Griping & trying to Grin

So… I borrowed the following quotes from another blog because I have never read them:

When one door of happiness closes, another opens; but often we look so long at the closed door that we do not see the one which has been opened for us. –Helen Keller

To stand in your now, looking forward with deliberate intent and anticipation of what is to come, is infinitely more satisfying than to stand in your now, looking back, retracing your steps as to how you got where you are.–Abraham-Hicks

They were part of a nice blog post…that did not speak to me…but these little quotes spoke to me.  They rather rattled my cage and the thoughts stuck in it.  Let’s see if I can articulate…

I will be honest here and say that sticking to my resolution that I will no longer post on Celtic Flame at all and only rarely on the others is difficult for me.  My practical Buddhist brain asks me why I bother then if I am not going to add anything helpful to the discussions.  My cranky lizard brain demands that I stop reading at all since it can have no satisfaction by setting some of the stupidity to rights…or at least by calling it out for the stupidity it is!!!  But, I am starting to find I am becoming more removed from it since I am not using valuable energy to formulate hopefully helpful answers anymore.

When this blog went private, so many of you told me of your reasons for no longer posting on or even reading the boards anymore…I understand even better now.

Why do I keep reading?  Part habit, part wanting to stay informed about the happenings, the opinions…the occasional altercation…I know, I am a rubber-necker!  But who can resist the morons when they tap dance on a train wreck?!?!?!

But since I changed the blog, other doors have opened for my energy, even in my own head.  Other thoughts are formulating in different ways because we are a smaller more open group.  (I feel the need here to apologize to anyone who was gearing up for a very active group here…we have slowed down…mainly because I wanted it to.  Don’t get me wrong – the number of members that we have is incredibly gratifying…I feel more like a rock star than a loser now that there are so many “friends!”  But I did feel very overwhelmed there for a bit.  I am figuring this out, and we can be as active as we want.)

My current thoughts are spawned by the continuing questions about how the BNs do things, make and design dresses, etc., as if there are rules that must be followed…fsm forbid anyone should be creative on her own…

You may remember this from my response to the first CCD:  [A] thing I have stopped doing is letting the nebulous “rules” about how these dresses are “supposed” to look influence me.  The only thing that influences me anymore is what the client wants.  I suppose if I made OTRs I would pay more attention to the trends…or maybe not.  The fact that the dress styles actually have very little to do with the dancing offends my artistic sense of what is supposed to be important!  The costume should complement the dancing, not hinder it.  The heavy, stiff dresses that have developed over the past 20 years are actually quite astounding to me.  As a choreographer, dancer, artistic director and professor, I stood my ground many a time with a costume designer who tried to force an undanceable design onto a dance!  The dance and dancer are most important and the role of the costume is to enhance the message and look that the choreographer wants.  It is not the role of the costume designer to force change and accommodation…I fired or failed those designers who could not understand their complementary role! 

Don’t get me wrong…I love making these wild, amazing, “ridiculous” pieces of wearable art.  These fanciful confections have developed in a very specific environment and would not be worn by anyone else!  But I find that I am increasingly interested in the comfort of the dancer.

I would very interested in that particular moment in time when someone decided that the ID dress needed to be more prominent in the dancing picture, because from there ID costuming evolved with no real thought as to the dancer or the dancing.  I think this strange mindset is what informs the creation of these dresses still.  So many questions about dress construction make it clear that the triangular, wide, flat, stiff shape of the dresses is considered to be traditional!  Granted, there also seems to be a renewed interest in the history of ID costuming which may or may not shoot that thought down…

But what is interesting to me are the objections, subtle or not, to dresses moving towards the soft skirt again, and my fascination is partially because it is still in my head that the dresses still need to be wider than any normal person would wear…although some of the fashion links on the boards have shown the fashionistas to be wearing pretty poofy skirts!

There is also, and still, this irritating idea that somehow the BNs are the gods of ID costuming who must be emulated at all costs!  Why?  Not too long ago, someone who claimed to just be making a comeback to ID pointed out that all of the current dresses look the same, no matter who made them!!!  I have to agree!  We are ALL doing panel dresses right now.  There are more folks trying to solve the soft skirt problem in many creative ways…but how many times have you read the same question on the boards:  “How do ED/Gavin/SR, etc, etc, etc…make their skirts look like that?”

Susan said something to me about how the harder people try to be different, the more they conform…  Wouldn’t you say that most dancers want to set themselves apart from the other dancers?  So out come the wild colors, the sequins, the crystals, the feathers, the 3-d flowers, etc, etc, etc…and what happens?  They not only all get lost in the cacophany of dazzling color, they all look the same!!

I have no earth shattering solution…I love making these dresses.  Each one is my baby.  When one client says subtle and elegant, that’s what I do.  When another asks for more sparkle, I do that, too.

I love our new tunic dresses mainly because I think they are constructed with the MOVING dancer in mind.  But being panel dresses, am I a sheep, too?  I think Susan and I, like so many other dressmakers, were interested in a different shape for designs so we were drawn to the panel look at probably the same time as everyone else!  I am quite sure it was a lone dressmaker somewhere who came out with the first one, but the second that a BN produced one, they were given the credit and proclaimed GODS once again…gag.

What is my freaking point?  Well, maybe it is that we all as dressmakers ought to slam the door on what OUGHT to be and open a new one doing what we want to do.  Yeah, when a client comes in asking for a dress like ED, you have to deal (or not), but when I expressed that I wanted to explore these soft tunic dresses, we got 3 clients in a row!  And we just turned down someone who wanted us to make a new jacket to match her ED skirt…I understand what she wants, but I am the wrong dressmaker for her!  I am not interested and told her the reasons why.  I suppose I could simply have said that we are booked up for quite a while (as we are), but I actually felt a bit insulted that I would be asked to essentially recreate someone else’s work, so I explained why I was not interested in taking her on.

Maybe this is it…newbies or not, we are each valuable artisans in our own right.  Perhaps not every one of us calls ourselves an artist, but we are.  Maybe our first attempts are less than stellar and actually petrify brain cells when we look back, but they are still created by us is “artiste mode,” sublime or not!

When a young choreographer is beginning her journey, yes she looks to the masters for information, inspiration, and guidelines, but she is also taught and guided to find her own voice.  The point is to bring to life her OWN vision.  We as dressmakers need to change our mindsets to #1 realize that the BNs are NOT the masters (far from it), and #2 that our visions are just as valid as any one else’s!  Maybe they are not all ready for prime-time right out of the gate, but we have to start somewhere.

So, open a door…and I’ll get off my soapbox before the swelling music in my head deafens me…