Curiosities of Cosplay: Divisionten

Programmer by day, cosplayer by night, panelist on convention weekends, and, throughout it all, disability accessibility activist: Sara Winters, or Divisionten as she’s known online, doesn’t stay still long enough to the grass grow under her feet. As a legally blind creator, each new project comes with unique challenges, but she is always eager to share her equally unique solutions for anyone who might benefit. For Sara, every new project is a new opportunity to explore and learn a new creative outlet, whether that be hand weaving by loom, building robotics, developing Cricut patterns, embroidery, or crafting armor. With her detailed Twitter threads breaking down each step of her cosplay builds and her long history of hosting informative panels for a variety of creative topics, I knew Divisionten’s insights into her journey as a disabled cosplayer and creator would be sharply informative and wittily eloquent.

Tell us a little about yourself! How did you get your start cosplaying?

Divisonten: I was in middle school, in the late ’90s, and I loved Cardcaptors (the English Card Captor Sakura dub). I wanted to be Sakura for Halloween, and so I found a needle and thread, scrap fabric, and raided the local floral store for styrofoam to make the staff. David in Social Studies stole it and pretended it was a vacuum cleaner, breaking the head off.

I was pissed, but hooked on making more things better. My parents thought I’d grow out of making silly outfits, but it’s been… checks watch… twenty years now? Probably not stopping anytime soon, I think. 

Out of all the characters in FFXIV, what drew you to cosplay G’raha and Aymeric?

Divisionten: Aymeric happened because I sent my partner pictures of G’raha (in Crystal Exarch garb because at the time his current Scion outfit didn’t exist yet) and Aymeric to do, and my partner told me to cosplay Crystal Exarch… ooops! But in all seriousness I am TERRIBLE at wig styling and the two toned wig scared me. All Aymeric had was…. tons of armor… and filigree… and appliqué…. And a million other things I’d never done before! I actually made him in two weeks after a full year slump of making no cosplay due to the pandemic. I went hard. (I eventually did G’raha later, and he took 8 months to build.) As for why those two? I joked “if I can’t date my husbando, I shall become my husbando” – and when I wear Aymeric I feel like a badass. Meanwhile, G’raha makes me feel cute, and it’s a comfy cosplay to boot!

Your costume work is beautiful, but I’d also like to focus on the construction of your accessories and props. Looking at the necklaces you created for your G’raha Tia, for example, you used a mix of beads you created yourself from ApoxieSculpt and random pieces you sourced from other retailers. Tell us a bit about how you approach an accessory piece like G’raha’s necklace: when do you decide to create from scratch vs. buy, what sort of designs and textures do you look for, how do you make something with multiple pieces from multiple sources come together in a finished, polished accessory?

Divisionten: I’ll be honest, being legally blind makes sourcing materials tough. I can’t go to stores without extreme planning and/or assistance, and ordering online puts me at the whim of what I think I can see on the screen till it arrives. I’ve started amassing a stash of reliable sources for things I want, and fall back on comfortable materials I know how to handle for things I can’t. The beads for G’raha’s necklace were me and a sighted friend sitting on the floor of a craft shop for an hour with images blown up huge as he helped me try and match beads, him by color and me by feel (they were on open strands, or loose, or I trusted his judgment on things sealed in bags until I could get home and feel them myself). Anything we couldn’t find from that trip, I made myself.

For your G’raha Tia cosplay, you wove his scarf from scratch with a hand loom, the process of which took about a month while you juggled other parts of the costume. Have you done other weaving projects in the past? Were there any aspects of G’raha’s scarf you knew would be a particular challenge going into it?

Divisionten: So I’ve been doing textiles since middle school – my middle school required sewing for everyone, and then I did a summer arts camp for several years (repping Apple Farm here! They’re a nonprofit art camp on a farm in southern New Jersey that takes the arts seriously – it’s also where I learned photography, kiln fired pottery and screen printing). I learned how to make my own loom from cardboard or wood, and I’d weave little jute purses during camp downtime because I could just do it by feel.

When I got major eye surgery in 2011, I was bedridden and bandaged for two weeks, so I made myself another card loom and wove zori (Japanese jute sandals) for a Bleach cosplay while I listened to audiobooks to pass the time while healing. I hadn’t woven anything since then, but it’s kind of like riding a bike, you just start remembering as you set up the loom. G’raha’s scarf would be a great beginner project if it weren’t for the diamonds featured front and center – that took a fair amount of math and eleven simultaneous wefts to achieve. I can try and pattern it out, but I more or less just memorized and added or subtracted two to rows to make ascending and descending triangles until they joined up. The rest was all color blocking, and the edge detail was carefully slid in after the scarf was complete and knotted directly into the weft.

As a legally blind creator, you’re very open about the “trade not-secrets” you have developed while creating with a disability. For example, you mention with G’raha’s pauldrons that you patch insulation foam with foam clay to accommodate edges that don’t match perfectly and leave gaps. Are there any online resources geared towards disabled creators, or have you had to personally develop methods that work for you?

Divisionten: I can’t speak to all disabilities, because I don’t seek out solutions to problems I don’t personally face unless someone comes up to me and asks for that specific help (e.g., I have hand tremors, how do I do X?), but I can speak to blindness.

As far as I have to deal with, working with blindness, there really aren’t any cosplay specific resources for the blind as far as I have found, other than what I personally have done (not to toot my own horn). HOWEVER! There’s lots of general crafting resources for the elderly, which often assume some form of low vision or lack of physical ability, and these resources are an immense help. From using puff paint to guide mark out where to embroider, to using insulation foam to make clean lines, or how to paint blind, there’s lots out there. You may just need to adapt a tutorial or look under keywords you may not have considered. Try looking up x “for the elderly” like “sewing for the elderly” will give machine recommendations that you might have overlooked! (e.g., https://sewingmachinetalk.com/best-sewing-machines-elderly/)

Like your trick for armor with foam clay, what are some “trade not-secrets” you’ve developed for any sewing challenges you’ve encountered?

Divisionten: For sewing, I keep a needle threader on hand for anything that needs threading, hand needle or machine alike. Machines just need the needle threader to be pushed in from the rear of the needle so that the thread can be pulled backwards through it.

I personally mark my fabric with sharpie. I don’t recommend it for most, it bleeds, and if you mark too small you… well… have marks. But I can’t see chalk and I can also smell the sharpie on my fabric so it’s a trade off I’m willing to make.

Another little sewing secret I’ve discovered is that the best fabric I’ve found for smooth capes (e.g., not velvet) is scuba fabric. It doesn’t wrinkle, holds its drape extremely well, has a bit of stretch, and is just all together very forgiving in a machine. It also has more structure than spandex. Aymeric is almost all scuba fabric, though I wouldn’t go swimming with all the armor on!

You write extensive cosplay build threads on your Twitter, including not only photos of your WIP costume but also links and sources to the materials you use. Why are providing these build threads and resources for other cosplayers an important part of your process?

Divisionten: The short answer is I hate hate hate the mindset of  “I suffered so you have to, too.” I’m not opposed to cosplayers charging for 3D models/patterns/etc, heck, I encourage it because getting money for your work means you can do more of it. But when I started out in cosplay in the late 90s early 2000’s it was just SO full of  “trade secrets” that pissed me off personally. I wanted to learn, and felt personally denied. I never want anyone who wants to try to feel that way. My door is always open, and anything I’ve already figured out, it’s for everyone to use. That being said, if anyone wants to toss me a Ko-fi if you found my stuff helpful, I will never say no! But I always want people to have those resources.

I also teach cosplay panels and hands-on workshops at online and in-person cons (past classes have been on Fursuiting, cosplay robotics, cosplay electronics, cosplay photography, Japanese brush painting, and finishes). If you want me to come and run something, tell your local convention you’d like me to share my expertise! Right now, I do online cons, plus Pax-es and MAGFest every year.

In your G’raha build thread, you note that—for any number of reasons—very few cosplayers can make every part of their costume by themselves. You also always make a point to credit any assets provided by other creators, from something as technical as purchasing a 3D print file to print yourself to commissioning another seamstress to handle embroidery. As you noted, “Hiring another cosplayer is great! We can get a little pocket money to work on what we are good at.”

In an often highly competitive field like cosplay, creators who opt to instead encourage and help each other really stand out. Can you talk more about your perspective on cosplay as community, and how you’ve developed relationships with other creators over the years?

Divisionten: Cosplay is collaborative. We aren’t weaving our own fabric from scratch (well… not all of the time), and even if we started that, we aren’t spinning our own thread or herding our own sheep to make the thread. No matter what, cosplay requires us buying stuff from somewhere, regardless of where on the chain of a finished product that is.

And there’s some things I know are simply out of my ability. Complicated wig styling is one; I don’t have the skill to frankenwig, nor do custom two tone wigs (my abilities extend to thinning a wig/lacefront, or doing Kingdom Hearts spikes). Another is machine embroidery, simply because I don’t have the $800-$2,000 machine to do it at home. I can make machine embroidery files myself (though for G’raha, Turtle Smithy had already made one themselves, for other cosplays I’ve made my own and sent to friends), but I just lack the machine to run it.

I always err on the side of over crediting than under- the cosplayer who ran my G’raha file actually said they didn’t think they did enough to warrant a credit, and I respect that. But I always want to, because I’d love the inverse – I have people still coming to me to thank me for a Ratchet and Clank fursuit pattern I made and put online in 2016. It all comes back to making cosplay easier for the next person. If I already solved a problem, why would I want someone else to suffer? Let them find a new cosplay conundrum to solve. It helps all of us to learn these techniques.

You have never shied away from complex projects; even back in 2015 you built a full Ratchet and Clank cosplay.  Since you’ve been cosplaying for a long time, you’ve seen the development of cosplay and crafting resources over the years. How has technology such as Cricuts and 3D printers changed or improved your process, particularly as a visually impaired creator?

Divisionten: I’ll actually use that bad boy (Clank) as a perfect example.

The innards for both Clanks are identical. There’s a pair of servo, one that rotates the head on a left/right axis and one that rotates a horizontally mounted pole inside up and down to open and close the mouth. If I don’t have a friend who can RC it, I can puppet it manually.

But the chassis is a totally different story. The one on the left was hand cut to the best of my ability. And I’ll be the first to admit my cutting ability is solidly mediocre. But the one on the right was also designed by me. The only difference is that I ran thin sheets of EVA through my Cricut; I designed my second chassis on the computer, where I had access to magnification and tools, and then turned it into basically a Pepakura or flat pack furniture. The added bonus is I can send this exact file I made to anyone who wants, and they can cut it by hand, or use their own computerized cutter to make their own. Or they can improve on my design!

I can’t wait to see what people can do. New tools, or tools becoming cheap enough for maker spaces, libraries or individual creators to use don’t make cosplay “easier” – they give creators more choice and flexibility to tackle these complex problems.

A quick scroll down  your Twitter shows your wide array of crafting skills alongside those I’ve already mentioned: you knit, crochet, work extensively with lights and electronics in your props, have hand latched a rug, build escape rooms, and even do photography and art (also, lots of delicious cooking). In a society that focuses so heavily on monetizing every possible talent and skill in our lives, what keeps you motivated to always be learning new skills purely for the joy of creating something for yourself? And how does this philosophy translate into your cosplays?

Divisionten: The short answer is that I have a well paying but not fulfilling job. I’m a manager and programmer for a company that makes electronic components (I have actually used some of my company’s products in my cosplay, but I don’t favor or advertise that).

And there is NOTHING wrong with your day job filling your belly, covering your head, but doing nothing for your soul. I work hard while I’m on the clock, but I know where my work and life balance lies. I will always work hard at my day job, but, as a disabled person, making sure I have a comfortable life to cover all the things I can’t do IRL is important to me. I can’t drive, which, in the US, makes life a LOT harder. There’s lots of work I simply can’t do. Not many people want to hire a blind person, even with a master’s degree, multiple languages, and managerial experience.

So, my outlet is everything outside of my job, and I have to keep busy. I don’t watch TV at all, and very rarely go to the movies, so creative pursuits are my life. From baking, photography – yes! blind photography! – knitting and rug making outside of cosplay, to cosplay itself, I use my time outside my job to express myself. I do occasionally take a commission or two, but only if I am interested in the project because cosplay IS my joy. Usually if I’m not making it for me, it’s a gift, because I want to.

I would love for cosplay to be my main source of income, I won’t lie. But I also know that the chance of that happening to anyone is so infinitesimal that I’d rather my day job support me and cosplay stay a hobby.

If you could make cosplay your main source of income, how would you like to expand what you are currently doing? Would you change your considerations when deciding which cosplay to create, produce more tutorial content for fellow cosplayers, etc.?

Divisionten: I doubt I could make this my main source of income. I’m not conventionally attractive; no knock on myself, but I am fat, and that limits my ability to sell prints. I could take individual commissions, but I tried that for a while to supplement my income in college and I always found it was near impossible to find people who would pay me fairly for what is an extremely niche art (my DnD group wanted custom cloaks at $20 a pop, sorry, but that’s not even covering fabric). Alternatively, I could run 3D printed or laser cut goods, but that’s already a fairly crowded space with lots of excellent makers like Porzellan Props, Dangerous Ladies, Clinkorz, and the like, who have full studios that I can’t really afford to set up (disability dictating where I can live and work and access). So economies of scale are out too. And the tutorial/patterning/book scene is plenty crowded with other, more established makers as well. I don’t think I could afford to take the risk of pivoting to being a full time creator without a second income to fall back on, and, as someone disabled living alone with no outside assistance, that isn’t an option. I’d need a massive economic windfall, seed money, a partner, something, to give me the time to quit my day job and set up a business.

That being said, if some mysterious benefactor did drop in my lap, I’d likely focus on what I do best, which is something that I’ve not seen much competition in, and that’s animatronics. I make animatronic puppets for my cosplays when I can, not just Clank but lots of things. I think my favorite is my Bill Cipher puppet- he talks, his eye lights up and moves, and he attaches so he’s sitting on my head with a puppeteering rod connected to my arm to make it look like he’s puppeting me around. He’s on a rod that houses the wires for the batteries, feeding down and into a mini backpack with his ‘brain’ and batteries  that fits under my vest as Dipper Pines. It’s simple and extremely effective.

I’d still offer tutorials, as I do now, because I think that that’s important! But, unfortunately, I also know how expensive it is to cosplay, even on a budget, especially if that is one’s career.

I think a lot about newer cosplayers who might be overwhelmed by the polish of experienced cosplayers and the sheer amount of resources available to them. Considering your Ratchet and Clank cosplay, for example, the noticeable improvement of your skills and resources from your first to your second build was not made overnight, but I’m sure you were equally proud of each one. What, to you, is the importance of enjoying where you are in your cosplay journey, and having the patience to slowly build your skills with each project you tackle?

Divisionten: The big one for me is I’m something of a cosplay hoarder. Unless it completely and utterly falls to pieces, I never truly retire a costume. I actually still have – and use – my hand-sewn high school Edward Elric coat, I’ve just long since added an automail arm and significantly better wig work. I’m not afraid or ashamed to come back to a costume later and replace pieces I think I can improve on. Rocket’s gotten a new head twice as I’ve upped my fursuit game, Clank’s gotten a new chassis, and I’ve made three coats for Naoto Shirogane as my sewing skills improved. I couldn’t even tell you how many times I Ship of Theseus’ed my basic shinigami clothes for Bleach until i have the full set of nagajuban (under kimono), kimono, hakama pants, tabi socks, and zori I currently use, but I’m sure I’ve improved each piece at least twice in the past fifteen years, to the point of having correctly lined/interfaced/finished garments with hand woven sandals.

I’d rather do a costume with only one new thing the first time around, and go back to it later as I learn more skills, even if it’s something as simple as changing out how the costume is worn. Aymeric’s a perfect example, as the sewn and armor parts are all still the same as they were a year+ ago, but I’ve improved my prosthetic ears, wig, makeup work, and the buckle/snap system for the armor. I find fast-fashion cosplay extremely wasteful, so I’d rather make a costume that I find is “just OK” the first go-round and clean up and improve individual components over time. Plus it’s real fun to pull out some classics for a con!

Any future FFXIV cosplay plans?

Divisionten: There’s a few I’m knocking around in my head, but I’m not sure what’s next for me. I want to do my own WOL, Eos, but I’m waiting patiently for Turtle Smithy to make Sidurgu’s Au Ra horns since that’s what my boy has. I’ll make my own clothes 🙂

I also have wanted to do Y’shtola, because, well… blind, but I’ll be honest the corset top and open back are outside my personal comfort zone in terms of clothes (I have real bad back eczema). Maybe I’ll work up the courage! New Alisaie is tempting too, a fitted jacket like hers is something I’ve wanted to actually make, and it’s an excuse to make another weapon that glows for my frankly embarrassingly large cosplay weapon wall. Plus I’m actually albino, and a fellow albino friend wants to do Alphinaud with me (I’m helping him with the nouliths already!)

Tell us a bit about yourself in-game and how you got into FFXIV!

Divisionten: One of my friends spouted the free trial meme at me enough times and I finally dove in at the start of the pandemic when the world stopped moving for a bit. I’m now the director of one of the biggest FC on Coeurl (shoutout to Dantalus Theater Co, what what!!) and I’m finally savage raiding! We call it blind prog and blind leading the blind, because I can tell certain mechs by sound better than my sighted co-raiders can tell by eye.

If you’re curious how I can play as a visually impaired person, I made a video about it last year. The short answer is I play on a controller, with haptic feedback. I can see some color, but the rest is done by sound alone, as demonstrated on my Youtube!

I hope to play with all of you! See you on Etherys… or hear you, at least!

You can find Sara, aka Divisionten, in-game on Coeurl (Crystal) as Eos Fuyu, her Twitter, Youtube, and support her on Ko-fi!