a bizarre costume... I think I made a cape once but by the look of my husband I realize it was not a good idea! You know the look, right? One eyebrow up and the other frowned?

What tips can you offer those who aren't crafty?
Find a good seamstress and go threw a few drawings and sketches before you give the green light, and lots of fittings!

If you had an unlimited budget what would you make? The sky's the limit!
Oh my goodness! Unlimited budget would mean that Cirque du Soleil costumiers would go hide in shame! But since I intend to get there someday, I cannot give you my precious little ideas, sorry!

There's a recent insider controversy about how many Swarovskis one can put on a costume.
Their is NEVER enough crystals on a costume BUT! you have to be creative in the design. You cannot just put thousands of Crystal next to each other without any thoughts to it, anyone can do that, that is not impressive.

What batteries fuel an outfit? (eg. Charisma, smile, non tangible thing)
Yes Charisma, smile, but above all generosity. You are on that stage because of the public. So you have to be generous of yourself and even though on that stage at that moment and only for a couple of minutes you are the most dazzling thing they have ever seen, you also have to remain humble.

What designers do you enjoy working with?
So far I have done all of my costume myself so I didn't have the opportunity to enjoy a designer point of view. I would like to try that sometime, It should be fun!

Monday, July 5, 2010

Behind The Garter Belt: Jo "Boobs" Weldon



Jo "Boobs" Weldon is the head mistress of The New York School of Burlesque and "Queen Bee mentor to the nearly naked." Jo will be appearing at The Toronto Burlesque Festival, July 21st-25th .


What is the importance of costuming to the burlesque performance.? Do you come up with the act or the costume first?
It depends. With characters I usually come up with the act first, but with classic numbers it's often a costume idea that originates the number.

When did you realize that your costumes had to be custom made and not off the rack?
I made costumes for feature dancers in the 1990s, and when I was a feature dancer I made my own. We weren't allowed to wear things that came off the rack. so I've always known.

What inspirations do you draw from?
Lounge and heavy metal music, cartoons, and political agendas.

Do you get inspired from vintage burlesque photography or performers?
Absolutely! The white costume for my Honey Harlow Tribute is based on the clip from the film Lenny. My Sherry Britton tribute number was made with her consulting on the design and Garo Sparo working out the details. But I like to see classic bits in even the most neo-numbers. It connects us to our filthy-minded forebears and the history we are fortunate to repeat.

What are your favorite costumes that you've made? What was the most challenging?
Godzilla, by far. Making the tail was the best part. I was working on it while I was bartending at a place called Bellevue in Hell's Kitchen, and one day a guy named Troy came in and gave me a mask he'd made for the owner. I started talking to him and it turned out he was involved in major costuming. We ended up designing the tail surrounded by the heads of the rats from the Nutcracker and the actual wings from Victoria's Secret fashion shows. Always accept help when it's offered!

What is the funniest thing that has ever happened to you while making something?
Making Bambi's lobster costume, I laughed continuously.

What materials do you get the most excited about working with?
Weird fabrics and beaded fringe.

Explain the importance of closures and fastenings on costumes for the burlesque artist?
It has to work. It has to be fun for the audience to watch you undo it. And you have to rehearse it, and you have to check every time before you go on to make sure all your fasteners are in good working order.

What tips can you offer those who aren't crafty? What one Jo Boobs secret can you divulge?
Always carry a sewing kit, repairing costumes is part of the gig.

If you had an unlimited budget what would you make? The sky's the limit!
Something like Mistinguette

What batteries fuel an outfit? Charisma? Smile?
Sometimes batteries -- but understanding that costuming IS choreography is a plus.

Where can we learn to make our own costumes?
You can learn from my handbook which is coming out this year!
*It's out now! Order here: http://www.amazon.com/Burlesque-Handbook-Jo-Weldon/dp/006178219X


*THis article originally appeared in Candy Pitch