Why This Costume:Koholint Cosplay and I have this habit of dragging each other into various fandom hells. She nailed my cosplay type so hard with this one, and then surprised me by buying me season one. I started watching, got hooked, and now I’ll be making Code Geass stuff until the day I die.
This build was kind of a stupid challenge. I started working on it in July 2017 with the intention of finishing for A-Fest. Long story short, I was insanely burned out at the end of the summer and ran into issues trying some new techniques, so I tabled it until after I wrapped up my commissions for this year.
Dat booty fit right out of the package.
My first step in making this costume was the pants. Really I just wanted to play with the fabric. It’s a GORGEOUS Tommy Hilfiger wool garbadine from Mood fabrics. As soon as I spotted it back in March, I knew I had to buy it for this build. I had Butterick 5895 in my stash for ages and was so excited to try it out. I lengthened the pants a bit (see: A LOT) and also eliminated the pockets since I didn’t want to interrupt the silhouette with extra seams and bulk. I also moved the zipper from the back to the side. I thought this was a brilliant idea until I went to shoot this and it gave me dumb issues, including some seams popping when I went to sit down on a bench. For my next shoot, I’ll move the zipper to the back seam to eliminate pressure on the hip.
Even with that issue, I ADORE the fit of these in the bum. IT’S SO GOOD. I do still need to make some tweaks overall on the leg fit at some point (PSSSTTTT… Mood, bring this fabric back so I can make more pants!).
Patterning out the tails with paper first.
After knocking out the pants, I started patterning the jacket. I started by using the base of McCall’s 7373 since I knew it fit me well from Mami. From there, I hacked off my muslin to the waist and started draping the tailcoats with paper to get an idea of how to pattern. Once I was satisfied with my initial go, I made another mock-up to test the fit. Once I tweaked a few issues, it was time to move on to the real thing!
Mock-up with the tails!
To give the coat the gravity-defying tails, I treated the coat as a heavily constructed bodice with a lining, interlining, and fashion layer. The interlining is various pieces of hodgepodged cotton twill (generously donated by Koholint Cosplay) that I interfaced. Each seam has boning (lots of various types since I was mostly stashbusting) and 3″ horsehair is sewn into the hem to help hold it in place. After seeing the pictures from the shoot, I think I need to add rigeline to a few spaces between the seams to help hold it in place better.
Before boning and horsehair braid…
After boning and horsehair braid
Once the interlining was complete, I basted it to the lining (made from old Pluto satin) and treated it as one piece. The lining uses the sleeve from view A of McCall’s 7373. As with Mami, I stitched the puffy exterior sleeve (which is flatlined with tulle) to the shorter sleeve to create more volume in the upper sleeves.
One of many failed attempts.
The gold applique on the fashion layer gave me such a headache. I tried a few different techniques to get more of a 3D effect, but most of them failed miserably, so I went to a tried and true applique technique: Heat and Bond and satin stitching. It’s not perfect, but it’s by far the cleanest approach I tried. The gold detailing on the front and back is gold vinyl from Yaya Han’s fabric collection at Jo-Ann’s. Once the applique was on the front, I topstitched pre-made bias tape onto the gold and then hand sewed all the buttons onto the jacket.
It’s starting to look like a real thing!
The cuffs were self-drafted and self-lined. The back piece on both sides has lightweight interfacing, and is stitched to the sleeve with the gold button. I went back and forth on whether to make the gloves as toppers or if I wanted to attach them to the jacket, and ultimately went with the jacket for fewer pieces.
The cravat is more of a “fake” piece. I tried making a more traditional cravat, but it lead to far too much bulk at the neck. Instead, I cut a piece of satin on the bias, gave it a narrow hem, then gathered the cravat at the top. As of right now, it just tucks into the neck, but I’ll add snaps for next time.
My original plan for this build was to alter some boots I had on hand, but I realized too late that I didn’t have white leather/pleather paint on hand. Even with Prime shipping, I knew I wouldn’t have enough time to paint before my shoot, so I drafted up some quickie boot covers using the saran wrap method. They’re… okay. I’m definitely planning to revisit these in the future.
Why This Costume: One thing I’m terrible about making is comfortable costumes. Most of my builds are meant to be show pieces, so when I was approached to judge the contest at Fan Expo earlier this year, I knew I wanted to put something together that was quick, easy, and most important: comfortable enough to be in for 10+ hours.
Spirit Halloween Lab Coat (been in storage for about 3 years from an after-Halloween sale)
Again, this costume was chosen with speed and comfort in mind. The lab coat was a purchase for my fiance a few years ago from an after-Halloween sale at a Spirit Halloween store. He never wound up using it, so I took it for this build. It was a Men’s 3X, so I turned it inside out, pinned where I wanted it to taper at the sides for a more feminine look, and serged off the excess at the sides. The sleeves were also ridiculously long, so I measured where my wrist ended, cut off the excess, and hemmed the new sleeves.
To create the skirt, I pulled some brown knit fabric that had been sitting in my fabric stash for a while. Gertie’s pencil skirt pattern was a great start, but I had to take it in a fair amount since I was working with a knit instead of a woven. The material was a bit thin, so I underlined it with the same knit fabric. I hemmed the skirt with a twin needle and finished off the waistband with folded under elastic. I’ve seen a lot of skirts finished off this way in stores, and it’s such a fast way to make an easy skirt or even leggings!
To finish this costume off, I commissioned a wig from the lovely Victoria Bane since I was swamped with other stuff and she’s amazing at wig styling.
I re-used my belt from Makoto Nijima’s (P5) summer uniform. Write-up on that build coming soon!
Thoughts on this Build:
I had such a blast running around as Grandma Rick! While I was at Fan Expo, I challenged all the Ricks to a contest of the Rickest Rick lol.
My friend Frank Yogomi spotted me at the con and mentioned some ideas for a photoshoot. I’m so happy Koholint Cosplay was able to join me for it! She makes such a cute Morticia (Morty) and we had a blast being campy and ridiculous. She made the “alien” headbands out of pipe cleaner, headbands, and Christmas ornaments.
Are you a fan of Rick and Morty? Who’s your favorite character?
Almost as soon as Cosmic Coterie officially decided to tackle Madoka Magica for our big build this year, Koholint and I started brainstorming Madoka. We split the labor so that Koho took the upper half of Madoka and I took the lower half. I’ve followed several Madoka cosplayers over the years, and I was absurdly excited about making that ridiculous donut skirt.
My first step in tackling my portion of Madoka was the petticoat. That giant donut skirt needed a support structure for the floof, so I turned to Jessie Pridemore‘s Madoka petticoat tutorial as a starting point. There are 10+ fabric layers total in the petticoat: 5 layers of chiffon circle skirts with serger-gathered satin ribbon ruffles, a layer of cotton crinoline, and 5 layers of gathered double-circle skirts made from tulle. There are also 120 yards of satin ribbon attached to the hem which also add to the overall fluffiness.
As Dani and I started leveling the hems, I realized I wasn’t getting the volume I wanted out of the petticoat, and I was worried the donut skirt would ultimately weigh the petticoat down. Koholint pointed me in the direction of some tutu research she’d done. Tutus layer shorter layers on top of longer layers to create a fuller silhouette, which was perfect for our needs. Plus, it was kind of a cool nod to the ballet inspiration behind Madoka!
Bulk at the waist was a major concern, especially since Dani has a fairly short torso and we needed the bodice to be snug, so I attached all the skirt layers to a short yoke with an elastic waistband (and some pink satin ribbon I had on hand just because).
The Donut Skirt
Fun fact: the original had so much bulk that I had to use pliers to pull my needle through.
The donut skirt was way more of a challenge than I initially anticipated. I went back and forth on a couple of approaches, but ultimately wound up using The Dangerous Ladies guide to Madoka’s skirt as a starting point. I originally set out constructing it as a super long gathered rectangle on both the top and lining layers. I quickly realized this would create far too much bulk under the bodice. To counter this issue, I opted to just gather the fashion layer (underlined with tulle) and create a circle skirt lining. Both layers were attached via a waistband which went under the bodice. The gathered portions sat just beneath the bottom of the bodice. The skirt closes with a lapped zipper.
Figuring out an appropriate length for the fashion layer took some trial and error. Ultimately the fashion layer was about 3-4″ longer than the lining, which gave me room to stuff the skirt with extra tulle for that ridiculous puff.
Still trying to get that shape!
The ruffles on the skirt are made from 5″ bias cut peachskin. Since the magical girls in Madoka Magica don’t really have a uniform design, we decided to make sure we all had peachskin ruffles with rolled hems in our accent colors to bring a little uniformity to the designs. Koholint took care of the rolled hems, and I gathered them on my serger. The ruffles are sandwiched between the lining and fashion layers.
You can see me stuffing the crap out of that donut skirt in the top left! Bows and bodice by the crazy talented Koholint.
The Top Skirt
The pink top skirt was mostly handled by Victoria Bane. I drafted out the pink skirt based on the circle skirt we used for the petticoat and lining of the donut skirt. We had to remove a petal to get it to lay right on the donut skirt, so in hindsight, I would have drafted it as a 3/4 circle skirt instead.
Hours Spent: HAHAHAHAHAHAHAHAHAHAHA. I kept track up until April, when A-Kon told us our group was too big to compete. After that I stopped caring.
Debuted: A-Kon 2017
Why This Costume: When the Cosmic Coterie crew decided to make Madoka as our major group build this year, I jumped at the chance to cosplay Mami. She’s by and far my favorite character and design, and had a couple of crazy design elements I wanted to jump at to improve my prop making and wig making skills.
To create the hat, I dug up some books on millinery. After looking at multiple reference sources (including my Mami figures. Knew they’d pay off eventually!), I realized that Mami’s hat isn’t a standard pillbox hat; it tapers in rather dramatically. I used the information found in Basic Millinery for the Stage to create a buckram base. The shell fabric is a chocolate velveteen from OnlineFabricStore.net with a matching lining. It stays in place with sewn in wig combs.
My wig was an intense experience, which I detailed here. It took several tries to get right, but it’s one of the pieces I’m proudest of with this build! Sparkle Pipsi’s drill curl tutorial was an invaluable resource.
Initially I wanted to make my own mold for Mami’s soul gem, but when I stumbled across the kits provided by TheDangerousLadies (I got the fabric for my stockings from them too!), I decided to save myself the trouble. The kits come unpainted, so I lightly sanded the base gem, primed and painted it, and then used jewelry wire I had on hand to create a flower backing. The wire is held in place with scrap Worbla, and I used e6000 to glue hair pins onto the back of the Worbla.
My blouse was one of the easier parts of this build. Yaya’s peacoat pattern in my size required minimal alterations. I went with view A and used the puffy sleeves (shortened to appropriate Mami proportions). I decided to leave the peplum shape on this top since it was tucked into my skirt anyway, which meant that it acted as a slip. I created strips out of gold satin and attached those to the center front of the bodice before adding in my invisible zipper. For the neck piece, made the collar according to pattern instructions, then cut a small strip of gold on the bias to create the trim on her collar. The center front buttons on the blouse were a lucky find from Jo-Ann’s. They have adorable flowers embossed on them! The gold buttons on the sleeve cuffs were harvested from my old Captain Marvel, and the trim on the arms is the same velveteen I used for my hat. It’s a bias cut strip that I carefully pinned around the arm hole after attaching the sleeve. It’s edgestitched down. The sleeves are underlined with tulle to help them retain their puffy shape.
The arm warmers are made from the same peachskin I used for the blouse. I drafted a bell-shape that started at my bicep and ended at the wrist. I left enough room at the bicep to create an elastic casing and gathered the base for puffy sleeves. As with my blouse sleeves, the arm warmers are underlined with tulle for maximum puff.
My gloves were far more of a hassle than I anticipated. I picked up a base brown pair from We Love Colors, but they weren’t quite brown enough. I attempted to dye them, but the dye didn’t take AT ALL and actually made the gloves lighter. I picked up a white pair instead and dyed them to a deep brown (2 parts brown dye, 1 part black) and that did the trick. Once the gloves were dyed, I cut off the fingers at the knuckles and hand stitched gold neoprene bands on the ends.
The corset was my showpiece, and I spared no expense. Since Mami’s design is relatively simple, I went for an embossed floral vinyl from Mood and stained it to a deep chocolate color using Eco-Flo. The patterning is a lot to explain in one post (don’t worry, a more detailed write-up is coming soon), but essentially I made a closure to cover the busk using information from Lucy’s Corsetry and made a hidden lacing panel in the back that closes with a separating zipper. I made 2 corsets total: one using a floating strength layer and another using the welt seam approach. The welt seam approach was my final corset, since I made the first one just a hair too big. It makes me so sad the first one didn’t work out, because I used adorable lining fabric designed by Sparkle Pipsi! Maybe one day I’ll feel up to adding a lining to my second corset and buy more fabric. Both corsets use cotton coutil as the strength layer and use a combination of spiral and flat steel boning.
Mami’s skirt has very noticeable box pleats, so I combined two full circle skirts and marked off 4″ box pleats with full returns and then skipped 4″ sections between pleats. The hem has 1″ horsehair braid, and the brown strip is chocolate peachskin cut on the bias. It took a little math to figure out, but essentially what I did was completely encase the horsehair braid so it’s not visible from the top or bottom of the skirt. Super clean for the win!
For Mami’s thigh-highs, I used Yaya Han’s stockings/bootcovers pattern and some lovely ribbed knit from The Dangerous Ladies. The tops and bottoms have elastic in them for a super secure fit. I still had issues with my stockings falling down at A-Kon, so I stitched them to my dance tights for AX.
How I made it: I know, I know. ANOTHER FUKU. I keep promising myself/y’all that I’m going to cool it with these, but apparently they’re becoming one of my staples.
For a long time I told myself I wouldn’t take Super Moon commissions since I definitely prefer the gradient dyeing we did for Cosmic Coterie and lack an airbrush. However, my client was fine with the stripe approach from the 90s anime and I did a few other experiments with this build, which I’ll focus on today.
Prior to tapering the hip rolls.
Let’s start with that pesky double hip roll again. I’ve made a couple of double hip rolls with upholstery piping, but I honestly am not in love with it. So I went back to upholstery foam and even further back to my Jupiter 1.0 days when I used Zan‘s pattern. I used her hip roll pattern piece for the front, and then tapered it down to almost 1/4 the original size. This gave me a chance to really control the depth of the taper and make it even (this is something that drove me crazy with our original group build). I know that Moon has a brooch that covers up the point of the V, but having messy work drives me batty, so I’m glad I was able to clean this up! The gold hip roll is 3/8″ smaller all around than the white one.
Both of the hip rolls are sewn into the seam. I basted the gold one about a half inch above my normal stitching line on the bodice to accommodate the clunkiness of both rolls. Once both hip rolls were in place, I then hand stitched the entire hip roll with a back stitch for durability, using my basting lines as a guide.
Pro-tip: Don’t use ribbon or straight grain fabric for the stripes if you’re using the circle skirt approach. It won’t curve around the skirt properly and will lead to bubbles and wrinkles (like this when I hadn’t pressed my seams).
The skirt was a… special challenge. I wracked my head for weeks with this. My initial inclination was to level the skirt then cut off the portions I needed and use them as a template, but that would have required INSANE precision. Eventually I realized I was making it way too complicated and cut super long strips of fabric on the bias. I had originally ruled out continuous bias tape (so apparently this approach has a shit ton of names, because I was chatting with the girls and we realized that we were all talking about different techniques lol) because I didn’t want lots of seam lines showing, but I made sure that my seams were tucked into the folds of the pleats for the most part.
To create the sleeve petals, I cut a strip of Worbla (1″ wide X 10″ long), layered it on another strip, and heat formed it over my dress form. Once it cooled, I glued each layer of the Mylar/Organza petals one at a time with e6000. I let each layer get to the point that it was dry to touch before I added on a new layer. Once all 3 layers were attached and mostly dry, I glued a strip of Velcro on top and fleece on the bottom to make it slightly more comfortable. There’s a matching piece of Velcro on the lining of the chest armor to keep it in place. Credit for this idea goes to MASK Props. I love how he did the sleeves for PockyPants‘s Chibi Moon!
The last major change I made on this fuku was on the butt bow. I used my trusty Pellon 808 interfacing instead of vinyl and like it a lot better. I hate that the bow isn’t transparent, but it holds its shape much better with interfacing versus vinyl.
That about covers this fuku! You can find more details on my other fukus here, and tutorials on how to make a Cosmic Coterie style fuku here.
I recently knocked out the first major portion of my Mami cosplay: the CRAZY ASS WIG!
This wig was such a steep learning curve. Part of the reason I specifically chose Mami for our Coterie build (aside from her adorable design and the fact she’s my favorite Madoka character) was because I wanted to flex my arguably tiny wig muscles and learn more about crazy styling techniques. Well… I definitely learned a lot!
Recurring statement: EVERYTHING IS TERRIFYING AND I HAVE NO CLUE WHAT I’M DOING
My main resource with this tutorial was SparklePipsi’sdrill curl tutorial. There are a lot of tutorials on the packing tape method of drill curls, but hers is my favorite. Overall it’s a great comprehensive guide and has a lot of useful tips and techniques (pro-tip: make sure you get CLEAR caulk. I had to get mine off of Amazon because my local hardware stores didn’t have any). Plus, all her tutorials are beautifully designed and in PDF format for easy downloading and printing.
Sad wig is sad.
So my first major tip if you opt to take the packing tape/jewelry wire route: you will need WAY less wig fiber than you think you do. I hacked my stubs in half, and they were still way too thick. So thick that they literally separated from the tape when I tried to curl it.
F*ck you wig.
This lead me to my first big deviation from this approach. Every time I tried to start curling the packing tape, huge chunks of the wig fibers would start popping up. After consulting with my wig guru Vicki Bane, I went back and laid the wefts down while the packing tape/wire was in a curled shape. Placing the wefts on the interior while the tape is in a curled formation is difficult, clunky, and time consuming, but it’s really the only way to get the fibers to lay flat.
That brings up the next technique: actually laying the wefts on. After I gave up on my first wig (RIP), I got a Chibi and two ponytail clips instead of another Leia (pro-tip: if you get the Leia as Suzanne notes in her tutorial, make sure to straighten it first). I tore apart the netting on the ponytail clips and laid two layers of wefts on at a time until I got the thickness I wanted. Basically, it was caulk, 2 layers of wefts, thinner layer of caulk, 2 more layers of wefts, hair spray.
I had the best results when I brushed out the wefts just prior to laying them on the tape and then gently adjusting them with my fingers (definitely keep water and paper towels nearby). I’m not sure if I was doing it wrong, but using a comb to smooth my wefts resulted in a chaotic caulk-ridden mess.
Zip ties were my best friend when attaching the drill curls. Alligator clips are also super helpful for keeping the wefts in place while drying!
Suzanne’s tips about the clear filament (aka fishing wire) were super helpful! I threaded mine through each curl around the wires and then stitched it to the base of the wig. The curls were far too heavy to get Mami’s gravity defying bounce, but the the filament helped me place each curl exactly where I needed it to go.
Without (left) and with (right) filament.
So what’s my take-away from this experience? Wigs are expensive and terrifying and I don’t know how people deal with them LOL.
Not really. This experience reminded me to constantly research, talk to people who know more than you, and to not to let fear of failure keep you from trying. I really thought that I’d have to scrap this project a couple of times and commission someone. I still see a lot of mistakes when I look at this wig, but I feel a lot more confident trying something outside of my wheelhouse now.
Have you ever chosen a project specifically to enhance your skill set? How did your experience go?
Before starting commissions, you absolutely need to ask yourself the following questions:
What am I willing to do? Are you good with wigs? What about foam? Or resin? Or leather? The idea here is to ask yourself what type of work you excel at and emphasize it. For example, I can do some wig styling, but I don’t consider myself an expert on it, so I don’t offer it in my commission services.
Is my work good enough for commissions? I ask myself this ALL THE TIME. The reality is that there’s a certain expectation of quality with commission work, and if you can’t meet that quality, then you don’t need to sell. My commissions are the same if not higher quality work than my personal costumes, because each piece is a representation of me and my brand.
Are you good at customer service? Being able to communicate with people is one of the most essential tasks of commissions. Many potential commissionees approach the commission process thinking they can get costumes cheaper than eBay or Amazon, or that different tasks are simple when in reality they’re quite time consuming. Being able to clearly and calmly discuss these issues with potential clients is an absolute necessity.
Do I have the time? This is one of my big personal hold-ups with commissions. Working full-time puts a big damper in the number of commissions I’m able to take on at any given time, and it also impacts which costumes I can make for myself. If I have a deadline for a commission coming up around the same time as a con, then I’ll likely have to re-wear a costume, because client work comes first.
2. Pay yourself FAIRLY
Again, this is something I struggle with, but I’ve gotten better at over the years. Due to the rise in fast fashion, many people misinterpret the skill involved in sewing (and any form of custom work, honestly). The reality is that creating a custom piece will ALWAYS cost more than something you can find in an online costume shop.
Much like car or home repair, labor is often one of the largest expenses involved. I used to barely pay myself minimum wage when I first started, and I was miserable. I felt like I sacrificed all my time to creating things for other people, and when all was said and done, I’d barely made enough profit to make it worth my while. Pay yourself an amount that’s commiserate with your experience and skills to prevent this issue. I pay myself $12-15/hour these days, much to the dismay of my friends and SO. I feel like this is a fair price FOR ME since commissions are my extra play money and allow me to get crazy with my personal builds. Keep in mind: this is a low-ball charge compared to some folks who do commissions as their main source of income, so don’t be surprised if you see higher charges as you do research.
To come up with a quote, I use the following formula: Cost of materials + Labor (Est. Hours x $12-15) = Final Quote charge (normally rounded down in favor of the client). When I get a quote request, my pricing process looks something like this:
3. Talk to your clients
This is often one of the biggest frustrations I see with potential commissionees. They get everything set up and send off their money, only to never hear back from the commissioner or have minimal contact. Their deadlines roll around, and they’re in a panic, wondering if their costume will arrive in time. I’ve been in this situation before, and it SUCKS.
A quick message or post to let clients know what’s happening is so, so, so useful. Be honest and open about time frames and when you expect to work and ship so that clients have an idea of when to expect their items. For example, if someone’s at the bottom of my commission queue, I’ll let them know that I won’t be in touch/won’t have progress to show for at least so many weeks, or I’ll let clients know that if I have to order materials online, that they shouldn’t expect to get updates until at least a week or two after said materials have arrived.
Saturn commission that I recently finished. I send clients updates anytime there’s visible progress to keep them up to date on progress. Normally this translates to updates every 1-2 weeks once a project has started.
4. …but don’t let them walk all over you
On the opposite end of the spectrum, clients messaging every single day is only a situation that should occur if the commissioner fails to deliver or ghosts. If a client harasses you for photos/progress, reiterate that you need time to work.
Likewise, stand your ground on your policies and pricing. People will always ask to bend things here or there. Every case is different, but at the end of the day, you have to stand up for yourself in order to make commissions an enjoyable (and profitable) experience.
5. Remember: Your name is attached to EVERYTHING YOU SAY/DO
Social media is both a blessing and a curse for commissions. If you do it well, it’s an easy way to market yourself and gain clients and followers. But at the same time, you have to be conscientious of your online presence. Insulting another cosplayer’s work, shaming (of any kind), or bullying are obviously huge no-nos (and key indicators that you’re a crap human being, let’s be honest). But there’s more to it than avoiding the obvious. You have to evaluate what your brand represents and how much information you’re willing to share. For example, I’m not comfortable sharing much of my personal life online, partially because I feel odd letting the whole world know what’s going on in my day-today, but also I don’t want to impact mine or my fiance’s day job (or future job hunting).
Think about what works for you and for the brand you’re trying to create. Individuals have a bit more flexibility than companies, but branding still requires conscientious curation.
Again, this is another task I’ve struggled with in the past, but it’s a necessity to generate business. A lot of my promotion work happens at cons. I often wear nerd-inspired outfits on Fridays or Sundays (a.k.a. lazy con days), so any time someone comments on one of my outfits, I try to plug my name and distribute a business card. Most of my friends and family will do the same thing!
In addition to in-person marketing, online marketing is a must! There are lots of Facebook groups that put clients and commissionees in touch with one another in addition to standard social media marketing practices.
One of the most challenging components of commission work for me isn’t the creation of costumes. It’s the juggling work of keeping track of commission inquiries, where they’re coming from, and staying up to date with all the orders you need to make (not to mention deadlines). I get commission inquiries through all my social media platforms, as well as through e-mail and in-person chats. To keep myself organized, I keep track of all this information through Google Sheets and Trello.
Likewise, HOLD ON TO YOUR RECEIPTS, both digital and physical. Anytime I purchase anything related to my commissions or business, I put it in a bin just for tax related purposes. I also keep track of money via PayPal and Etsy’s shop setup. I definitely prefer spreadsheets as a way to keep track of money, so I make sure to go through all my receipts as meticulously as possible so that my headache isn’t so severe when tax season rolls around.
My workflow looks something like this:
Client reaches out to me for quote, and I make a note of the client, along with where they asked and other relevant information in a Google Sheet.
Once the client has agreed to terms, payment, and details, I send them a commission agreement form with fields for measurements and shipping information.
After the client has sent me their down payment, I begin ordering materials and starting on their piece.
I use Trello to organize out individual tasks for each commission, since it’s easy to drag and drop checklist items when they’re completed.
8. Even if you’re not organized, GET ORGANIZED
Sailor Chibi Chibi for Charming Darling. I completely misplaced the original gloves I bought for this commission, so I had to replace them. Derp.
This ties back in with point number 7. Again, I’m awful at this, but commissions have forced me to get better. There’s nothing worse than needing to work on a commission, only to realize that you’ve misplaced supplies. It’s an obnoxious hold-up and can cut into your profits.
I’m in the process of setting up a new storage unit in my craft room that doubles as a quick pressing station. It is only for commissions and business related purposes, so I won’t have to rummage through my other bins and storage units to find what I need. Knowing where everything is supposed to go will save you time and stress!
9. Have fail safes in place
Shit happens. Your sewing machine breaks. The fabric that’s perfect for a commission is out of stock. You (or a loved one) have serious health issues. Having back-ups will help you keep your sanity as you work on projects when shit hits the fan. I build extra time into my commission quotes for this reason so that clients are pleasantly surprised when their items get to them early, rather than infuriated when items are shipped to them months late.
Negasonic Teenage Warhead bodysuit for Callula Cosplay (logos by her). Photo by Gear Owl Photography. Good grief this costume was an exercise in patience since EVERYTHING WENT WRONG. Thankfully, we got everything worked out and Dana looks awesome as Negasonic!
10. Take time for yourself
Burnout is a real thing with commissions. It’s easy to take commission after commission, and then realize you haven’t made something for yourself in six months. It’s okay to close up shop for a while and take time to work on things for you. In fact, you should do this every now and then to recharge your creative batteries. Your work will be better for it!
Have you commissioned costume pieces before? What was your experience like?
I’m very excited to share a new tutorial with all of you! The Cosmic Coterie crew and I are super close to being finished with our Supers upgrades for ANT, and we also managed to get two tutorials published today. The one linked here is on how we construct our skirts, since that’s one of the topics we get the most questions on.
I hope you find this helpful! If you have any questions or feedback, please feel free to contact me or Cosmic Coterie!
Materials Needed: 2.5 yds matte bridal satin Contrasting thread for basting Matching thread for hem Measuring tape Tailor’s chalk Optional: 7 yds 1/2″ horsehair braid Draft 2 full circl…