BeyondCon 2020 Panels

All those costumes! What’s Next and What’s Done With

Chris Corbitt, Julie Zetterberg-Sardo

Keeping your costume closet up-to-date. Good storage options for odd objects. Deciding what to keep, when to let go, and how to get rid of costumes without resorting to landfill.

Built to travel

Meghan Lancaster, Julie Zetterberg-Sardo

Your costume is multi-faceted, complex, perhaps even large. Your luggage has size and weight restrictions. Whether you want to take your masterpiece overseas or just a few states away, how do you design and construct for the requirements of travel?

The Challenges of Men’s Costuming

Melissa Quinn, Richard Stephens

Inspirational sources for men to costume and cosplay are abundant, but the resources for making them are fewer than those available for female characters. What are the challenges of costuming male characters and what resources are available for equipment, patterns and materials useful in costuming for men?

Costume Design for non Designers (Or What We Wish Directors Knew)

Judith Marie Smith, Richard Stephens, Melissa Quinn

Theater is a collaborative medium with people of different expertise coming together to tell a story.  There are some practical considerations in reading a script to answer basic questions ahead of time that will save everyone a lot of headaches and fights later, as well as REALISTIC means of calculating a proper wardrobe budget.  A must primer for anyone thinking of dipping their toe in Community Theater.

Costuming and Cosplay: How the other half dresses themselves

Melissa Quinn, Chris Corbitt,

Our panelists will discuss the differences and similarities in how “costumers” and “cos-players” approach their shared creative work. Subjects will include conceptualization/design, construction/assembly, and use/competition.

Costuming Should Be . . .

Richard Stephens

This talk looks at different components of what costuming as a guild can and should look like, social outreach, education and more.

Draping a Bodice

Melissa Quinn

Demonstration of the technique of draping a bodice on a dressform.

Developing Masquerade Presentations

Melissa Quinn, Chris Corbitt, Julie Zetterberg-Sardo

If you want to compete in a “Masquerade” you’ll need a stage presentation. Where do you start? What should you do? What about music, or voice-over? Movement? How do you handle stage fright? It’s all sooo overwhelming! Never fear. Our panelists come to the rescue with suggestions and hints to make your presentation the best it can be.

For Better or Worse: When good work goes bad or just gets better

Judith Marie Smith, Julie Zetterberg-Sardo

If you knew at the start where your costume was going, would you follow? Our panelists will consider projects that went awry somewhere or didn’t work out quite as planned. Maybe it got better, maybe not so much. How do you work with a costume that has a mind of its own?

Getting from 2- to 3-dimensions

Melissa Quinn, Diana Hillyard

There are certain problems inherent in using a photo or illustration as your design source. What if you have only one view? Or the artist took some liberties with the human form? Or designed for an alien? What if you can’t see the back, or the hemline? Or if the headdress defies gravity? Our panelists reveal tricks for redesigning a flat image to fit your 3-dimensional body.

Historic Recreation - On Your Terms

Judith Marie Smith, Richard Stephens

If you want to do historic recreation, especially with other costumers or organizations (black powder, SCA, Jane Austen Society, etc.) do you have to have every detail accurate to foundation garment and level of body odor that was typical for the period you wish to recreate?  What fabrics are appropriate for first time jumping into that time period?  What do I do about shoes?  What is the proper response to a historic dowager who questions your fashion choices?  Informative, cheeky answers will be provided.

How to shop a thrift store: There’s more to a costume than cloth

Robin Egger

Shopping for costume materials means more than just fabric, whether you get that from household “linens” or deconstructed prom dresses. Thrift stores hold an abundance of useful stuff for building armatures, foundations, props and accessories. Find out where your peers wander when they leave the clothing and crafting aisles.

Looking Backward: Bustles and Trains

Lisa Satterlund

A discussion of bustle and train styles and construction techniques.

Looking Forward: Bras and Corsets

Betty Bigelow, Diana Hillyard

A discussion of corset and brassier styles, fitting and construction techniques, plus ideas for restructuring and redecorating purchased foundation garments.

Modular Costuming

Robin Egger, Judith Marie Smith

Design and build techniques that allow you to rearrange a variety of pieces into different costumes. From foundations to accessories and all in between, you can create a cosplay closet of mix-and-match pieces that will yield attire from multiple universes and historic periods for any occasion.

Laminated Paper Costume Props

Meghan Lancaster

Laminated paper is cheap and simple to make. It can be shaped in many ways, including draping, press-molding and covering an armature. It is also light-weight and can be punched, drilled, sewn and painted. It makes very convincing leather and wood, and can be gilded as well as painted. Participants in this workshop will take home a piece of several layers that can be added to later.

Press for Success

Judith Marie Smith

A demonstration of good pressing techniques and interfacing practices, with a chance to try out techniques. Why good pressing matters. How to press different materials for varied purposes. When to use woven vs non-woven and sew-in vs fusible interfacings.

Recycle, ReUse, Repurpose

Richard Stephens

It is possible to make good costumes AND lower your carbon footprint.  One of the best ways is to reuse materials that were used for one project and repurpose them for a new design.  Done properly, reusing drapes, shower curtains, upholstery fabric and trims can not only save you money but can help save the environment.

Superhero Make-over: Thinking outside the Spandex box

Chris Corbitt

It’s 2020, for Pete’s sake. Isn’t it time to move past all the 20th century skin-tightness and find a new, more consciously advanced way to express the super-hero aesthetic? What silhouettes would best represent the super-first responders of the new millennium? What new materials should they include in their arsenal? How hot is it really likely to get?

Surface Embellishment, BOTH Hand and Machine

Judith Marie Smith

By not limiting embellishment techniques to either/or, you open your surface up to a rich combination of textures, colors, and light. Layer on the materials: couch down cording and strings of beads; apply both hand and machine embroidered motifs; layer lace; paint, block- or screen-print patterns from historic sources or your own imagination. The sky’s the limit when you utilize these techniques common in theatrical and film costume shops. Employ them ALL, disdaining none! Bring your sewing machine and handwork kit to do some sampling. Or feel free just to listen, observe and perhaps get a few new ideas.

A Very Short History of Needle-made Lace

Meghan Lancaster

Hitting the high points from Filet Lace to Broderie Anglaise.

What Can Costuming Be?

An open discussion about what costumers’ guilds can be doing in their communities to support members, create social experiences, and use their love of creating costumes to further the broad non-profit missions of education and service.

Why a good sewing buddy is the most important "tool" in your workroom

Judith Marie Smith, Richard Stephens

Tales from the workroom from Judith and Richard "It's okay, we're with the band....."