Theatre Design & Technology - Winter 2013 - 38
Hapsburg EaglE suit and CapE. Costume design by Michael travis; anna nateece, furrier.
early 1960s, had retired from the business, and Anna Nateece
was primarily a furrier. Liberace needed a designer capable of
conceptualizing the fantasies he wished to wear onstage.
Travis was up to the challenge. In preparation for the
meeting with Liberace, Travis created a variety of sketches to
show him. As Travis recalled, Liberace said, "I'll take this one,
this one, and this one. . . . Now you're not going to charge me
too much for these, are you?" It was a comment made in jest,
for as Travis attested, "Liberace was incredibly generous, and
money was no object in order to obtain the [desired] results."
Travis was a master at creating an attractive silhouette
for Liberace: making his chest appear broader, his waist slimmer. His first design for Liberace was a chauffeur's costume
that coordinated with one of his cars. The costume was all
blue, fashioned with splendid beading and dazzling rhinestones
and trimmed with blue mink. In 1975, inspired by nineteenthcentury designs, Travis created a Chopin-style jeweled suit. The
ensemble was in honor of the United States Bicentennial celebration and was a jeweled red-and-blue suit topped with an
all-white ostrich cape.
36
theatre design
& technology
w i n t e r 2013
Travis designed the outfits and all the beading patterns
himself. After Liberace approved a design, Travis would oversee
all aspects of the costume's creation: tailoring, beading, trapunto, stoning, and sequin application. Costumes would take
months to manufacture and require the skills of a tailor, four to
six experienced seamstresses, and four to six people to do the
beading, stoning, and sequining.
The base fabric was typically a polyester gabardine; such a
durable fabric was required to support the weight of the embellishments. The tailoring was done in Los Angeles by well-known
shops, such as Primo Costume Tailors. Then the outfit would be
taken to Getson D. Eastern Embroidery Company to execute the
design. Costumes had both machine and hand embroidery. Heavily embroidered coats could easily weigh forty-five pounds, but
Liberace never complained about this. Travis recalled that once
during a fitting, he had trepidations about the weight of a coat.
He asked if Liberace could lift his arms. Liberace looked at him,
took a drag off his cigarette, and responded, "Don't worry about
it." Liberace wasn't one to worry about such things.
After a costume was tailored and jeweled, it was often
Table of Contents for the Digital Edition of Theatre Design & Technology - Winter 2013
Contents
Theatre Design & Technology - Winter 2013 - 1
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Theatre Design & Technology - Winter 2013 - Contents
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