Revised: 6/00
Modeling Your 4-H Garment
You are a model in any outfit you wear—on the street, in your home or at school. With practice, you can learn how to model for others on stage and develop decision making, communication, planning and presentation skills that you can use both now and later in life. Your success will depend on setting and working toward your goals, helping others, and time spend practicing and learning from fashion revue and other activities. Writing a narration, completing your fashion revue application form and keeping records are also objectives of this project.
Your Outfit
Choose a 4-H project based on your skill level and wardrobe needs. Choose garments that work well with the rest of your wardrobe and are suited to you! The fabric should be of colors that look good with your skin, eyes and hair and the style of garment should work well with your body type. Think of the lines in your outfit—where the eye is drawn. Vertical lines are generally more sliming than horizontal lines, and curved lines can make the body seem more curved and sometimes even fanciful! The texture and weight (hand) of the fabric should also be selected with care.
To catch the eye, the proportion of the outfit should be 1/3 or 2/3 or 2/3 to 1/3 as shown in the illustration. If it is not, experiment with accessories. If you are not aware of the other elements and the principles of design, read about them in your project book or in a school art textbook. A full-length mirror is also a helpful tool.
Your walk
Your walk tells a great deal about you. It reveals timidity or confidence, shyness or aggressiveness, carelessness or pride in your appearance. Your walk can tell others how you are feeling and how you feel about yourself.
Body strain comes from poor posture and poor walking. To avoid this strain, control your body movements without stiffening or tightening your muscles. Learn to walk and stand easily, but with dignity.
First, raise your chest, taking the weight off your waist, and let you shoulders rest naturally. Watch that you don’t slump so that you become hollow-chested. Your head should be high and eyes forward. Hold your abdomen in and pull in your hips. Exercises to strengthen these muscles make it easier to maintain good posture. (Your doctor, physical therapist or physical education teacher may be able to help you strengthen the muscles of your stomach, shoulder, derriere, or feet.)
It seems we never see ourselves as others see us. Finding someone to give us helpful suggestions is important. Otherwise, you may develop habits that are harmful to your body as well as your appearance.
To practice walking, draw two lines about 2 inches apart (this can vary depending on body type) and walk with the left foot centered over the left line, the right foot centered on the right line—get the feel of walking with your feet no father apart than these lines.
Let your hands hang naturally at your sides. Swing them slightly in motion with your body. Pretend as though you have a pencil in your hand.
Practice this until you always walk this way—checking yourself at random times to make sure your feet and your body are in alignment. Your leg movement should begin at the hips and not just the knees. Your stride should be what is comfortable to you without appearing ackward. Avoid jerking movements, swinging your hips and shoulders and twisting the body in an unnatural pose.
Body Line-Up
Good posture gives you poise and distributes your weight so you look trimmer, more confident and healthy. When you stand, sit and walk with good posture, your clothes fit better. Posture refers to the alignment of your bones, muscles and nervous system. When you have good alignment, you have good balance and move easily.
To check your posture, use a full-length mirror. Draw a chalk line or hang a plump line. Dressed simply, stand sideways to the line, a foot from the mirror, so that the line cuts the image of you in half. Concentrate on standing as tall as you can. Choose someone to help as you won’t be able to stand sideways and still look in the mirror. Ask questions if something doesn’t feel natural to you. Also, remember to breathe!
Now follow the line down your body. If it falls directly opposite your shoulder bone and hip bone and directly in front of your ankle, your posture is good. If the line is in front or back of these points, adjust your posture slightly. The line will show you where you need to improve. Your knees should be relaxed and slightly bent, abdomen flat, chest high and your shoulders relaxed. Arms and hands should hang naturally at your sides with the palms of your hands toward you.
Model’s Stance
A male model stands with feet slightly apart. The more casual the outfit, the wider apart the feet and legs can be as long as the distance is not excessive.
For women and girls, the leg-and-foot position is often called a "stance". This stance creates a flattering leg position as the model pauses for a second or two on the stage. The stance does two things: 1) It shows off your legs attractively and 2) distributes your weight so your are balanced and one foot is ready for action.
In a model’s stance one foot is relaxed and pointed forward toward the audience. The other foot is back, the instep of the back foot touching the heel of the foot in front. Both knees should be slightly bent. Most of the body weight is on the back foot so that you are ready to step forward with the front foot and won’t lose your balance. The forward foot can be the left or right foot--whatever is the most comfortable for you. Depending on which foot you prefer to be in front, the position is like a 10 o’clock or 2:00 o’clock with the front foot pointing at 12 o’clock.
To keep in a good stance, you might think "H.A.P.P.Y" (modified cues originally developed by podiatrist Suzanne Levine).
H: Head held high
A: Abdominal muscles pulled in
P: Pelvis pressed in
P: Put your shoulder’s back
Y: Your foot forms a "Y" with the heal of the front foot next to the instep of your back foot when you stand ready to step forward on the balls of your front foot.
Your Turn
All turns are designed around the model’s stance. When you end the turn you should be in the stance. Always move into your turn, never stop before turning.
The turn is important as your feet are at the audience’s eye level. Keep shoulders and hips balanced over your feet. Keep your chin level. Your head should move as you make your turn.
There are several types of turns in modeling. One is called a pivot. The walking pivot simply starts as a stance. Stop walking and bring the instep of one foot into the heel of the other. (You have formed the "stance".) Move forward with the front foot (Foot 1) in the direction of your turn. Bring the back foot (Foot 2) forward, closing around the toes of Foot 1 and turn Foot 1 into the direction you want to walk. Now you are back in the stance. Pause. To complete the turn, step forward with your front foot again and repeat the process. Pause again a second or two to get your balance and continue walking starting with your front foot.
Practice until you can do this easily. Turns will be easier and more natural if you lead off with the same foot and turn in the same direction each time. Practice until you feel comfortable and relaxed as you walk and turn.
When you turn away from the audience, you might want to show off the back of your garment by bringing your hands up to your front waistline (see diagram) keeping your elbows close to your body. This will give an uncluttered view of the back. Then, as you turn around to face the audience again, let your hands fall slowly to your sides.
Another Turn
If you have flowing formalwear may want to try a walking turn. This involves just walking naturally in a circle. If a gown is modeled, the walking is slower (but not too slow) to look regal and to show off the elegant details of the garment. Men also like to use this turn.
There are many other types of modeling turns, some of which are almost acrobatic. But, it is best to keep turns simple so they don’t detract from you or your outfit.
Hands are Show Offs
As you model, the narrator will call attention to interesting details of your outfit. Take advantage of these remarks and "point" to the details, keeping your fingers close together. For example, when you point to a collar or trim, move the hand gracefully underneath the collar or to the trim. Moving the hand to the position without a pause creates a smooth transition. Depending on the type of pocket and what is most comfortable to you, slip your fingers into the pocket so that only the thumb is visible or put your thumb in the pocket and keep your fingers close together on the outside.
Try to eliminate large gestures and stiffness in your hands and arms. Keep your elbows fairly close to the body. If you want, carry an accessory--perhaps a book, purse, camera, tennis racket or some other article that will help you relax. Carry the accessory close and slightly behind or away from you so that it does not hide the outfit. Refrain from carrying something large and unwieldy (for example, a guitar) which will require careful staging. Practice with your accessories or props. Hold them securely, not limply, as this will detract, or worse, cause the items to fall out of your hands!
Taking the Stairs
How do you look as you go up or down stairs? Being attractive depends on a few basic techniques and using them on the stairs. Take stairs with your body at an angle and keep your head up. Before the review, count the number of stairs you will be going down or up so you don’t miss one and end up sprawling. If there is an escort, take his or her hand with your hand on top and your thumb underneath as you decent the stairs. Note where the stage ends and the stairway begins and where you’ll to go once you’ve descended the stairs.
Before you start up the stairway, pause, bend you’re your knees and place your whole foot on the stair. This keeps your back straight. Take a deep breath. Keep your knees bent and breathe normally as you go up the stairway. These tips will help you gain confidence as you begin to model on stage.
Good Grooming
Grooming is important. Knowing that you are well groomed contributes to your poise and self-assurance. Be sure you and your garments are clean. Arrange your hair in a flattering style. You may need a small amount of spray to keep your hair in place and out of your eyes if you are on an outside stage or if there are electric fans blowing in the building.
Clean hands and well-kept nails enhance your costume. Highly colored nail polish draws attention to your hands. Light colored or clean nail polish is usually best especially for younger teens. Take a personal nail kit with you, include: Three files of varying coarseness, an orange stick for cleaning under the nails, a round file to buff the nail corners and a buffer to lightly polish away ridges and any discolorations. Replace the kit after four or five uses.
If you apply make-up while dressed, carry a cape, smock or towel that can be put over your garment to catch spills. If you apply make-up before getting dressed, there are special hoods or scarves you can wear that prevent make-up from rubbing off on your clothes, especially around the neckline. Though make-up is optional, particularly if there are religious concerns or strong preferences, stage make-up is usually heavier and more dramatic so the audience can see facial features.
Shoes
When selecting shoes for modeling, remember that plain pumps that compliment one color in your outfit are often the most comfortable and flattering. Some models choose basic sandals in the summer or with an evening outfit. Socks or hose should flatter the outfit and an extra pair should be packed in case of a "run" or "snag".
Your shoes should fit and you should be comfortable walking in them. You’ll likely stand in line for a long time before you go on stage. High heels can throw off your posture and make you appear as though you are leaning forward. Avoid shoes with ankle straps that can be caught or tripped over. Make sure shoelaces are tied securely and that you have an extra set of laces in the dressing room if one breaks. Practice modeling on stage before the performance so you can get the feel of the floor and to be sure it is not too slippery or tacky. Sometimes runways move slightly and feel different than the stage.
If you are wearing terry cloth slippers or shoes with soles that stain or get dirty before you get to the stage, wear other shoes and slip on your modeling shoes on before you go on stage (being careful not to create a hazard for other models), as the audience will see underneath your feet as you walk away from them.
To make sure you have everything with you, create a list and put items in a garment bag or suitcase. Your "kit" should include: your outfit, shoes (and extra laces) , undergarments and accessories (such as earrings), props, make-up cape (towel to throw over your shoulders and/or hair net), make-up and grooming items in a secure plastic bag, a sewing kit, stain removal sheets, dress shields, safety pins and fabric tape, a mirror (to check your make-up and your hair in back of your head), undergarments, several pairs of nylons or socks (just in case), a bandage, tissues, and a comb and brush. You might also put in comfortable shoes to wear while you are waiting and a cardigan sweater if it is cold or the air conditioning is turned up. Be sure everything is labeled with your name and address (This is a good use for pre-printed address labels.).
Hidden Treasures
Choose undergarments that are flattering to your outside garment. Men will want to wear undershirts that the right height for the shirt and make sure that the garment is not too tight or too revealing.
On stage, you will be modeling in bright lights that will show through your garments.
Slips should be the right length so that light doesn’t show between the upper part of the garment and the hem and yet, they should not show on the outside (check the length with your hands up at your waist and down at your sides). Fuller slips are used with fuller skirts and dresses, slimmer slips with slimmer silhouettes.
If the blouse or top is sheer, a camisole should be worn. The color of the undergarment should not detract from the garment and be comfortable to the wearer. A girdle may be needed in some cases.
It is important to be clean and wear an antiperspirant that will not come off on the garment. If you perspire heavily, dress shields may be an important investment.
Other Accessories
Accessories can make our break your total look. Choose accessories wisely. One or two pieces may be all that is needed to pull your ensemble together. Avoid accessories that are distracting because of noise, color or size: chunky, bulky bracelets may make it too difficult to take off your jacket or coat, watch clasps that catch delicate fabrics and heavy heels that resound on stairways.
Gloves
Gloves go in and out of fashion. You may, however want to wear gloves if you are modeling an ensemble that involves a coat or jacket. There may not be time to remove your gloves, but if you want to do so, pull the tip of each finger (while you are walking with your back to the audience) and then slip the glove off. Lay gloves palm to palm in one hand and carry them off the stage.
Purse or Bag
A purse should be in proportion to your garment and your figure or physique. Slip your wrist through the handle of the purse if it has one. A backpack or sling back can go over a shoulder. A clutch purse should be carried under one arm at your side waist or hip close to the body, so the front of your outfit is not covered. If you are removing a jacket or coat, a table on stage is needed to set your purse. Practice so you remember to take it with you off stage. Because it can complicate modeling, many models do not choose to model with a purse or bag.
Hat
The narrator may call attention to your hat or to its trim. If so, lower your head slightly or turn around and tip your head slightly backwards. Do not point to the hat; it is obvious.
Jackets and Coats
Jackets and coats may or may not be taken off. It is your decision. If your jacket is the feature you most want to show, leave it on. Some like to turn back one side of the coat front if the lining is special in some way.
If you are showing the total outfit, by all means take your jacket or coat off. Model the outfit on stage and begin to remove the outer garment while you are walking away from the audience. Unbutton it while walking, preferably from the bottom to the top of the garment. Stop and remove it as follows:
Slide the coat or jacket down from your shoulders. Let it slip off over one arm. Grasp it by the center back (or lapels) with the opposite hand and fold the shoulders of the garment together. Carry the garment folded over one arm. Hold it close to your side (and slightly back) so that the audience can see the front of the outfit that remains.
When you unfasten your jacket or coat, start unfastening when you turn away from the audience and keep moving and unfastening at the same time to avoid an awkward pause when you stop. You should plan to put the coat over your arm or before or as you turn to face the audience.
A Modeling Plan
You can follow any number of modeling approaches on stage. Usually a "W" is appropriate if you are modeling on a stage. This gives the audience, on both sides of the stage, a chance to see the front, sides and back of your garment. Walk briskly on stage as the narrator starts your commentary, then naturally, as you show your garment. Before leaving, pause, turn and smile at the audience, pause, turn back again and exit.
A "T" modeling approach may be used with a runway. Step on stage, following the outline of the stage. Make a turn in the beginning and the end of the runway and then at and allow the audience on the opposite side of the stage to see your garment.
Depending on the stage and your choreographer’s directions, these plans may vary, but it is good to know some of the options.
Your Narration
Your narration should help the audience understand more about you and appreciate the garment you created. Keep the narration brief. Thirty to 45 seconds (approximately 100 words) is plenty of script for most outfits. Provide your name, group name and county or start with a phrase about where the garment will be worn, a striking feature, or a fabulous cost reduction/time savings by making the garment rather than buying it. Perhaps you used lace from a dress your grandmother wore, fabric that is new on the market or a detail that is coming into fashion again. Add something about where the garment will be worn or how you will wear it.
Listen to your commentary as you are modeling. Never leave the runway until the commentator is finished explaining everything about the garment. If there is more, turn to the audience, smile and then turn and exit when the narrator is finished.
When writing your fashion revue commentary, consider these ideas:
A lead statement introducing the model by name and town/county or club name.
Review what the pattern envelope says when describing the garment features. These descriptions can give many ideas. Be sure to tell more than what the audience can readily see.
Discuss what was learned in completing the project.
Tell how the outfit fits into a total wardrobe.
Discuss any original techniques used in the construction of the garment.
Tell something about the 4-H’er—background and special interest
Give the pronunciation of difficult fabric or fashion terms. Say the narration to catch any difficulty word combinations, such as "skirt" and "shirt" in the same sentence.
Use statements that carry out the Fashion revue theme if one is used.
Examples:
Jon Adams from the Homestyle 4-H club in Richland, will be proud of his new colorful slacks and shirt outfit. This is Jon’s first sewing project. Besides sewing, he is active in tennis and baseball. Jon says it is fun to wear this outfit, but that it is even more fun to tell people he made it all himself! Great job, Jon.
This rayon challis (shall-lee) dress is just right for dress-up days at school and other special occasions. Mary Zestermelon (Zester-Melon), from Bitterroot County chose forest green fabric and 3/4 length sleeves so she can wear this dress year-round. Notice the lace tucked edges on the bodice and the side pockets that make the dress practical as well as beautiful. Can you believe she saved over $200.00? Wear it with pride!
Here is a form that will help you with your narration:
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Curtain Going Up
Before the show
Practice using both side and back entrances and runway (if available) so you feel comfortable and safe. If possible, be sure there is an "X" put on the end of the stage or runway as some auditoriums have very bright stage lights and it is difficult if not impossible to see the audience in a dark auditorium.
Allow plenty of time to get ready. Make sure your garment is clean and well pressed and that you have brought appropriate undergarments. When you are set to go, don’t eat, drink or sit down. Remove chewing gum. It is very obvious on stage. Line up quickly and quietly. Remember, sound carries from back stage.
First Impression
For an effective entrance, pause for a moment as soon as you are in full view of all the audience. Let them see a smiling confident self. Look as though you believe your garment is the world’s finest and that you love showing it.
Model for every section of the audience. Show the front, back, and sides of your garment. Walk with a purpose, establishing eye contact with your audience. Listen to the commentator, but don’t look at him or her. Make at least one turn. If the commentator has a lot to say, you may want to turn more than once. Listen for the cue to leave the stage.
Lasting Impression
If the exit is away from the audience, stop and turn and smile at the audience before your exit. If the exit is at the end of the runway, stop, smile and then proceed down the stairs. Bear in mind that your exit must be poised and dignified. Never let the audience see you rush away in panic for the last few steps of your exit or hear your whisper " I’m glad that is over".
Challenging Situations and Tips
If you are on crutches or a wheel chair, your need to plan your modeling so it is smooth and you can enter and exit easily. Work with the narrator and stage manager. Ask for a dressing room on the same level as the stage if possible, time to practice turning and request help if you need it.
Modeling with an escort requires practice as you will be on stage together. The escort will escort you on stage, then drop your hands and stand slightly behind you as you model your garment and yet remain at the ready to take your hand and exit with you.
Some escorts do not go on stage but are there to help you down stairs. They stand next to the stairs and will take your hand at the top of the stairs and remain holding it until both of your feet are safely on the ground.
Even though you are excited, it is important to get adequate rest and eat regular meals and snacks before you model. Planning ahead for emergencies, allowing extra traveling time and double checking your garment bag will save you many stressful moments. If you have special needs or health problems, let officials know in advance of your coming.
Because it is possible that the narrator may read the wrong narration, be sure that you know who is ahead and behind you in line. To prevent an embarrassing situation on stage, remember the first line of the narration and start out only when you hear those familiar few words. If there is a problem, the narrator will realize the mistake soon enough and you won’t be stuck in the middle of the stage.
If you stumble and catch yourself, continue modeling on stage if you can without stopping. Errors that seem to be enormous to you, will hardly show to an audience. If however you fall or slip, seriously hurting yourself, stay where you are until someone can get help or help you off the stage. Moving an injury will make it worse.
Once you have been a 4-H model for several years, these suggestions will be second nature. Consider being a teen leader showing other 4-H members how to model. This is a very rewarding experience as well.
Other Activities
Create Your Own Fashion Revue
It is fun to create your own style show or revue for others. Some clubs have put together fashion shows at malls, retirement homes, and other locations. To plan a show, you need to think of a theme first. The theme will help you focus the narrations, the music, and perhaps the outfits. It should be something short and with pizzazz.
It is easier if the responsibilities for the fashion revue are divided up as follows:
Chair --The chair sets up meetings and practices in advance of the revue. He or she communicates with each of the following members to make sure that everything is ready. The chair usually arranges the location for the revue, the stage set, dressing rooms for men and women and acquires programs and materials that are needed in advance. He or she is also responsible for writing thank you notes and for public relations unless someone else is assigned to do this.
Narrations Chair and Narrators -- If the models have made their garments it is helpful if each writes a at least a sample narration because they are the most familiar with the garment and accessories. The narration cards should be printed in large type and all the cards should be numbered and secured with a ring in case they are accidentally dropped. Narrators should practice several times, especially if the fabric or fashion terms or the model’s name is hard to pronounce.
Music Chair or Musician -- Background music works quite well. The music should be related to the theme. Sometimes a score is selected so the revue has a big entrance and finale with separate interludes of music for groups of similar garments. Sometime just background music is all that is needed. The music should be interesting, but not detract from the show. It is easier for the audience to hear and understand the narrations if music without voices is chosen. Inexperienced models often respond better to music with a beat vs. "elevator" music though they should be cautioned not to "dance" to the music unless this is part of the performance. The person in charge of the music needs to coordinate with the choreographer and stage manager and should be involved in the dress rehearsal.
Choreographer -- The choreographer plans how the models will move on the stage. They need to be involved with the music selection and lighting and know what decorations will be on the stage.
Stage Manager -- The stage manager plans the stage with the chair and borrows, sets up and returns the props and coordinates the lighting. The stage manager may also be in charge of setting up and equipping the dressing room; complete with iron, ironing board, mirrors, adequate lighting, chairs, and a sewing kit. He or she may also help the choreographer train the models on stage.
Modeling Order: The show chair and the narrations coordinator often work together to decide the order. When models arrive they should receive a number and line up in that order. Sometimes models will come on from both sides of the stage—even numbers on one side, odd numbers on the other side. Regardless of the set-up, there should be a coordinator in front of each line to make sure the models are in order and to give them a cue when to walk on stage. Models need to wait close to the stage entrance but sufficiently off-stage so that the audience from the other side of the auditorium doesn’t see them Odds are that if they can see the audience the audience can see them!
Mannequin Modeling
Usually models enter from one side of the stage and exit on the other side of the stage.
To vary this, 4-H models may enter the stage in groups of three. The announcer reads the first models name; he/she walks to a predetermined place on the stage and "freezes" with a mannequin pose. The second model’s name is called and h/she goes to a different place on the stage and strikes a different pose. This process is repeated with the third model. Once on stage, each 4-H’er models while the other two models remain "frozen". After modeling each person strikes a pose that is different than the first pose. After the third 4-H’er finishes modeling and strikes his/her second pose, the first model exits, shortly followed by the other two. There are, of course, variations that can be made to this process. Props and music are important considerations when youth try mannequin modeling.
Responsibilities of a Model
Models are responsible for showing up on time, dressing and applying make-up (if no one else will be doing that) and taking excellent care of your garments and returning them to a designated place. Keep your area neat and clean and put items away so others can use your space and so you don’t leave something behind. All appliances, such as curling items need to be turned off to prevent burns and fire hazards. Because a fashion revue is a group effort, read the rules in advance, mail in your application on time, listen closely to directions given and be patient while others have their turn. Family and friends should not be invited into dressing rooms where others are changing. If someone has been especially kind or helpful to you, it is very nice to write a thank you note shortly after the event is over.
Once you have been a 4-H model for several years, these suggestions will be second nature. Consider being a teen leader showing other 4-H members how to model. This is a very rewarding experience as well.
Modeling Activities:
Set up an area of the room as a stage or practice on a real stage. Using the score sheet in your county or state, judge the modeling ability of your leaders or another teen leader who are prepared to do this. The leader may plan some interesting problems that they will want you to be sure to "catch" and think about as you score.
Make a "Turn" Chart
Using several yards of heaving wrapping paper or cloth (such as denim) on a flat surfaced floor and draw a turning guide to practice on. (Be sure if you use markers that you protect the floor first!) Draw your feet walking forward, making a turn and walking back to a starting position. Note that your stride is different than other youth your age so this is should be designed just for you or the young person you may be helping.
Demonstrations
Help others in your group learn one or more of the following: walking on stage, turning, removing a jacket or coat, how to use props, showing off garment features, modeling with an escort, how to be an escort, applying on-stage make-up, walking upstairs and down stairs, and writing a narration. These are just a few examples. You may want to try others.
"Rainy Day" Activities
Set up a tour to learn to identify fibers, fabrics and weaves and how to pronounce them correctly . Or, look at fashion magazines, catalogs, and patterns and learn more about garment styles. Old catalogs and books about historic clothing are fun to read as well. Watch how actors and models walk and display garments on television.
Other Modeling Opportunities
Assemble outfits or costumes from cast-away clothing or fabric recycled from cast-away garments for a fun fashion revue. Visit an annual community bazaar or a Goodwill or similar organization to purchase or borrow the clothing. Choose a theme and a price limit (save receipts or price tags) to keep it interesting. Model and donate the clothing to a good cause or assemble a window display for future customers.
Play the "Modeling Your Garment Game"
Rules:
Purpose: To make your way from the beginning of the stage to the end in good form.
To learn techniques that will help you model on stage
Number of Players: 2 to 8
Equipment: One die and a marker for each person (different colored plastic doll shoes would be fun!)
Directions: Players take turns throwing the die and move ahead the number of spaces indicated, unless prevented by special instructions printed on the space.
On alert spaces, players throw die again. If an odd number is rolled, player moves backwards that number spaces. If an even number is rolled, the player moves forward that number of spaces. When players are sent back or ahead to a space that has special instructions on it (i.e. roll the die), players must wit until their next turn to follow them.
Up to two markers can be on a space at any one time. When a third marker lands on a space, all three players roll the die. The player who rolls the lowest number moves back that number. In case of a tie, all three players roll again.
<Notations on the Spaces:START
- Packed and labeled items to take to the revue. Go ahead 4 spaces.
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- You got there early and feel confident! Go ahead 5 spaces.
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- Uh-oh! You hooked your shoe on your hem and tore it out. Stay where you are and sew it up.
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- Accident! You spill make-up putting it on. Use stain removal product. Get a towel to cover you. Go back two spaces.
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- Mirror! Mirror! You took your time to check appearance! Go ahead 2.
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- Too many accessories give a cluttered appearance. Go back to start.
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- Walk out on stage when you hear your narration start. Go ahead one step.
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- You look out into the audience and smile. Go ahead three steps.
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- Move smoothly to 27.
- Ouch! Your shoes hurt! Go back 12 spaces!
- You make your first turn. Take an extra turn.
- Oops! Gum in your mouth. Audience can see it. Lose a turn.
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- You slip your hand into a pocket to show it off at the right time. Move to 27.
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- Zikes! Your undergarments are riding up. Go back to 20.
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- You feel confident making your second turn. Pause and smile!
- Shoes slip on waxed stage. Your escort catches your arm. Move ahead 3 and sigh!
- Roll die ahead. Odd number goes ahead one. Even number goes back three.
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- The lights go out! Stand in place and stay here for two turns.
- You start toward the runway and decide to slowly make a walking turn. Go ahead to 42.
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- You head toward the exit too fast! Pause one turn.
- Nervous, you drop an accessory. You leave it on stage and go to 36.
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- You make your final turn. Pause and smile to the audience. Go to 43.
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- Alert!—too late—your socks don’t match. Go back to 25.
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- The narration ends as you walk off stage! Go to Finish!
- The finale starts and you forgot where to go! Go back to 44.
- You are awarded a prize! Smile and be glad. Go to Finish!
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- You are not awarded a prize, but you know you did your best. Go to finish!
- Smile! You learned a new skill!
FINISH!
Record of Participation in Fashion Revue
Keep this record for as many years as you are involved in fashion revue.
Name____________________________ Club or Group Name ______________
Date Garment Modeled Location Placing (if any)
________ ________________ ____________ ________________
________ ________________ ____________ ________________
________ ________________ ____________ ________________
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List of Demonstrations,Activities and Community Service:
Date: Place: Description of Activity:
Date: Place: Description of Activity:
Date: Place: Description of Activity:
Date: Place: Description of Activity:
Date: Place: Description of Activity:
List what you learned in your fashion revue experiences and any amusing or interesting things that happened.
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Written by Jan Scholl.
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Contact for questions
to Jan Scholl's home page
Updated 8/17/05
