Category: General

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General

Belly Dance Sleeves

One of my favorite costume accessories here at Studio Davina is a pair of dance sleeves or gauntlets.  During the summer, I made this rhinestone encrusted candy-pink bedlah set with a matching skirt and set of sleeves.

Left: San Francisco/Bay Area dancer Shalimar in custom bedlah set, skirt, and sleeves from Studio Davina.

Sleeves are a super easy sewing project that can be completed in about two hours from start to finish.  They work best with 4-way stretch fabric, but you can make them from the 2-way stretch as long as you lay the direction of the greatest stretch across the sleeve so it stretches around the wrist and biceps.

Although I custom-made the pattern for this Goblet skirt, to speed up the production I pulled out my Glove and Gauntlet pattern for the sleeves. When I purchased the fabric for this skirt, I simply added 3/4 of a yard to have enough fabric to make the full-length sleeves.

Making the Sleeves

I use my standard sewing machine, using a medium stitch length with a narrow zig-zag.  Although using a serger is nice, and will give you the best finish inside the garment.

These sleeves are designed to visually lengthen the arm by coming down to a point over the back of the hand.  The tip is held down with a loop of elastic that wraps around the middle finger of the hand to hold them in place. The upper edge has a narrow casing for 1/4″ elastic.  I run the elastic through the casing and safety pin them until fitting.  Once the size is perfect, I stitch the elastic together, forming a ring, and then seal the casing.

Custom Color Your Elastic with Sharpie

One of my tricks is to use a permanent marker to “color match” the finger loop.  I keep this narrow, 1/16″ elastic cord on hand in basic white and black. The white can be easily “colored in” with a marker.  I keep a set of fine-tipped Sharpie brand marker set on hand so I can pick a fairly close match.  I also keep a set of Tombo marker portrait set to turn the white into a flesh color.

Once I have customized the color of the elastic, I use my sewing machine to stitch the elastic on.  This is the place in the sleeves that have the greatest amount of strain and tension on it so I make sure to really nail the elastic down.

Gloves and Gauntlets Sewing Pattern

So if you’re interested in making a set of sleeves – give it a go.  If you would like to pick up a copy of my pattern, it’s available on my Etsy store for $5. It can be the accessory that you make to freshen up an old ensemble, or to add that over-the-top drama for a new look your making or buying for yourself.

Now it’s time to hit the sewing table and make a bedlah set!
Dawn Devine ~ Davina
Nov. 3, 2017

PS:  Shalimar loves these sleeves so much, even when she’s wearing different skirts, she will pop them on.  I recently caught her pairing them with a white two-tier skirt.

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General

Who’s that Girl in Assiut? Vilma Banky

One of my favorite hobbies is collecting vintage ephemera. I focus on vintage images of that glorious cloth I’m obsessed with: assiut.  Recently, I landed a beautiful postcard of silent screen star Vilma Banky. Originally from Hungary, she took the name of her birth city, Vilma.  She began making films in Europe but was “discovered” in Austria in 1925.  She moved to the US and became a star in Hollywood.  Her natural beauty, luminous eyes, and a mobile, expressive face made her stand out during the silent picture era.

Vilma’s most famous role was opposite Rodolph Valentino in the film “Son of the Shiek.”  Although many of her 28 feature films have disappeared, you can watch “Son of the Shiek” on places like YouTube. (Right: still from “Son of the Shiek”)

Vilma Banky Postcards 

As a star, Vilma was professionally photographed by her studio for use as publicity stills for movie magazines, posters, and postcards.  During the 1920’s, postcards were sold at movie theaters at kiosks and out of vending machines.  The style of the moment was to shoot actresses in alluring poses with beautiful garments.  Often, you will find multiple photos from the same photo shoot used to create collections of postcards to catch different moods and views to appeal to different viewers.

In this series of postcards, Vilma wears a very fashionable assiut shawl tied as a turban around her head. This glamourous allusion to her fantasy, Orientalist films, without being a costume for a particular role, would lend itself to being used over and over through her film career.

Recently, I was thrilled to pick up another view from the photoshoot with the assiut turban.  (See image below)  The card is in fantastic shape!  Vilma was shot in Austria by photographer Halasz, Budapest/Fanamet-Film and distributed by publisher Iris Verlag who was a major supplier of film star postcards.  Although undated, it’s likely that these postcards were produced before Vilma headed to Hollywood in 1925.

I’m looking forward to including these postcards in my next book on Assiut, “Assiut Belly Dance Costume” which we have begun work on and should be out late 2018 early 2019. Sign up for my newsletter to get updates about this and other projects.

I think it might be time to put on an assiut turban!
Dawn Devine ~ Davina
Nov. 2, 2017

PS – Check out the blog posts here and here for more of my “Who’s that Girl in Assiut” series.

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General

Inktober 2017 Wrap Up

In a year full of monthly challenges to help, Inktober was probably the most fun and the most illuminating.  I learned so much about myself as an illustrator, that I thought I would take a moment to share with you my biggest takeaways from year’s Inktober challenge.  ((Read my “Half Way” post here))

I picked two subjects – Mandalas and Costume Illustration

Early in the month, I decided instead of doing the prompts, I would flip-flop between costume sketches and mandalas.  I’m in the final stages of completion of my next book, Color Theory with Pencils & Mandala.  This is the next entry into the “Workshop in a Book” series where I share how to select colors for costumes.  Understanding how colors work helps new designers as the experiment and play.  Using colored pencils and this affordable coloring book to learn how the color wheel works as a tool to identify color harmonies.  When October started, I needed just a few more images to round out the book.  This Inktober 2017 doodle wound up in the book on page 81.  (Of course, if you want to give it a go, just print it out and color it!)

The Costume Illustrations were Not Quite as Successful

On the costume illustration side of things, I was quite frankly, shocked and saddened that I had let my illustration skills slip so badly! I had to really think about the last time I had sat down to seriously sketch costumes, develop new croquis, or even drawn a bunch of flats.  The dark realization was that it had been an age.  I learned that in addition to my pens running dry, I had lost some of my hand-eye connection.  I had run dry too!   What an eye-opening moment.  

Inktober Rebooted My Drawing Habit

Along with the realization that my drawing skills had decayed, I noticed that I was gaining the skills back more quickly with the daily drawing.  So I’ve committed to making November a month of costume sketching in one of my old Bianfang Note Sketch notebook.  I’m taking the same chunk of time that I devoted to an Inktober drawing each day to fill up this notebook.  Oh – and as you can see by the sad drawing above, bottom left, I really need to invest in new markers, that streakiness is caused by a lack of solvent.  Bottom line, I need to invest time to get my drawing mojo back and new equipment to make it happen!

Inktober Made me Happy

By the middle of the month, I realized that I was really looking forward to my evening drawing.  I had initially added the Inktober challenge to my “end of day” routine. By the middle of the month, I was too eager to wait and moved it to the mornings.  As the month went on, I found myself devoting more time to the project, and so the mandalas were becoming more filled in with solid color and hatching.  I found myself very happy with the process.  Drawing is something I did daily for years, and I had simply forgotten how genuinely happy the act of putting pen to paper made me feel.

And so that is how the Inktober 2017 story ends.  I’m so glad I rediscovered this lost habit.  I’m looking forward to continuing daily drawing with renewed vigor!  But best of all, our upcoming book “Color Theory with Mandala & Colored Pencils” is with the editors and I look forward to the debut coming soon.

Now, I think I’m going to go do some research on new markers! 
Dawn Devine ~ Davina
November 1, 2017

PS – If you are interested in following my drawing journey, join me @davinadevine over on Instagram where I will be regularly posting daily drawings.

Categories
Costuming DIY General Makeup and Appearance

Troupe Costuming: The Design Brief

In my last post, I talked about an assemblage hamsa pendant I made for a recent performance by my dance ensemble Swirl.  I received an interesting question regarding our costuming.  “How did you decide on these costumes and how much did they cost?”  So I thought I would take a moment to share how I use a design brief as a tool when planning costumes for a troupe.  At left: Swirl post-performance at HaflAdira. Zemira is in purple, Vakasha is in black, redvelvet is in rust, and I’m in blue.

What is a Design Brief?

A design brief is a tool used by designers of all ilk to communicate the process and scope of a design project with a client.  As a dance ensemble leader, my role is to guide the decision process.  I really like to get input from all of the members, but ultimately, as the leader, I’m the “buck stops here” person who makes the final decision.  So when I’m working with Swirl, I’m both the designer and the client.

Design Brief Questions

I like a design brief that’s simply a loosely structured set of essential questions.  These answers form the framework for completing the design project.  When working with a troupe, you need to be exceptionally clear with each of the members of the group. To keep everyone on the same page, I like to document discussions via email, so that we have all the same details about budget, sources, and deadlines.

  1. What is the “Style” of the costume?
  2. What is the Budget?
  3. What is the timeline?
  4. Are we starting from scratch, or do we have items in our wardrobes?
  5. How many pieces do we need for the basic costume?
  6. What accessories do we need?
  7. What is on the “Do Not” list of exceptions?
  8. Who are our sources?

Swirl Design Brief Answered

To give you an idea of how a design brief works, I’m going to share the answers that our ensemble Swirl discussed and decided upon for our October show. When you start discussing costuming options, it is a good idea to have some photograph examples or samples of the garments and accessories you’re considering.

  1. Our style is Ethnographic fusion, based around the fabric Assiut
  2. Our budget is flexible, but pulling most pieces from our existing wardrobes.
  3. Timeline – We had two weeks to dress rehearsal, four weeks to performance.
  4. We pulled most of our pieces from our existing wardrobes, sharing pieces within our group when someone was short of an item. I lent Vakasha an assiut panel to use in her headdress and I lent Zemira a purple silk veil. Sharing keeps costs down!
  5. Our costume was composed of black pants and bra as our base layer.  An assiut robe in a unique color within the group.
  6. In addition, we each were tasked with putting together multiple necklaces with the word “Rich and Lush” as our guide, and a headdress that included assiut, jewelry, and a silk veil.  The note for makeup was “Go Extreme.”
  7. Our “do not” was simply – Do not match.  We each choose a unique color.  We also wanted to spend as little as possible.  Each of us already collects assiut costuming pieces and owns both a black robe and a colorful robe.  Pulling from our wardrobes meant keeping our costs minimal.
  8. Because we pulled from our own costume collections, we didn’t put together a source list.  One of the group bought a scarf to use as a headdress base, and I put together a new necklace.  Each troupe member was left up to their own devices to source the items they needed.

Design Brief in Action

When we had our initial conversation, everyone was keen on the coordinated look but unique color approach wearing assiut robes we already owned.  However, the complicated headdress required time together to master the art of putting it on, and then practice to get used to dancing with heavy turbans and jewelry on our heads.  We all brought our jewelry and to the group to admire and help choose the pieces for performance day.  At each rehearsal on the run-up to the show, we fine-tuned our costuming plans until we all had our complete head-to-toe together. At right – assiut and jewelry headdress first experiment.

Learn More: Troupe Costuming Class with Sara Shrapnell

My co-author Sara Shrapnell who lead the team who put together the book Becoming Belly Dancer: from Student to Stage has created a super-affordable class about picking costumes for a troupe.  If you are a member or a leader of a dance troupe, you will want to check the course out at the Belly Dance Business Academy.  Sara includes a wide variety of styles and themes in these troupe costumes and discusses how to strategically choose the right costume for your group. 

At left: Troupe KPS featuring Sara Shrapnell, Poppy Maya, and Ekatarina. I styled this troupe ensemble with the same overall look, but using a monochrome palette of colors.  Photo by Alisha Westerfeld for our book The Cloth of Egypt: All About Assiut.

Swirl – Costumes in Motion

Below is a little snippet of video shot of Swirl at our last performance. You can see how these costumes move and relate to each other.

It was a pleasure to dance with these ladies, all of whom have had private coaching sessions with me and I am proud to call them protegees and friends. If you have questions, or are interested in continuing this conversation, I have a vibrant and active group of costumers and dancers on Facebook called “Studio Davina: Behind the Seams“

Happy Costuming!
Dawn Devine ~ Davina
October 30, 2017

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Categories
Assiut/Assuit Costuming DIY General Jewelry

Making Jewelry Bigger using Jump Rings

This week I had the opportunity to perform with a group of my proteges who have been taking private belly dance lessons. Each year, the Haunted HaflAdira features local dancers dressing up in costume to take the stage and dance for our community.  As we planned our costumes, I found myself craving a light metallic pendant that would hang to my diaphragm. As you can see in this photo I decided to continue my hamsa motif and put together a double-decker pendent.

Above: Swirl, featuring Vakasha in Black and Gold, Davina in Blue, Zemira in Purple, and redvelvet in Rust.

More Jewelry?  Yes Please!

I’m always tweaking my costume looks, and what I needed to fine tune this ensemble was a longer pendant.  I wanted a piece that was large, had lots of movement and rested right where I wanted at the top of my diaphragm.  With a few simple tools, and some basic jewelry componentry I created an assemblage piece from existing trinkets.

Gather Your Jewelry Components

For this piece, I found three Turkish pieces all featuring the characteristic glass blue-eye designs. On the left is a door knocker or wall ornament, designed to be hung from the top loop on a nail or hook.

The keychain is a typical tourist trinket made from silver-toned pot-metal, but with the same swirling design and blue-eye details.

The last piece is a very tiny, delicate bracelet composed of the same blue eyes.

I also needed some chain to make this piece the length I desired and a clasp that would be easy to get it on and off in a hurry before and after a performance, but that was secure enough to hold the necklace in place.

Jewelry Making Tools

This pendant is made using basic jewelry.  Pliers designed for jewelry making are smooth, so the pressure of the tool doesn’t mar the surface of the metal.  Avoid using pliers from the hardware store, as they usually have serrated teeth to help keep a firm grip on projects.

Planning the Jewelry

I wanted a hand suspended from hand look with lots of movement and bounce.  I want this piece to hang lower than the rest of my jewelry, wearing it suspended at the level of my diaphragm.  This would allow me to bounce it with strategic body waves and chest lifts.

Disassembling the Jewelry Components

Once I have all the tools, parts and pieces together, the project only took a few minutes.  I started by removing the big glass eye from the bottom of the door knocker/wall hanging piece.  I also remove the top, leaving just a hand with four dangles.  Next, I took apart the keychain, removing the key ring.  Finally, I harvested 5 of the blue-eyed beads from the bracelet.

After I took those pieces apart, I’m left with this three items.  A big glass eye, which I attached to the keychain, the top of the door hanger, and four beads left on the deconstructed bracelet.

Combine Jewelry with Jump Rings

The next step is to take all the disassembled parts and pieces and create a new pendant. I used the tiny blue-eyed beads and their original jump rings, to attach them to the tips of the fingers to hang like dangles.  This mirrors the design of the door knocker/wall hanging piece.

I then attached this former keychain to the central finger of the wall hanging/door knocker piece. Overall, I am pretty happy with the way the new assemblage pendant looks.

Determine the Necklace Length

Once the pendant was finished, I put the costume onto my dress form and positioned the pendant where I wanted it to fall on my body.  Because I like to make jewelry for performance, I always have a few spools of chain in my stash.

I put the pendant on the chain, and played with the position until I had it at the best length.  I strategically choose this length so the top hamsa would rest right above my diaphragm.  This particular style of chain has links that open, so it was just a twist of the wrist and I had the perfect length chain.

Add a Closure to your Jewelry Piece

The final step is adding a closure to the necklace.  Although this piece is quite long and could easily go over my head, I always add a closure.  I frequently wear large and complicated turbans or headdresses, and it’s really handy to be able to put a piece of jewelry on and off without disturbing my costuming.

Jewelry Making Tools and Supplies

Here are just a few of the tools and supplies I keep on hand in my studio for making custom jewelry as I need it.  If you are into tribal style belly dance costuming, you may find yourself frequently using jewelry making techniques.  For glam dancers, having these tools on hand means that you can make repairs on your rhinestone necklaces and bracelets.  And of course, having the ability to redesign your jewelry to make pieces that are bigger and better is always a plus!

Basic Jewelry Making Kit: I started with a Beadalon Jewelry Toolkit similar to this one.  I still use the chain-nosed pliers today, nearly 20 years later.  What I love about this case, is that I can put my favorite closures and earring wires in the plastic organizer keeping everything together to grab and work without digging around for parts and pieces.

Jump Rings:  I always keep a selection of different sized jump rings in my toolkit to have on hand to make repairs and create new pieces. Getting a set with six different sizes and a storage box means that not only will you be prepared, but if you run out of a particular size, you can buy replacements by the baggie to refill your organizer.

 

I had so much fun dancing with my crew in these bright robes and almost, but not quite, excessive jewelry.  We had so much fun, we’re already planning for performances in December. Looks like there will be more jewelry making in my future!

Best of luck on all of your costuming and dance adventures!
Dawn Devine ~ Davina
Oct. 27, 2017

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