Costume-making 101: Part the Second – Design

Hello again and welcome to my ongoing musings about the world of costume and prop-making.  Following on from my first two posts I thought I’d continue in the same vein this week and talk a little bit about the design process for my costume projects, using as a handy guide the Assassin’s Creed original creation I’m working on for this year’s London Comic-Con.

So, where do I start when it comes to designing a costume?  Well, rather unhelpfully, it depends upon what I’m trying to create.  Some projects are relatively straightforward in terms of “design” as most of the work will have been done for you: for example building straight from a pattern, painting/adapting a found item or kit, etc., etc.  I find these sorts of projects to be great for relaxing and keeping my skills sharp, but nothing beats starting from scratch and really letting my imagination loose to run around in circles, waving its metaphorical mind-arms in the air like a sugar-fuelled four-year-old.  You know, like this:

Classic. 

For our little sample project, I mentioned in my previous posts about trying to get a “feel” for the costume that I’m working on, rather than singling out individual elements.  Those of you who’ve been keeping up with the reading (for those who haven’t, shame on you) you’ll remember that my Assassin’s Creed meets Wild West concept has now been established, as have the pieces currently in production that I have to work with, so now I need to start bringing it all together into something that feels right – something that is believable for the character I’m trying to portray and not like a collection of bits I’ve had to try to fit together. 

Looking at what I had on hand, the largest element I have to work with is my off-white tunic/under-shirt that I’d mentioned in my last post, presented again as a reminder – apologies again for the mess, I still haven’t cleaned up:

I liked the idea of a long, flowing piece of costume, a shirt or something of that kind, but I couldn’t really see this working with what I had within my new brief.  The sleeves were causing no end of problems due to my own ineptitude when altering a pattern, but I’d put a lot of work into the construction and was pleased with the quality of the work.  I’d even included decorative seams:

So I had the tunic; the flowing form fit well with the whole AC aesthetic, but I couldn’t use the thing as it was.  What to do?  Well first off, get annoyed.  Then, a plan.  Google would help me – it’s always been more than happy in the past to provide a surprisingly helpful array of picture references, so that’s where I turned.  There was something at the back of mind that had sparked an idea, the rear of a cowboy-style caped over-coat, but with some stylistic changes…  Some Googling later, I’d discovered that an Old West over-coat was not called a “duster.”  Stay with me, this history lesson is going somewhere.  A “duster” was an over-garment that went over your clothes when riding to stop you from getting dust all over your nice new jeans.  Or whatever it is that folk wore back then.  Levis maybe.  Someone out there will correct me.  Here’s a picture I found (of a duster, not Levis):

It was usually made of lightweight cotton, white or off-white, full length and cut to fit when riding.  Anyone closing in on the same epiphany as me?  So, I have the basis of a classically-inspired Old West duster sitting here, albeit with knackered sleeves and a hood.  Ladies and gentleman, we have a start. 

A duster then.  White, billowy, lightweight and period accurate.  Good start, but I’d need more than this – May gets warm but I’m not going to Comic-Con in what is essentially a night-shirt.  Once I had this idea fixed though, the rest of the costume elements fell into place relatively quickly; I’d need a period shirt, most likely white to continue the Assassin’s Creed colour pallet, something red, logically a sash as the design ethic of the series dictates, and some trousers (I’ll translate for those across the pond – pants).  I wanted to work some blue in with the trousers (pants – still being helpful here) for a bit more interest, plus the all-important leather elements and details.  It’s strange but this always seems to happen to me, I get one important piece sorted out and the floodgates open.  I think this sums up the “feel” that I keep going on about, in that when you have a strong sense of a silhouette and a theme, it should be simple to add in elements that complement and enhance the look you’re trying to achieve around a central costume piece or prop. 

Ezio had his doublet, which I’ve made.  Connor had his over-coat, but no-one cares because the gameplay was terrible, plus I’ve already made that as well.  Edward had his pirate-y tunic thing, which I haven’t made.  Yet.  I would have my duster.  And a hat.  Because, you know, you can’t be a cowboy without a hat. 

Next time I’ll look at the smaller costume pieces and the changes needed to make the duster work, plus how to juggle a hat and a hood.  For now, another little taster of something else I’m working on for my other half for Comic-Con; part of her Renaissance Assassin costume I’ll be featuring at a later date:

It’s been emotional.