BOGO Queen: Recycle the Runway 2026

Recently, I had the immense pleasure of participating in something that I had never done before: a charity fashion show. Although it was not my first fashion show (that honor belongs to the P.E.O. Founders’ Day celebration of 2022), I was both excited and nervous to walk the runway under the bright lights of the historic Ritz Theatre stage.

Benefiting Your Polk County HUB, a cancer and chemo support non-profit, the aim of Recycle the Runway was to design an outfit made primarily out of recycled materials. I was up for the challenge and for good reason; I had previously made a newspaper dress in 2013 when I went as “Old News” for Halloween.

The inspiration behind my recycled look came readily. As a retail associate at Publix Super Markets, I regularly delight in my customers saving through the “BOGOs” (Buy One, Get One) and the featured sale items in the weekly ad circulars. Comically, I often celebrate my savviest shoppers by pronouncing them as BOGO “queens” and “kings”, sending them off with a flaunted fold of receipt paper.

Unlike my “Old News” dress, I chose to use a structured base for the garment, which included a hoopskirt and a fabric bodice, supported with Rigilene boning and closed with a zipper.

As I was forming the skirt, I didn’t know how it would be designed, so I experimented by making long strips out of the ads, which were taped together. Pleasantly surprised, I was encouraged by the overall shape of the ads when laid out on the floor in a fan of food and products. A circle skirt was being created right before my eyes.

Pleated along the waistline of the mannequin, the skirt was attached to a corresponding paper waistband with staples and tape. That was easy !

Onto the bodice… When I made “Old News” in 2013, I pleated sheets of newspaper in order for the top to expand when I wore it. This worked well. Applying the same principle, I molded the folded pages around the base bodice and pinned them into place.

Then, I trimmed and stapled the upper edge to the fabric bodice.

And, voilà ! I was amazed at how quickly the outfit was coming together.

But it still needed more… Although I briefly experimented with making sleeves, I didn’t like the appearance of them and realized that they would be unpractical for modeling on the runway. I needed to cover my shoulders to give the outfit a more regal impression and decided on some wide straps─ made out of paper, of course. It was a challenge to position the straps in just the right place since I was creating this project alone, but I managed with some contortionist maneuvering in the bathroom.

The grocery manager at my store supplied me with a large sheet of unbent cardboard from our water pallet deliveries so that I could make a grand Elizabethan ruff. More ads, crimped into a circular accordion pleat, adorned the outer face. Lastly (and on a whim !), I fashioned a cape that attached to the shoulder straps with Velcro. I couldn’t believe that I was finished !

But what’s a queen without a crown ?! I added some themed cardboard letters to a glitzy Amazon tiara, all in Publix green.

The event was a raving success with fun, designer themed hors d’oeurves and desserts.

Crowded backstage, all thirteen of the models strutted their stuff on the runway, one by one, including me. Each designer’s creation was spectacular. What stunned me the most about my recycled paper dress was how fluidly it moved on stage. After all, it was my first time wearing the outfit in an open space where I could walk and turn freely !

I think it’s safe to say that I had too much fun on the runway…

Thank you to my friend, Kim, for capturing the walk on video.

Although I didn’t win any prizes, I was grateful to even be included in such a talented group of artists. Everyone exceeded expectations, all for a worthy cause.

To all my BOGO Queens and Kings at the store, this outfit was dedicated to YOU ! Without your support, I wouldn’t have had the inspiration to create my design. Serving you is my greatest pleasure.

Toi, Toi, Toi,

Mary Martha

Roberto Devereux

From the sextet of wives belonging the brutishly fickle Henry VIII to the bloody tug-of-war between Catholicism and Protestantism, the Tudor period in history is a meaty bone of tumult and fascination. The drama of the time must have captured Donizetti’s mind as well: his trilogy of Tudor operas is a tour-de-force for singers and a favorite haunt for acting potential. And so, here I was, at the finale of my first opera season, with the opportunity to see a spectacle of costumes and make-up prowess.

Sondra Radvanovsky in a promotional photo for Roberto Devereux / Metropolitan Opera

The buzz around this performance of Roberto Devereux was Sondra Radvanovsky’s daring run at the Tudor Triple Crown ─ she performed all three of the Donizetti Tudor queens in one season to riotous acclaim. However, I found more appeal in the light Italian strings of the overture than the flapping voice of Radvanovsky. Furthermore, the duets and trios were the hallmark in this opera, especially with the creamy-toned Elīna Garanča and the drama surrounding her character (caught between her husband and her forbidden love for the Queen’s favorite suitor).

More than anticipated, the make-up was sensational, undoubtedly its very best on Sondra Radvanovsky’s aged Elizabeth. The perfectly coiffed paprika peruke was doffed at the opera’s end to reveal a withering white fray of “natural” hair that was a remarkable feat of theatrical trickery.

Sondra Radvanovsky as Queen Elizabeth in Roberto Devereux / Metropolitan Opera

Moving onto the costumes, I knew this opera would feature extremely intricate pieces that were beyond my scope of sewing skills. I did, after all, just teach myself to sew almost 6 weeks earlier for when I needed an outfit for Madame Butterfly. What was I to do ? An offhanded observation of Tudor portraits easily pointed out the garment of ubiquity, the ruff. Oh, yes, I MUST have a ruff, but a different kind of ruff… “Tudor Couture on the Cheap !”

Something that was crafty and unique was in order and the first thing I wanted to tweak was the color of the ruff. Instead of a glaring white starched collar, I imagined a more earthy accessory to compliment the neutral colors of the outfit I had planned to wear. Configuring the ruff was crucial: who would want to wear an all encompassing collar, especially when sitting in one of the high backed chairs of the theater ? No, that wouldn’t do. Rather, I opted for an open ruff, one that swooped around the back neckline and left the chest exposed.

Much better.

Now for the construction… Since sewing was out of the question, I devised a plan to use a large cardboard pizza round and cut away part of the front for the neck and chest opening, which worked well. But the most extraordinary feature of the ruff was the actual “ruffle” material: unbleached coffee filters ! With their curly edges and cost effective efficiency, the coffee filters were perfect when artfully folded and glued onto the pizza round. Both the top and bottom of the cardboard round were layered with the filters and attached using hot glue. All that was left was to glue two inward facing clothespins to the undersides of the ruff near the front points and I now had an accessory worthy of the Tudors.

Alas, I misjudged the back protrusion ─ throughout the day in the theater, I was forced to sit with my head bent downward and forward because of the ruff’s extended back edge. By the curtain call, I had a crick in my neck.

With my first opera season in the books, I unclipped the paper ruff and admired its beauty and ingenuity… but not its discomfort.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Roberto Devereux ─ Gaetano Donizetti (1837)
Live in HD air date: April 16, 2016

Cast:
Queen Elizabeth ─ Sondra Radvonovsky
Roberto Devereux ─ Matthew Polenzani
Sara, Duchess of Nottingham ─ Elīna Garanča
Duke of Nottingham ─ Mariusz Kwiecien

Credits:
Conductor ─ Maurizio Benini
Production ─ Sir David McVicar
Set Designer ─ Sir David McVicar
Costume Designer ─ Moritz Junge
Lighting Designer ─ Paule Constable
Choreographer ─ Leah Hausman
Live in HD Director ─ Gary Halvorson
Host ─ Deborah Voigt