Sometimes what appear to be very simple ‘shows’ take *much* more work than the whistles-and-bells presentations. For instance, the ‘time machine’ (digital!) that I’m making is very shiny and swish, but, although it’s taking quite a while to complete, that’s nothing to the time I’ve been putting in to making figures for comic-strip-style stories, and short stop-motion videos (the filming of which I know will probably be such slow-going that completion’s likely to be delayed for several years).

Historical costumes also take me a long time to finish – not least, as (without project funding) I have to rely on whatever second-hand fabric (and, frequently, thread) I can get hold of, commonly recycling modern clothing and household textiles. No (or at least, very little) seam-ripping for me: I typically have to laboriously pull-out the cotton, and wind onto empty reels. And (as I generally only have just enough fabric) I have to get very creative in cutting out. Given that I don’t have the budget to buy patterns, I have to create my own through trial-and-error; and having no one to help drape fabric as part of this process, it takes many, many, many pinning, pegging, and tacking sessions to get it right.

I’ll write a few posts, sometime, illustrating different stages of development for both figures and costumes. But for now, here’s a sneaky peek behind-the-scenes, taking a quick look at a couple of nearly-completed long-term projects: a storytelling figure (above) – and her wardrobe (made for non-IF purposes, but who I’ll borrow for IF); and (the bodice of) an early Victorian gown (below), for a Christmas presentation that I’m planning. I’ll say more about these, and the associated activities, another time.