Geez fucking Louise—who had these ideas, anyway? I am texting and emailing everyone on the team many times a day.

I am painfully reminded of how much work it is to assemble costumes. I studied and dedicated my life to costume design for twenty-four years (twenty-five, if you count the year I slept to recover from it all), and I still have a hard time fathoming the amount of schlepping involved for each inch of schmatta. Every itsy-bitsy detail can make or break your high hopes of creating theatrical magic on a human canvas—or at least this is my motto, then and now! When it comes to sets and props (yes, I designed those too for all that time because god forbid I do two shows in a row with costumes only to be relegated to wardrobe forever), the pitfalls tend to read large, like, we’ll get on the bike and the eyeball will be too heavy and too high and the training wheels will not be wide enough and we’ll fall over and our legs will be smooshed on the pavement and it will be game over. But with costumes, if you dare say out loud why you are losing your mind on any given day, you sound like a neurotic and obsessive fashionista in a trivial nightmare of her own making. It’s even hard for me to take myself seriously when, after four hours of pounding the pavement, I brandish a few little plastic boxes with the perfect, I mean perfect, eyelashes.

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While I march up and down Queen Street and Spadina Avenue again to ferret out the tiny morsels with the iconic potency to create our wearable statements and to coordinate all the help, suppliers, supplies, and interim deadlines, James Bloomfield of MotoArt is welding the eyeball armature and flag mounts for the bike in his shop; Jung-Hye Kim, a beloved design assistant and associate from back in the day, is drawing the pattern for the white fabric cover for the eyeball and will eventually sew and attach it; and Katherine Dynes is gluing paillettes on a hundred and fifty CDs and drilling holes so she can attach the CDs to the fabric to create the two iridescent irises on the front and back of our, by now, high-maintenance and high-intensity eyeball. Oh, and let’s not forget that Aly Drummond, our lighting designer, is traipsing through the wilds of North York hunting for fantastic strip-lighting to attach to the bike and her persistent quest for the right power source to fire up the LED outdoor flood lamps to set our float ablaze (not literally, we hope).

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