Free The Tapestry in the Attic by Mary O'Donnell Page A

human body comfortably. One has to consider the ‘hand’ and the drapability of the fabric that is being made, and to make sure there is enough ease in the proper places when it’s assembled.” She paused to think a moment. “It also requires knowledge of colorways—what works together and what doesn’t. And also how different types of yarn behave—some types of fibers work better for certain types of clothing than others. For instance, wool traps heat against the body, but it also wicks perspiration away from the body. That’s why it’s so great for winter wear and socks in particular.” She paused again and asked herself, “Let’s see, what else? … Oh, I know. Designing clothing also requires imagination and a certain amount of research both in current trends in fashion and in historic costuming as well. I’m always on the lookout for inspiration.”
    “Do you know anything about the era in question?” asked the professor.
    “I really didn’t until I did some research, along with my daughter, Vanessa, at the library and on the Internet this week. I know a bit more now.”
    “Very good. Now, a costume designer for the theater may need to make large purchases to fulfill the needs for multiple costumes. And you’ll have to think about the entire package, not just dresses and shirts and breeches, but cloaks and hats and belts and other accessories. This isn’t a professional endeavor, and I know that the committee wants to keep costs down as much as possible, so buying in bulk sometimes helps. Do you have any purchasing experience?” asked the professor.
    “Well, yes, actually I do. I work for Mary Beth at A Stitch in Time, just across the street, and we share the purchasing duties,” replied Kate.
    “Excellent. I think you’ll do. You may sit down,” said the professor. He looked at his paper again. “There are two young ladies—Sarah Caufield and Vera Hartley—in the theater department at the college who are willing to volunteer to work with you in both designing and sewing. I’ll give you their contact information. You can sew, too, can’t you?” asked the professor.
    “Yes,” answered Kate. “I was in 4-H when I was in school, and besides crocheting, I’ve often sewn outfits for myself and my daughter.”
    “Even with the help of Sarah and Vera, it may tax your time limits, especially if you are working full-time,” said Professor Howell. “I would suggest that you seek out others in Stony Point who might be able to help assemble costumes. I have several reference books for you to take home to study.” That sentence set Felix in motion again. He reached into his cardboard box and pulled out four large books that he placed on the table before Kate. “Also, I’d like to see sketches of your designs before you proceed to the next step. Can you do that?”
    “Yes. I’ve started a few of the main characters’ costumes already,” said Kate.
    “Excellent. Remember, in the theater, it’s all about how it looks from the perspective of the audience, but it also needs to be easy for the actors to get into and out of. Simple is better in this case; authentic details are wonderful for close-ups in films, but it’s generally unnecessary for theatrical costumes. So we’ll use zippers and Velcro and the like, even though they had no such things in those days. Also, that book on top of your stack has a particularly good section concerning how colors should be used to the best effect in stage lighting. Pay close attention to that. We’ll schedule a meeting for the week after next,” said the professor.
    Looking at his list again, he said, speaking to Stella more than anyone else, “We don’t seem to have anyone in Stony Point for hair and makeup. The student actors are trained to put on their own makeup, but I’m not sure our resident expert at the college is going to be available to help us. I’d really like to have someone at hand, especially for Dolores and Cyril. They’re used to