#20/20: Cupcake

Cupcake: A Design Signature

The Cupcake costume was originally created in 2010 for the first Circus Couture (CC) event. We were developing a new concept, and needed a grand, imaginative, and over-the-top design for promotional materials and media spots, and I came up with the Cupcake concept. This look evolved into many iterations over time, spawned my “Mini-Cupcakes” series (including the #19/20 Valentine look), and became my first “signature” costume look.

A woman in a pink wig and blue, white, and pink costume
Karlee in the original Cupcake look. Makeup by Meghann Mason. Wig by Thomas Richards-Keyes, Meghann Mason, & Kelsey Contois Husch.

This first iteration of the Cupcake look involved an oversized pink wig, developed by Thomas Richards-Keyes, Meghann Mason, and Kelsey Contois Husch. I worked with model Karlee to balance the oversized proportions of the ensemble and developed a modular, multi-layered look.

A woman in a large blue white and pink costume with a blue and pink wig
Karlee in the 2nd iteration of the Cupcake look. Wig by Meghann Mason and Kelsey Contois Husch. Photo by Lei Rivera
A woman in a pink and blue wig with matching corseted costume
Karlee in the 2nd iteration of the Cupcake look. Wig by Meghann Mason and Kelsey Contois Husch. Photo by Lei Rivera

The Cupcake ensemble consists of pink glitter shoes adorned with spikes, turquoise sequin legwarmers, aqua and pink thigh highs with ruffle and bow trim, pink sequin briefs, a pink and aqua satin striped corset with studs, spikes, and ribbon/ruffle trim, one long turquoise sequin and mesh glove with claw spikes, one short pink sequin glove with spikes and studs, a pink sequin collar with faux feather trim in pink/turquoise ombré and claw spikes, and bras in medium and light pink adorned with spikes on the shoulder and studs on the cup. The overskirt was made of 80 yards of tulle: light pink, dark pink, white, and turquoise, with a large bow. The skirt was removable for a runway reveal.

A woman in a blue and pink wig with arms crossed, hands on shoulders, Wearing one long blue glove and one short pink glove
Karlee in the 2nd Cupcake iteration, showing glove detailing. Wig by Meghann Mason and Kelsey Contois Husch. Photo by Lei Rivera
A woman's back in a pink and blue corset with lace and studs.
Karlee, back corset view detailing. Photo by Lei Rivera
Front view of a pink and aqua blue satin striped corset
Karlee, Front corset view detailing. Photo by Lei Rivera

Cupcake’s Legacy

The Cupcake skirt and costume pieces were modified and used in subsequent photo shoots, including on location in the desert of Nevada. The Cupcake concept was reworked for the 10th anniversary show of Circus Couture, with an updated concept reflecting the inclusion of Cupcake Clown costume elements.  The Cupcake Clown costume was developed as part of the “Mini Cupcakes” series, and features a modular look appropriate for circus performance. The Cupcake Princess look is a revamped take on the original Cupcake skirt, with the turquoise layer removed and the addition of 40 more yards of pink and white tulle, with a hoop skirt worn underneath.

A woman in a pink and white ballgown in the desert in front of a rusty car
Olivia in the Cupcake Princess skirt, on location in Nelson NV. Photo by Ron Nelson. Hair and makeup by Meghann Mason.

 

A woman in a blue and pink clown costume
Kacee in the Cupcake Clown costume
A woman in a clown costume peering over a ruffle collar.
Kacee in the Cupcake Clown, detail of collar and hat
A woman in a huge blue and pink skirt and wig with clown makeup
Muse in the 2019 Cupcake iteration. Makeup by Meghann Mason, Wig by Kelsey Husch. Photo by Shane O’Neal.

The Cupcake Mask

The Cupcake Mask is created on a base of heavyweight interfacing fused to pale pink cotton canvas. The mask upper has an overlayer of pink sequin fabric, and the beak is made of multiple layers of tulle, gathered and secured. The eye holes are edged in pink foldover elastic, and pink ruffle ribbon trim delineates the mask beak and upper. Light and dark pink sequin trim edges the upper edge of the mask, and a large turquoise sequin bow in tacked in place over the right eye as an asymmetrical embellishment. Studs in medium and large star shapes, round domes, and pyramid studs finish off the embellishments on the mask upper.

A pink beaked mask with blue sequin bow
The Cupcake Plague Doctor mask, Right side view
A pink beaked mask with blue sequin bow
The Cupcake Plague Doctor mask, Left side view
Close up detail of a pink sequin mask with star, dome, and pyramid studs
The Cupcake Plague Doctor mask upper with sequin fabric and stud detailing

This project is funded in part by the Cornell Council for the Arts.  

#19/20: Valentine

Valentine

The Valentine costume was created as an offshoot of the color scheme from the Cupcake (#20/20) look. Using pinks, whites, and creams as the color palette, this costume is designed as a burlesque ensemble including bloomers, a corset, halter top, cuffs, and robe. The look features graduated layers of flounces at the elbows, sheer fabrics, and an abundance of lace and bows.

Front view - A woman in a white and pink corseted costume with robe
AS in the Valentine look, front view
Back view - A woman in a white and pink corseted costume with robe
AS in the Valentine look, back view

The Valentine Mask

Following the aesthetics of the Valentine costume, this Plague Doctor styled mask consists of a metallic pink spandex overlaid with cream-colored lace with clear sequins on top. The mask base is neoprene. Layers of ruffles, lace, and pom pom line the edges and eyeholes of the mask.

A pink and white lace beaked mask with ruffle edges.

A pink and white lace beaked mask with ruffle edges.
Valentine mask, side view
A pink and white lace beaked mask with ruffle edges.
Valentine mask detail

This project is funded in part by the Cornell Council for the Arts.  

#18/20 Part Two: The Bride

The Bride

In this second of the two-part Groom & Bride series, the Bride mask is featured, inspired by and using leftover materials from my wedding gown. I designed and created the gown as a modular ensemble of pieces, built around a corseted silhouette with removable trumpet flounce skirt and sleeves. The gown was built on a base of painted denim, lined in red rose and skull cotton print and with an overlayer of black net with cotton lace edging on top. The gown was embellished with over 2,000 hand-applied jet Swarovski crystals.

A bride in a black and blue wedding gown
JL in her bridal gown. Hair and Makeup by Meghann Mason. Photo by Hitched Studios.
Detail of a black wedding gown
Interior of JL’s wedding gown with skull/rose lining, corset grommets and jet Swarovski rhinestones visible. Photo by Hitched Studios.

The Bride Mask

The Bride mask was created using materials left over from the wedding gown, built on top of a neoprene base. The bottom layer is painted denim, with an overlayer of the cotton lace embellished black mesh.  Jet rhinestones are individually glued on top of the lace, mimicking the detailing on the wedding gown.

A black beaked mask
Bride mask lace layer before rhinestoning
A black beaked mask
The Bride mask, side view, pre-rhinestoning
Black beaded beaked mask, side view
The Bride mask, Right side
Bride mask, Side view
Bride mask, Left side view
Close-up detail of a black beaked mask
Detail of rhinestones on the Bride mask.

This project is funded in part by the Cornell Council for the Arts.  

#17/20 Part One: The Groom

The Groom

This two-part mask duo is comprised of The Groom and The Bride, representing the outfits my husband and I wore in our 2012 wedding. We both wore a solid black look, with color-coordinating accents in red (Groom’s side) and turquoise (Bride’s side). As a costume designer, it was a logical step for me to create some of the clothing and accessories worn by us and our wedding party, including my dress, embellished mini top hats for the bridesmaids, and my husband’s ascot. The ascot was made of a deep red dual-tone dupioni silk purchased in Los Angeles, and accented with a fleur-de-lis stick pin.

A man wearing a red tie and a pair of hands placing a pin.
The wedding ascot and stick pin being placed. Photo by Hitched Studios.

The Masks

The Groom Plague Doctor mask is accompanied by a daily wear mask. To best show off the luster of the fabric, it was decided to create a clean look with no embellishment, allowing for the deep red fabric to pull focus. The mask is built on a neoprene base, and the dupioni silk is backed with Fusi-knit for stability. The eye openings and mask edges are bias bound with the same fabric. The daily wear mask is made of a fused dupioni silk top layer with a painted denim lining, the fabric used for the base of my wedding dress. The edges are bias bound using scraps of the fabric remaining from the Plague Doctor mask.

A red beaked mask
The Groom mask
A red beaked mask
The Groom mask, side view
A red face mask
Daily wear mask, 3/4 view
Side view of a red face mask
Daily wear mask, Side view

 

 

 

 

 

 

 

 

This project is funded in part by the Cornell Council for the Arts.  

#16/20 Queen of Hearts

Alice in Spamaland

In June 2008 I organized my first independent costume photo shoot, inspired by the characters of Alice in Wonderland and Alice Through the Looking Glass. I had been working as a wardrobe attendant and technician for the Monty Python musical Spamalot, and was just starting to launch my career as a freelance costume designer.  I recruited cast and crew members from the show as my models, and spent months sewing costumes. See a partial group image below.

A group of people in Fancy Dress costumes
Alice in Spamaland, June 2008, Photo by XpressionsinForms

Mask Inspiration: Plague Doctor Queen of Hearts

The inspiration for the Plague Doctor styled Queen of Hearts and the complementing daily wear Hearts Court noble mask are directly inspired by and use fabrics from original looks in the photoshoot. The Queen of Hearts costume centered on a red corset embellished with a burgundy-red ombre application of buttons. This corset was later deconstructed, then finally cut apart and embellished with leftover buttons for this present mask design.

A woman posing in a red and black corset costume
Liz as the Queen of Hearts in the Heart Button corset; photo by XpressionsinForms

The Queen of Hearts mask features styling to include hearts in the overall design, from some of the buttons to the eye hole shape to the “Sweetheart” top edge.

Close up detail of buttons sewn to a mask
Close up detail of buttons sewn to a mask
A red beaked mask, side view
The Queen of Hearts mask, side view
A red beaked mask embellished with buttons
The Queen of Hearts mask

Mask Inspiration: Daily Wear Hearts Court noble mask

The Daily Wear mask is designed to reflect a costume from a member of the Hearts Court, featuring diagonal stripes in silver and black metallic spandex. A burgundy metallic spandex heart is appliqued to the left cheek. The spandex layer is reinforced with a fusible interfacing, and the lining layer is a black cotton twill. The edges are bound in burgundy metallic spandex.

Side view of a shaped daily wear face mask
The Daily Wear mask, side view
3/4 view of a face mask on a head form.
3/4 view of the Daily Wear face mask
A striped face mask on a head form
The mask from a front view.
A woman in a striped minidress and thigh hights
Ashley in the Hearts Court member look.

This project is funded in part by the Cornell Council for the Arts.  

#15/20 MirrorBall

The MirrorBall Plague Doctor-style and daily wear masks join previous mirrored  creations in my collection. I first created the MirrorBall Dress, masks, and accessories in 2013 while living in Las Vegas. The first iteration of the dress was made for a photoshoot, with future modifications made for durability and comfort.

A woman in a mirrorball dress surrounded by mirror balls
Hanna in the MirrorBall dress. Hair and Makup by Meghann Mason. Photo by Lei Rivera.

The MirrorBall dress was next worn to the Electric Daisy Carnival by a bridesmaid for friends getting married. The couple, Matt & Alli, and bridesmaid, Erica, are friends from my Cirque days, and I was asked to help with some costumes for their EDC trip. Matt & Alli were featured in a documentary filmed at the festival that year, later screened in movie theatres across the country. The MirrorBall dress revisions included adding a pleather binding to eliminate sharp edges, and the addition of mirrored epaulets.

A picture collage of people in costumes
Screengrabs from “Under the Electric Sky” with Matt, Alli, Erica, & CJ.

The modified costume was used in a subsequent photoshoot, with the addition of other mirrored costume pieces and accessories:

A woman in a mirrored dress
Behind the Scenes shot of Nicolle in MirrorBall. Hair and Makeup by Meghann Mason.
A woman in a mirrored costume
Behind the Scenes shot of Nicolle in the MirrorBall costume with face shield.

Mirrored Masks

In the image above, a mirrored face shield is visible. The piece is built on the same kind of face shield that has become ubiquitous over the course of the pandemic. Two mirrored face shields were made and have since been distributed to friends. A paintball mask covered in mirrors was also created at this time.

A mask covered in mirrors
The paintball mask covered in mirrors.

This piece was paired with a hoodie and mirror-covered bra top:

A woman in a mirrored mask, bra and neon zebra hoodie

Alia. Photo by Shane O’Neal

The MirrorBall Mask Set

A trio of mirrored masks
The MirrorBall Mask set

For the BeMask’d exhibit series, a Plague Doctor and daily wear mask were created. The daily wear mask is comprised of black cotton twill, lightweight fusible interfacing, glitter dot fabric, black cotton bias binding, and glass mirror tiles.

A mirrored face mask
The daily wear mask

The glitter dot fabric provides base coverage beneath the mirror tile layers. It is an aesthetic complement to the mirror tiles, and provides coverage of negative space between mirror tile strips. The Plague Doctor mask is built on a base of black cotton twill fused to heavyweight interfacing, covered with a layer of glitter dot fabric.

A sequin mask detail
The Glitter dot base layer detail
A beaked mask covered in mirrors
The Plague Doctor MirrorBall Mask

This project is funded in part by the Cornell Council for the Arts.  

#14/20 Rhinestone

The rhinestone mask is inspired by a costume created for a charity event in Las Vegas in 2013. Built for a circus artist’s ballet solo within a larger performance, the costume centered on a pair of pointe shoes encrusted with rhinestones.

A ballerina in a silver sparkly costume
Tori in the Ballet costume, 2013. Photo by Shane O’Neal Photography

The Rhinestone Mask

The mask is built on a heavyweight interfacing base with an overlayer of silver glitter dot fabric. The upper of the mask is backed with a white spandex. The eyes are covered with the glitter dot, with the spandex removed. Vision is partially but not completely obscured. The rhinestones adhered to the mask fabric are crystal and aurora borealis (AB) finish, in multiple sizes.

A rhinestoned beaked mask

Rhinestone detail

A beaked mask with rhinestoned pointe shoes
The Rhinestone mask with pointe shoes

This project is funded in part by the Cornell Council for the Arts.