Re: What Does a Steampunk Bellydancer Wear? Part 2


Stretch lace gauntlet from Tombo Designs. You know you want it.

Because Gothic and Steampunk fashion share a fondness for some of the same time periods, you would not be off base in choosing a Gothic theme for your Steampunk bellydance performance and costume. For all things gothic and bellydance-y, I highly recommend Laura Tempest Schmidt’s appropriately named Gothic Bellydance Resource. Tempest analyzes the elements of Gothic bellydance costuming, talks about Goth performance elements, has a collection of dancer images, and provides links to definitions of the Goth subculture.

My major recommendation, if you are planning to go the Gothic route, is to beware of doing an all-black costume. Remember that when the stage is dark-colored, the backdrop is dark, and the lights are down, you and your black costume are going to disappear almost entirely. Do your audience a favor and wear colors that can be seen at the back of the room. These can be “Gothic” shades like wine red or intense purple or you can go for broke and wear all white.  If you must go the “basic black” routine, consider making everything on your costume–and I mean EVERYTHING, not just your bra and belt–as shiny, sparkly, mirrored, sequinned, or LED-enhanced as humanly possibly. You want your audience to see your entire body move, not just stray patches of skin.

Up until now, I’ve been talking about essentially using other time periods as a basis for your Steampunk costume. While it can be very useful to have a prototype to work from, another–and very fun–approach is to seize upon the fantasy element of steampunk and build a costume (and a character) from entirely from scratch.

Imagine if you were living in an alternate reality and you wanted to put together a Middle Eastern dance costume, not knowing anything about what a “bellydance outfit” should look like. You would know, for example, that you wanted to highlight the movement of your hips and shoulders so the question becomes how best to do that. What kind of outfit would you construct? What materials would you use? Metal? Leather? Gears? Flattened beer caps? Washers? Bits of brass? Fringe? What would you be able to find lying about that you could cut up or reuse?


Elizabeth James poses in her handmade, snake dance (as in dancing with an actual python) costume. Posted on her blog, Altered States.


Costume bra decorated with washers and metal chains by Basha ( Nice use of diagonal lines on the cups.  She made this outfit for a goth industrial number that she did.


Matching choker by Basha ( crafted from washers which are wrapped and then linked together.  This design would also look good made from brass or copper. When you are a Middle Eastern dancer, a trip down the hardware aisle of your local department store can be very inspirational.


Bodice made from an old leather coat that has been cut up and re-purposed. Posted by Jazuchan on (Etsy).  Second hand leather garments have the advantage of already being broken in so they are soft and comfortable.


The standard Turkish-Arab vest re-done in faux leather by Velvet Mechanism (Etsy).  I’ve seen similar vests made with just canvas or polyester straps in which case they are usually referred to as “harnesses”.

What I’m talking about is not just a theatrical approach to costume making, but a theatrical approach to CHARACTER building. Who is your character? Are you a dancer in a converted factory on the outskirts of town? A saloon hall entertainer in a science fiction-influenced western as portrayed in TV shows like the “Wild, Wild West” (1965) or “The Adventures of Brisco County, Jr.” (1993)? A clockwork robot? A retro-futuristic space traveler?

And what kind of music are you dancing to? Drums? Electronica? Sound effects such as the wind, spacecraft landing, etc? Trash can lids being hit with hammers?

All of these considerations are going to influence the kind of costume that you make and the kind of performance that you give. Below are a few ideas for steampunk character costumes.


The dancers of Barbary Coast Shakedown (Mira Betz, left, and Elizabeth Strong, right) post in their California saloon hall girl costumes.  The granny boots add that extra panache. Posted by foca71 on (Flickr)


Mira Betz again in a 1920s, jazz hall-influenced costume. She has sleeked her hair back and drawn in pincurls on her forehead with a makeup pencil. The cool hair ornaments are actually appliques that are secured to her hairdo with bobby pins. (Flickr)


Fayzah Claudia as an android in a retro-futuristic space suit reminiscent of the 1920s-30s.  See more images of her body suit, complete with helmet and raygun on her website.  See clips of her performance on “Fantasy Bellydance” by World Dance New York (Fayzah appears about 1:58 in). You can also see a brief glimpse of Sarah Skinner in her Salome costume as well.


Re: What Does a Steampunk Bellydancer Wear? Part 1

The answer is “anything she wants” because the music and costume you choose as a dancer for your steampunk number really depends on how you choose to define “steampunk”. Like many other American bellydancers, I’ve been bitten by the steampunk bug and what follows is my research into how best to translate steampunk into a Middle Eastern dance context.


Silk shantung ghawazee coat worn over paisley cotton voile undertunic. Made by Kathleen Crowley (see blog on sidebar), posted on Notice how the floor length coat resembles Western dresses of the Victorian era. You could leave the accessories as is or steampunk them up, substituting washers and gears for the coins on the belt and bra, for example. Another possibility would be to go with a knee length coat worn over a full skirt with ruffled pantaloons underneath.

To start with, you could legitimately go 100% ethnic. Steampunk fashion is generally based around a Victorian/Edwardian look and the traditional costume and music of the Middle East have not changed that much in two hundred some years.  My suggestion would be to pick a Near Eastern country that Europeans of the 19th and early 20th century would be familiar with such as Egypt, Turkey, or Northern Africa and use the costume of those regions as a jumping off point.

A second approach would be to base your costume and performance on Middle Eastern dance as seen on the American stage of the late 19th and early 20th century. Thanks to the American Memory project at the Library of Congress, we have actual footage of what early dancers were wearing at the time. Here Princess Rajah balances a chair (notice that she does some floorwork as well) and  Ella Lola does a Turkish dance. You can find second hand copies of these silent films on YouTube, but I prefer to point people to the actual Library of Congress site as it has more context information.


Princess Rajah spins during her chair balancing dance (American Memory, Library of Congress) . Although her ruffled skirt appears short, it is actually ballet-length, falling a little above her ankle.


Ella Lola does her Turkish dance (American Memory, Library of Congress). Her knee-length skirt appears to be made of assuit.

This is the dance as it existed when it was first crossing out of the ethnic immigrant communities and onto the Western vaudeville stage. The costumes are variations on either 19th century street/stagewear. The movements are still done today and are completely recognizable to a 21st century Middle Eastern dancer.

A third possibility is to base your costume on a more Orientalist theme–the Near East as seen through Western eyes. “Salome”-style costumes were very popular on the 19th century/early 20th century stage at this time and have a fantasy element that is very in keeping with the steampunk aesthetic.


Sarah Skinner models her Salome-inspired bra and belt ensemble which she created for her seven veils dance.  Click here and scroll down to the June 24, 2008 entry (“Salome Costume”) for her blog post about the construction of this outfit. Follow her links at the end of the post to read more about Salome and her take on the dance of the seven veils.

Andrea Deagon, an academic and a dancer, has done research on the origins of the Salome story. Her slideshow, “The Salome Dancers: An Eastern Dance Takes Western Roots”,  which showcases a number of the images and performers of the era is available here.


Princess Farhanna (Pleasant Gehman) posing in her turn-of-the-century bellydance costume.

Princess Farhana also created a beautiful, 1900s-era costume. She writes about making this ensemble on her blog (“Creating Flash Out of Trash, Feb. 23, 2009).  A dancer after my own heart, she used materials she already had and a lot of gold spray paint. The end result: a costume that looks expensive, but only cost $36.00. Click on the Feb. 12, 2009 photo (“It’s a Small World After All!”) for a closeup of the costume including the lace rosettes she hand-glued onto the skirt.

Other Orientalist-inspired eras to look at for costuming ideas would be Art Nouveau and Art Deco. I’ve often thought, for example, that Queen Latifah’s costume from the movie “Chicago” would make a great, 1920s-style beladi dress.


Queen Latifah as Matron “Mama” Morton belting out “When You’re Good to Mama” from the movie musical “Chicago”. Notice the fabulous arm drapes.

Re: No Place Like the O.Z.


Come to the Dark Side. We have better outfits. Kathleen Robertson as Azkadellia flanked by her bad boys in the Sci-Fi Channel mini-series, “Tin Man”.

Why do I love the Tin Man mini-series? Two words, friends: Steampunk Oz. “Tin Man” is an original mini-series from the Sci-Fi Channel. The mini-series re-imagines L. Frank Baum’s Wizard of Oz as a much darker, more dystopian, yet ultimately hopeful tale. Briefly, the story follows our heroine, D.G., who is transported to the O.Z. (Outer Zone) and must discover her past in order to survive. Along the way, she is helped by Glitch, a former science advisor to the queen who had his brain removed as punishment, Wyatt Cain, a former Tin Man (Central City police officer), and Raw, a fearful, lion-like psychic.

From a costumer’s point of view, the character costumes created by Angus Strathie are delicious. I’m surprised that more fans haven’t re-created these costumes. If you have made a “Tin Man” costume, for heaven’s sake, post some pictures to the Net so the rest of us can enjoy them.

While I’ve written this post from sf/f costumer’s point of view, steampunk enthusiasts seeking inspiration will want to watch this movie repeatedly. “Tin Man” is probably as close as we will ever get to a steampunk documentary. The series covers what I consider to be the “steampunk era” (Victorian/Edwardian, 1910s, 1920s, 1930s) with a healthy dose of 21st century sensibility thrown in.  If you look closely at the Queen’s blue dress, for example, which she wears on her island prison, you will note that while the dress appears Edwardian, the corset which would normally not be seen  is actually part of her outerwear–a nod to the 21st century’s penchant for wearing underwear on the outside.


Kathleen Robertson (Azkadellia) shows off three of her five outfits, all to die for.


A photo of the black, feather-decorated dress Kathleen Robertson (Azkadellia) wears in the show.


A close up of the same dress, showing the cool, multi-colored sheen of the shoulder feathers. The whole outfit reminds me of a raven. Notice the Queen in her blue dress in the background.  Her top looks like it may have been made from an Indian khameez.

In the O.Z., crime does pay–in the form of a fabulous wardrobe. Kathleen Robertson as the sorceress Azkadellia undoubtably has the best clothes in the film. We first see Azkadellia wearing her gold dress with the armored collar. She subsequently changes into her black coat dress, her black feathered dress,  and, for the big finale, her chail mail dress. She also has a wonderful Indian-inspired nightgown which I was unable to find good, clear photos of.


A closeup of the black coat dress from commercial costuming company, Fan Chaos.


Although Azkadellia’s outfit appears to be one piece, it is actually a long, black dress-like coat over a fitted peach bustier and black skirt.  The peach bustier suits Kathleen Robertson’s coloring. However, I think it could be changed to pale, true pink and still be recognizable.


Azkadellia’s tattoos change into flying, bat-winged monkeys–how cool is that? Of course, that means many unneccessary shots of her heaving bosom–can we say “sweeps week”, boys and girls? Yes, we can.


Photo of the “Tin Man” cast from Alexia Fast’s website. From left to right, Zooey Deschanel as D.G., Alexia Fast as Young Azkadellia, Alan Cumming as Glitch, Raoul Trujillo as Raw, and Neal McDonough as Wyatt Cain.

While Azkadellia’s costumes are probably the most complex in the entire film (leaving aside Raw’s makeup), there are plenty of other less work-intensive choices for the costumer. D.G.’s street clothes, as seen above, could easily be put together from purchased sources. If you wanted to wear something that is more obviously “Wizard of Oz”, try her waitress uniform pictured below. It’s a direct tip of the hat to the original Judy Garland’s Dorothy costume. D.G. wears her Other Side street clothes most of the time although she briefly changes into a red cocktail dress with a black sheer overlay when she infiltrates the Mystic Man’s nightclub. Unfortunately, I couldn’t find a clear picture of that dress.


D.G. in her diner waitress uniform (“Tin Man”). A sly wink to Judy Garland’s costume in the “Wizard of Oz”. I’d recommend wearing this outfit with red sneakers, just for fun.

Wyatt Cain’s (Neal McDonough’s) costume is the next easiest to do. Again, most of his clothes can be purchased, although you may have to specifically shop for Western or Victorian wear in order to do it. Cain’s vest and sidearm say “gunslinger”, but his overcoat and slouchy, fedora-like hat say “private eye”.  I wasn’t able to get a good look at his footwear, but my impression was that he was wearing heavy-duty walking shoes, not boots.


Cain (Neal McDonough) in (mostly) full uniform, minus the hat. The leather vest really makes the outfit.


Cain, minus his coat, showing off his striped, collar-less shirt. Cain’s colors are very muted–soft greens, olives, washed out blues, and browns.


Alan Cumming as Glitch. The zipper headpiece really makes this costume and transforms it from “vagabond” to “steampunk”.

Glitch (Alan Cumming) has a very multi-layered costume that has been heavily distressed. He is actually wearing a 19th century frock coat that is very high cut–it stops at the rib cage as opposed to the waist. Immediately underneath his coat is an elaborately decorated red vest which we see clearly only once while he is drying off around the fire after jumping from the cliff. Under the vest is a long-sleeved white shirt and under that is a red and black or possibly red and navy striped undershirt. If you are planning to re-create Glitch’s look, I highly recommend making all the layers very light weight as this costume can get hot quickly.


Don’t lose your head. Glitch’s outfit and head from a publicity display for “Tin Man” (Flickr). You can just see the edge of Glitch’s vest peaking out from underneath his coat.


Raoul Trujillo as Raw and Zooey Deschanel as D.G. Sci-Fi Channel photo by Art Streiber. Notice Raw’s furry feet.

Next to Azkadellia’s corsets, Raw’s costume requires the most technical skill because of the makeup and prothesises involved. The actual clothing–furry vest and knee breeches–is not that difficult and you can get a good look at it in the full cast photo above. Notice that in the cast photo he is wearing shoes while the above two-shot with D.G. shows his feet.

The great thing about “Tin Man” is that you have option of doing either “alternate versions” of the main cast or re-creating the striking costumes of the supporting characters. For example, we see Az, D.G., and their mother briefly in a flashback scene with the girls’ tutor.  Those outfits would be a great family group costume to re-create.


Young Azkadellia (Alexia Fast), the queen, and young D.G.  Part of the queen’s skirt is made of bronze sequinned fabric. I really like young Az’s dress, but young D.G. also has an attractive gown. Photo from Alexia Fast’s website.

Azkadellia’s long coats–her imperial troops–would make another good group costume. The soldiers’ most striking uniform element is their long leather dusters with red/silver ornamentation and occasional bits of body armor. The overall effect is very Nazi storm trooper. The high mandarin collars appear to be part of the coat rather than a separate shirt. Underneath, as far as I can tell, they are wearing sleeveless black T-shirts, black pants, and black combat boots.  I wasn’t able to find a good still showing the insignia, but I would suggest taking a look at the sets in Az’s tower as I think the circle shape is being replicated on some of the screens.


Some men bring flowers, others bring lockets. From left to right, Azkadellia, her chief hench guy, Zero (Callum Keith Rennie), and her secretary (actor unknown).  I thought initially that her secretary was wearing a variation of the longcoat uniform, but he’s actually wearing a variation of Glitch’s costume–high cut frock coat with a vest and shirt underneath. The coat is leather, but the outfit appears to be very similar to Glitch’s.


Our heroes are shocked to discover just how good they look in black leather and begin to reconsider joining the imperial guard. Another view of the longcoat uniform.


Callum Keith Rennie as Zero in all his evil-y goodness. Rennie plays villains so often these days that most people forget he played good guy detective Stanley Kowalski in the television series “Due South”. Notice the half-armor he sports. The armor seems to be largely ceremonial, but Zero does use it to defend himself when he and Cain throw down.

For a colorful and memorable group costume, I would suggest the “Tin Man” Munchkins. Although they only appear briefly at the beginning of the series, the Munchkins are very original and interesting looking. The body paint would take time, but the clothes themselves are relatively simple and have an overall “American Indian” motif.


D.G. surrounded by Munchkin resistance fighters of the Eastern Guild (“Tin Man”). Notice the Kiowa-style feather harnesses. The buckskin pants and sleeveless shirts wouldn’t be hard to replicate.


Munchkin leaders interrogate D.G. whom they think is a spy (“Tin Man”). Notice the striking face paint and chest armor.


“Well, if it isn’t the great and terrible blah, blah, blah himself.” Richard Dreyfus as the Mystic Man (“Tin Man”) flanked by his lovely assistants. Although the dancers have a great number, this was the only still I could find that showed their outfits. The “panniers” they’re wearing are actually tamborines they use to beat out a drumroll for the Mystic Man’s entrance.

As a dancer, I was struck by the Art Deco flamenco costumes worn by the Mystic Man’s assistants in the Central City nightclub D.G. goes to. This would be another neat group costume to do for a duo or a trio.  The Mystic Man is dressed like a very formal 19th century stage magician. He wears an evening tuxedo with a white vest and white pin-tucked shirt. One hand is bound up in a black pouch. I’m still not sure what that is supposed to symbolize. Over the top of his tux, he wears a Chinese robe and a Turkish smoking cap.


Richard Dreyfus as the Mystic Man (“Tin Man”) showing off his fantastic Chinese robe. I wants it, precious, yes, I do.  Folkwear has a great pattern for this robe (“Chinese Jacket”). I got this photo from the Dye Dept , the Canadian company that did some of the distress work for the series. If you go to their website and look under “textile arts, dyeing, and costume breakdown”, you will see a photo of Glitch’s coat which they also worked over.

Re: Steampunk Dos and Don’ts

I, Clothesmonaut, self-appointed Commissar of Fashion, must bring my riding crop down hard on the well-intentioned, but wayward lads and lasses mangling the Steampunk fashion aesthetic. An eclectic collection of costume pieces put together in a slap-dash manner and accessorized with a couple of brass gew-gaws does not a Steampunk ensemble make, people.

In particular, the following do offend the eye:

Don’ts for Men

  • Don’t wear a vest that’s too short. Your vest should completely cover your gut with no gap between the bottom of the vest and the top of your pants. Otherwise, it just looks sloppy. If you don’t have a long enough vest, you have two options: 1) untuck your shirt and wear your vest over the top for a more deconstructed look. (The younger you are, the better this works.) or 2) lose the vest altogether and go for a more informal, working man look.
  • If you are going to wear a pocket watch and fob in the classic chain-across-the stomach fashion, make sure that the watch is tucked securely into your vest pocket (hence the term “pocket watch”). A loose chain with the watch hanging down in front of your groin is just unattractive.
  • If you are very tall, don’t wear anything that emphasizes your height unless you want to look like some out-sized, dancing skeleton. That means stay away from vertical stripes and one color outfits. Instead break up your silhouette visually with as many horizontal elements as possible–straps, belts, bandoliers, short-waisted jackets, contrasting colors, etc.

Don’ts for Women

  • Balance your silhouette. Dresses, particularly ones from the first half of the Victorian period, tend to be very poofy and/or detailed above the waist and need a wide, A-line skirt to keep from looking top-heavy. If you are going with a tubular-style skirt such as a Victorian bustle or Edwardian number, remember that your top will need to be pared down and made more vertical.
  • If you aren’t young, leggy, and thin, stay away from mini-skirts. A floor-length skirt or pants will be much more flattering.  If you must show your legs, wear stockings and garters or go with lacy knickers. Remember, chunky, pasty white thighs are not sexy in any genre.
  • If you don’t have a defined waist (that is, a waist that is substantially smaller than your hips), you can’t wear a waist cincher. A cincher on a waist-less person is just an unflattering band of fabric around your middle.
  • A Victorian-style corset, particularly the underbust kind, is made for people with an hour glass figure who have the same amount of sand on the top as on the bottom. If you are pear-shaped or large-busted, this look is not for you. You will either appear unbalanced or your breasts will seem to float in space like two UFOs. Go for an over-the-bust corset or better yet, a fitted bodice.

Keep the following rules of thumb in mind:


  • All of your accessories should serve a purpose and appear to be functional. Don’t carry rayguns or flight helmets just to carry them. They should go with the rest of your ensemble.
  • The period that Steampunk is based on is Victorian/Edwardian (19th/early 20th century), not the Medieval/Renaissance and not the 18th century. If you want to incorporate that doublet or pirate tricorn into your outfit, you will need to “periodize” it–that is, interpret it through a Victorian/Edwardian lens. Look for pictures of Victorians/Edwardians in masquerade dress for help.
  • If you’re not sure how to incorporate anachronistic elements into costume, follow this handy rule of thumb: change only ONE thing. That is, there should be only one “out there” part of your costume (hair is a good place to start, for example) and the rest should be period.
  • Don’t be afraid to use non-Western clothing from the Victorian/Edwardian era as a basis for your costume. History–and alternate history–wasn’t just happening in Western Europe, you know.
  • Be aware of class and era differences. Formal Steampunk costumes are usually based on upper or middle class ensembles. Informal Steampunk outfits are generally variations on a working class look. Remember to keep the details specific to the era that you favor. For example, boots, pants (especially plaid), a loose, river boatman-type shirt, a soft cravat tied in a bow under the collar, and a top hat say “Victorian”. Boots, pants, a tank-style undershirt (or a collarless shirt, especially a striped one), suspenders, and a bowler hat say “Edwardian”.
  • If you are short of funds and/or need versatile costume pieces, stick to men’s wear. Male costume has changed very little over the past hundred years so you get can a variety of looks just by varying your neck and head gear.  Women dressing as men is perfectly period (think George Sand) and works even better for Steampunk.
  • Your entire costume, no matter how odd or edgy, should work as a whole. If you want to show off, your custom-made rocket pack, for example, the rest of your ensemble should say “aviator”. If you want to look as if you’ve just strolled off of Jules Verne’s “Nautilus”, your clothes should say “ship’s captain” or “seaman”. There’s no substitute for doing your homework.

Re: I Heart Steampunk

What the well-dressed steampunk vampire hunter is wearing this year. Posted on by Gothfox.

I heart steampunk. What is steampunk you ask? Essentially, “steampunk” refers to the blending of 19th and 21st century technology and fashion. Imagine the Jetsons reinterpreted by Jules Verne and you’ll have the general idea.

I’m generally not a fan of Victorian anything–too frou-frou, too fussy, too many dresses that make the wearer look upholstered–but I like steampunk in large part, I think, because it breaks the rules. It says here’s the Victorian mode AND here’s how we’ll smash it.

When you think about it, science fiction/fantasy and Victorian/Edwardian elements are actually a good blend. The 19th century was one in which people’s lives were being changed by new technologies in a way that hadn’t really happened up ’til then. It was a time when the first real science fiction stories (called scientific romances) were being published e.g. Mary Shelley’s Frankenstein, Jules Verne’s 20,000 Leagues Under the Sea. And it was also a time when people were looking back to an idealized past for a way of life that they felt was being lost to increased mass production e.g. Arts and Crafts Movement. In short, it was a time much like our own which perhaps counts for steampunk’s rising popularity.

Check out the Steampunk Fashion Flickr group to get a better idea of the aesthetic. Aviator goggles and cogs or gears are popular motifs. I also highly recommend the Aether Emporium wiki. If you follow their Clothes and Costumes link under Links & Resources, you will come upon a whole list of suppliers, some British, some American.

Here are a couple of cool photos I liked:

Flickr, Steampunk Fashion pool, posted by Rivkasmom

Neat outfit, something I would wear myself. You can tell I’m a librarian, can’t you?

Steampunk apron designed by Wyldfire

And, of course, who wouldn’t want this apron? Check out Wyldfire’s blog here.