A couple years ago, I worked on a production of West Side Story. It's a fabulous show, with much to say for every generation, and the songs have every right to be as iconic as they are. We had an amazing cast with unstoppable dance skills and theatre-packing vocals. We did the whole show, including the often-cut or shortened ballet, and it forced us, as the costume team, to face some truths about our industry's current conundrum.
Like every costume stock, ours has a huge amount of what is called "true vintage." It's not a reproduction. It's not retro style. It's not from a recent style revival (like the '40s redo in the 1980s). It's legitimately from the era. These are amazing garments, built to last, with fabulous prints and all the little period details we love.
Many theatres still use their vintage clothes in shows, repairing them to keep the costumes going for the run of the show. It was originally most of our plan to utilize our healthy vintage stock for the show, until we remembered what the choreography would look like. West Side Story is one of the most athletic shows in the musical theatre repertoire, and the dance at the gym in the middle, one of the few places we would see half of the ladies' ensemble, is the most active of all. As much as we all want to believe that 1990 was ten years ago, it was thirty years ago now, which makes the 1950s...eligible for Social Security. There was no way we could send out our aging stock to have a mambo dance-off for a brutal tech week followed by a five-weekend run.
We breathed into paper sacks for a few minutes, then regrouped. The designer wasn't hugely fond of buying stacks of cheap retro stuff on the internet, but that ended up being the requirement for the show. We combed multiple sites to find the best variety of pieces to prevent that weird bridesmaid feeling, and we added trim to make the dresses feel a bit less mass-produced. The dancers appreciated not having to worry about ripping clothes older than their grandmothers, and the stretch fabrics were also enjoyable. The men's ensemble also required a lot more shopping than expected, as no one is used to dancing in non-stretch jeans anymore. You could find us in various department stores, testing the give across the thigh of every pair of jeans and chinos (no pun intended) in our price range.
We were able to sneak pieces from our lovely vintage collection into the non-dancing scenes, like the final scene (nobody kicks their own face while Tony dies), and a few other spots. The true vintage added a nice feeling.
The stretchy Mid-Century-ish costumes have had a good life after the show, going out to lots of dance-heavy productions, and we have been having heavy discussions about the future of the vintage costume pieces. Many of the gorgeous items could be worn carefully by the right person, but theatre is rarely able to be the kind of careful these costumes require, with quick changes and active physicality for multiple performances. We regularly sell parts of stock to vintage clothing dealers, who can sell them to enthusiasts who will wear them only a few times in ordinary circumstances. Others are kept for research or to pattern for reproduction, but as a professional shop with no institutional backing, we cannot afford much space for this pursuit.
The other reason we don't get to put our vintage stock onstage much is that much of the vintage clothing is shaped differently than the actors we costume. That is not to say that our actors are too fat for the clothes, or that "people were just smaller then," which is a common refrain repeated by many vintage shoppers.
It's a two-pronged issue. The first prong is that we have different body-shape expectations than previous generations. We don't wear clothes with rigid waistbands daily anymore. Most women don't wear belts, let alone the boned cinchers and girdles our grandmothers donned every time they left the house. As we in historical costuming learn year after year, the repeated pressure on the waist causes the body to reshape itself to mimic the shape of the corset. At Dickens, we encourage performers to measure themselves in their corsets at each lacing to ensure that the waist is the same size each day, lest they over-tighten and shrink out of the costume, tripping over hems of skirts and petticoats sagging from a loose waistband. Our exercise routines today focus on core strengthening and flexibility, rather than waist whittling.
The average body nowadays is much closer to the natural shape of the human body, but the clothing of the midcentury is built to be worn over a girdle by a woman who wore girdles regularly, starting as teenager. While it was wildly celebrated that corsets went out of style in the 1920s, it's worth remembering that many women continued to wear restrictive foundation garments throughout the century. My grandmother still has one of the corsets her mother-in-law had in a drawer when she died in the 1960s. Great Grandma wore corsets at least into the 1950s, because it was more comfortable for her--she has been described as "a bit pigeony," polite code for a large bosom. As many corset enthusiasts will tell you, one of the best benefits of a corset is bust support from underneath, which puts less strain on the back and the shoulders than the modern bra. All this to say that, for good or for ill, women's bodies were shaped differently sixty-five years ago, due to fashion.
The second prong of the issue is survival bias. Only the clothes that haven't been worn much in the last six decades have survived to be worn today, so most 1950s vintage clothes are really small. Despite the protestations of many, there were larger women in every era. Lane Bryant expanded from maternity clothing to plus size fashion before World War I, after all, and every era features photographs and paintings of generously curvy women. In order for a 1950s dress to be wearable today, though, it had to escape being cut up to make children's clothes in the 1960s, being worn to costume parties in the 1970s, being reaccessorized by Madonna and Cyndi Lauper fans in the 1980s, being worn in productions of Grease! and Bye Bye Birdie in the 1990s, being further reaccessorized by Sex and the City fans in the 2000s and being revived as daily wear by followers of the historical living trend now. It's also possible that the dress might have been tucked away in storage somewhere, waiting to be pulled out now, but that is pretty rare today. We move from house to house more, and we can't afford as much storage room.
In thrift shopping today, most of us either buy something that fits or something that is too big and can be recut. The same thing has been happening for centuries, but previous generations typically had far fewer clothes than we do now, narrowing our chances of finding old clothes in good condition. In order to make it down through the years, there had to be a reason why the clothes didn't get worn. They were either special, weird, forgotten, or small, usually. That's why there are so many vintage wedding dresses out there. Think about your own closet. What pieces are in pristine shape, and what pieces are well-worn? Multiply that by generations, and I think you'll understand why there are far fewer pieces larger than a modern size six or so.
As an industry, costuming is facing the fact that we don't have much more time left to use vintage clothes from the 1950s and back for theatrical productions. We need to get used to planning to build or purchase more of those costumes, and we also need to manage the expectations of our producers. Setting a show in the 1950s does not guarantee a low budget anymore, with more and more pieces being deemed too delicate to use, and the thrift stores are no longer full of 1980s and '90s fashions.
Long story short, there are a lot of reasons we can't just use old clothes in costuming, and we need to start recognizing that we need to embrace some of the more work-intensive solutions soon.