This is a story by Clive Holdsworth, partner-in-crime in making it all happen for Strange Things album launch back in 2012.
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It all started when we were shopping for shoes for a stage outfit for the album launch in a month’s time. Sharliza had always wanted a Cute Circuit programmed LED dress like this but we didn’t have the several thousand pounds and months it would take to commission. I foolishly promised I’d come up with something more affordable and deliverable for the launch gig. This was a highly-optimistic claim given that I’d never designed or made a dress ever before.
After a couple of initial concepts were tried and rejected the idea of an illuminated cape began to take shape, commencing here using newspapers to create the large base cutting pattern – the actual size was chosen on a combination of about 10% sound judgement and 90% pure guesswork! In retrospect an initial pattern fitting might have been a useful first step.
Using silver metallic/black tulle (bridal net) the basic shape was nervously cut out
Testing here on a mannequin to see if the raw-cut pattern would drape and hang well and allow Sharliza to move and hold her microphone. It seemed like it might do so surprisingly well although Sharliza is not a standard mannequin shape so there was still plenty of room for it all to go horribly wrong!
The cape was to be illuminated with four 5 metre neon wires fixed in pairs of double helixes to form a supporting exoskeleton to hold the cape up higher and add springiness and add intriguing lighting effects since they would be independently illuminated and could display static and flashing light effects. The first neon wire was roughly attached to see if the theory would actually work in practice.
The first test of a single neon light seemed to indicate that it might work but a finish for the neck was needed, that would not only complete the look but also cover the battery packs needed to power the neon wires.
The feather boa worked rather well with the silver tulle and looked big enough to disguise the batteries.
The acid test – the very first fitting. Thank goodness it was the right size and allowed enough movement! A double layer of tulle was tried to create a denser layered effect
The feather boa fitted well and added a little extra texture and softness
The next challenge was to work out the best way to fit the four battery packs within the pattern so they were as unobtrusive as possible and so Sharliza could control the lighting effects
A balanced four-way grid was devised with two packs at the front and two at the back
The base spiral pattern for each wire was drawn on to the pattern using the 5 metre wire as a template
A mounting collar to support the battery packs was constructed from two circular layers of cotton gabardine laminated together
Pre-fitting the basic collar shape on the mannequin
The battery packs were to be attached with Velcro so the first strips were added
First fitting of the collar prototype with battery packs set at an angle to give easy access to the control buttons
Rear of the battery collar now trimmed to fit the back better. The general fit on the prototype was pretty good but we still needed a new better fitted and finished collar to be constructed.
Putting the collar and cape together for the very first time was a bit nerve-wracking as the concert was only about five hours away! Phew – all the lights worked and their natural springiness supported the wing-like exoskeleton shape I wanted and kept the cape away from the body so Sharliza would have space to move here arms during her performance.
At last the beginning of the final stage – the sewing on the wires on to the tulle in concentric spirals. Given everything else we’d had to do in preparation for the concert I’d unwisely left this to the actual day of the gig leaving no margin of error whatsoever – scary stuff indeed The tulle had a very open weave so it took nearly two hours to stitch each of the four wires – so panic was beginning to set in. Would it work?
Just over seven hours later the last stitch was tied up.
The light layer was ironed to flatten the tulle being VERY careful not to melt any of the neon wires
Finishing touch of sequins on the edge of the outer layer of the cape
The final combination all assembled and waiting to be transported to the gig for final fitting at the concert venue. Nothing like cutting things really fine to get the adrenaline going!
It all came good in the end and Sharliza made a totally stunning illuminated stage entrance and controlled the sequence of lights brilliantly in time to her first song, Strange Things. This was a remarkable achievement given she’d never done it before but she showed the class of a true performer. A large feathered fascinator matched the boa perfectly and added to the dramatic effect.
The wave-like movement of the suspended wires worked really well and accentuated Sharliza’s accomplished stage shapes and gestures. We gave out lots of bright LED rings to the audience so the whole venue was bathed in a magical mixture of coloured lights which complimented Sharliza’s stage outfit perfectly
The cape worked really well to accentuate Sharliza’s already dramatic stage presence even more, powerfully demonstrated in this cool pic by Claire Hart
A few weeks later just before another concert in the presence of the London High Commissioner for Singapore showing how the cape still works well even in daylight. Incidentally the fabulous dress Sharliza is wearing under the cape is a vintage gown from Butler and Wilson which could have been made for her – the store manager said she was the only person in months to try it on and on whom it had fitted perfectly
The cape was a big hit with the audience at the reception before the concert. The High Commissioner had his picture taken with Sharliza wearing what she describes as her ‘magical light-up cape’ and a framed copy of the picture now has pride of place in the High Commission offices.
That’s it, that’s the journey of the light-up cape!
