Princess Silhouette Research

Before I start draping and pattern my dress for Princess Silhouette I needed to do some research to get the correct shape. Since the corset was 18th century I started there. But I had to be careful to really find what I want, a sack-back dress isn't going to be helpful in developing the silhouette and shape because my costume doesn't have a sack back. By looking more towards the end of the era and that kind of style I was able to find some good images.

Hayman, F. (1741-42) The Milkmaid's Garland, or Humours of May Day. London, British Galleries, Room 52F.

 I think this painting is a really fun image that shows a light-heartedness I'd like to have in my costume. The silhouettes of the dancing girls are particularly close to what I want to achieve on my costume. The neck line on the one facing front isn't really what I am looking to do but it could give me a few ideas for different pieces. I also like how the sleeves are set into the bodice, with a nice poof.

Kyoto Costume Institute. (2002) Fashion: A History from the 18th Century to 20th Century. Hong Kong: Taschen.

 This image is one of the first ones I thought of when I was considering Princess Silhouette's bodice shape. It stood out to me in the book because of it's simplicity (for the time) and the length and shape of the skirt. This is a great example of what I am looking for in the bodice shape, although it isn't exactly what I want.

All My Favourites:

This is the collage of all my silhouette ideas for Princess Silhouette's Dress. I think these are all strong images that combine everything I am looking for, especially the shape of the bodice. The top two images starting at the left are both stills from the film: Marie Antoinette. The one farthest left is one I am particularly drawn to in terms of fit and cut. The shape of bodice with it smooth in the front is exactly what I want to do. The decoration is also something I am drawn to and although I may not use it on the bodice it is a good idea to catalogue for use somewhere else on the dress. But both these images from the film are particularly good for the shape of the neckline. It is a bit low, which I feel is okay for the more daring Princess Silhouette, and also feels very grounded historically. The third image towards the top right is a lovely image of the silhouette I want to achieve from the side. Luckily the corset will do most of the work and my bodice will just have to follow that shape. I also think the trim that goes at a diagonal from the centre front to the back is a good idea for decoration on the bodice, creating strong lines. The centre image is of a pattern from the end of the 18th century and a lucky find. It is pretty much exactly what I am looking to create, including the neck-line. Even though it has a rather large neck decoration I think it is clear enough for me to really gain some patterning information. The bottom left painting is a Gainsborough and although it isn't exactly clear on the pattern the general silhouette is what I want to create and I think the lightness it evokes is something I want to put into my work. The last image on the bottom right is a film still from The Duchess. It is a great image for gathering pattern information on the back of the bodice.

Above Image:

Top Left and Top Centre: Coppola, S. (2006) Marie Antoinette. [Digital Video Disc]. USA: Columbia
                             Pictures Corporation.
Top Right: Kyoto Costume Institute. (2002) Fashion: A History from the 18th Century to 20th
                             Century. Hong Kong: Taschen.
Centre: Arnold, J. (1964) Patterns of Fashion I: English Women's Dresses and Their Construction C.
                             1660-1860. Great Britain: MacMillan Publishers Ltd.
Bottom Left: Gainsborough, T. Mr. and Mrs. William Hallet ('The Morning Walk'). (1785) [Online
                            Image] Available from: http://www.nationalgallery.org.uk/paintings/thomas-gainsborough-
                            mr-and mrs-william-hallett-the-morning-walk. [Accessed 27 February 2012].
Bottom Right: Dibb, S. (2008) The Duchess. [Digital Video Disc]. United Kingdom, Paramount Vantage.                         

Princess Colour Research

Before I begin creating the dress I needed to do some research about what I wanted the base of the costume to look like and the general silhouette. Since the corset was 19th Century this is what I have mostly looked at. I knew it needed to have a fitted bodice and a full skirt and there were many images that fit what I was looking for. I wanted images that had really clear seams so I could get just the right shape.

Gibbs-Smith, C. (1960) The Fashionable Lady in the 19th Century. London: Butler and Tanner Ltd.

 I was really drawn to this illustration by how perfect the silhouette is for my design. The rounded neck, (although maybe a little low), the small waist with full skirts. I also really like the layered effect it's showing in the skirts. Mine will be shorter with many more layers but there is an echo of my costume in these fashion plates. Ecspecially the dress on the left with the triangle over skirt.

Lambert, M. (1991) Fashion in Photography 1860-1880. London: B.T. Batsford.

 I found this photograph extrememly appealing in relating it to my costume. It is from the right era and therefore the shape is correct, rounded neck, small waist, fuller skirt. But what I am really looking at is the neck-line. Paired with the necklace it is a lovely ensemble. The decoration is something I want to really put on my dress and this might be a good starting point.

Johnston, L. (2005) Nineteenth-Century Fashion in Detail. London: V&A Publications.

 This is a great image for really in-depth research of the shape and lines of the bodice. They are very clearly seen in these two photographs. I like the differences in the two as well. The top one has a great neck-line and good seaming but I don't like how the bodice is cut off at the waist. The bottom one is almost exactly what I want to do. The shape of the lines on the front are really appealing and the neck-line isn't too low but may be a little wide. And I really like how the bodice is shaped on the bottom, with a gentle curve to a point. This is great research for patterns.

Stills From: Vallee, J. (2009) The Young Victoria. [Digital Video Disc]. United Kingdom: GK Films.

I have gathered these images from The Young Victoria. I think it is good to look at some contemporary historical films to get ideas. This film was especially good because it let me see lots of different dresses of the same time to I could really pick details I liked ad details maybe I didn't like so much.

All My Favourites:

Before I began draping I really wanted to compile one image I could print that would have all the images I really wanted to include in my dress. Although I gathered a lot of images that I felt were relevant these were the ones I really felt expressed what I wanted my bodice to look like. The central image shows the layered effect and lightness I am looking for. The top right image is perfect for shape and line while draping and adjusting my patterns. The top left image is also heavily decorated at the neck which fits and the little sleeves are some-what similar. The bottom two images give me options and ideas for the neck and decoration. And all these images have the silhouette I am looking for, very slim to the waist with a full skirt. I think these images will be especially helpful when creating my bodice.

Above Image:
Top Right: Lambert, M. (1991) Fashion in Photography 1860-1880. London: B.T. Batsford.
Top Left: Arnold, J. (1964) Patterns of Fashion I: English Woman's Dresses and Their Construction
                    C.1660-1860. Great Britain, MacMillan Publisher's Ltd.
Centre: Kyoto Costume Institute. (2002). Fashion: A History from 18th to 20th Century. Hong Kong:
                    Taschen
Bottom Left: Gibbs-Smith, C. (1960) The Fashionable Lady in the 19th Century. London: Butler and
                     Tanner Ltd.
Bottom Right: Kyoto Costume Institute. (2002). Fashion: A History from 18th to 20th Century. Hong
                      Kong: Taschen

London Fabric Trip

Although I mostly shopped locally for the fabrics for my underwear I planned a day in London for fabric shopping. I felt it was important to have a lot of variety and many different textiles to create the two top dresses. I knew Gold-hawk road would be sure to have a lot of choice and allow me to stay within budget. I allowed £150 to spend on fabrics in London.

To assist me while I was shopping I made these two print outs to take, rather than taking the whole book, so I could have a solid reference.

I think I may have been a bit ambitious in how many colours are in both dresses but it was a very helpful thing to have in my bag, throughout the day, to help me stay on task.

I am usually stressed when fabric shopping, always thinking about what the designer wants. However, since I am mostly my own designer/interpretor it was more free and I could choose fabrics based on my own thoughts on what would work. Before I went to London I sat down with one of my tutors and had a great discussion on what to look for and how much to buy. My strategy going on the day was to buy lots of different textiles with no need to buy more than a few meters of each. Even with the help of a prior tutorial and my design print-outs, I was still grateful for a friend who went with me. And after totalling up the final budget I was only about £6 over my allowed budget, which I think is a great success.

Here are the fabrics I found:

I am very pleased and confident in my fabric choices. I think  I got a lot of textiles that will laser cut well and some that can work on both costumes, not just one. The only thing I am concerned about is quantity. I don't want to start creating the dresses and discovering that I don't have enough of one or two textiles, but that is a risk I am going to have to take. This trip has been an exciting start to creating the dresses!

Second Underwear Fitting

I am very happy with this second fitting. It was the second fitting for the corsets and the first for all of the other undergarments. It was exciting to see how everything came together.

Princess Silhouette Undergarments
Worn by Camilla

I was very pleased with how everything came together for this costume. The corset fit very well after the adjustments from the first fitting and the bloomers came out well in the top fabric. I was also pleased with the size and length of the hoop skirt on my model. There are still a few adjustments to be made however. The corset tabs need to be adjusted somehow, something I will be working out more thoroughly on a mannequin. The bloomers need to be finished on the ends with some black lace but I was happy to see they hit the right spot on her leg even without the lace. And the cage needs the ribbons to decorate and the wire needs to be secured permanently so they will not shift around. 


















 Princess Colour Undergarments
Worn by Rose

This fitting was also very positive in it's outcome. This was the first fitting for the corset in top fabric and it fit really well. The busk created a bit of a ridge in the center so I will be cutting that down a little to create a nice straight line across. The chemise looked how I wanted it to with the corset over-top but needed some adjustments when going from the mannequin to my model. The straps kept slipping so I will be using very thin elastic to correct that. Aside from a few areas needing finishing the hoop skirt worked well. The second rung down is just a little short so a longer cut will be inserted but other-wise it fits well. I also think on this hoop skirt the length is very appropriate for the design and the length of the chemise finishing a little higher also works with my sketch.


 
 












Evaluation:
These were very positive and motivating fittings. It was much easier just having one costume to focus on and I think I will continue to only do so until maybe the last few fittings for the dresses. What was most satisfying for me was to see the high contrast between both corsets. The difference in shape is such a huge part to creating the characters and differentiating them, I feel much more confident that it will be seen clearly in the shape. I think I was also more pleased with the standard that these garments were at for a fitting; seeing everything in the top fabric gave me a much better visual of how the finished products will look. Comparing my two different roles (one as maker and one as designer) I can say I feel good about both. As a designer I am pleased with my fabric choices and how the pieces work together and aesthetically mesh. As a maker I am please that the garments look like the designs and fit the models appropriately.

Inserting a Busk

Although this blog isn't a step by step of exactly how I am making my costume I wanted to include these steps on inserting a busk. It is something I have never done before and just having a record of this new process will be helpful in future projects. So here are just a few quick notes I took looking at the sample the tutors had of each step.

Left Side When Worn: 

*Draw a straight line down the centre front and mark off the holes according to how far apart it is on the busk and place it in a little in from that line.
*Mark over from that line the width of the busk +.6inches
*Trim left-over seam allowance
*Carefully poke holes for the busk
*Slide busk part in filling the holes
*Fold over and slip-stitch

Machine top-stitch close to the busk.

Right Side When Worn:

*Cut extra piece the length of the Centre Front including seam allowance
*This piece is 1inch wide with 1inch seam allowance on one side and .5 s/a on the other
*On the centre front mark off the distance of each loop on your piece and the width of each so you can stitch in-between the pieces leaving spaces for the loops.
*Trim the seam allowances and fold over the .5 seam allowance on one side.
*Slide in busk and slip stitch folded over side.
*Machine top-stitch close to the busk.

 Finished!

 

Draping the Chemise

After I had dyed my fabric and all of that was ready I could begin draping my chemise. to begin with I wanted to plan out my neckline. Since lace was going to be the actual straps my plan was to mark out my neck-line on the mannequin and then pin the fabric to the form ready to be attached to the lace when it was ready. 

Here is my marked neck line

 Next I began draping the cotton voile on the form. I started by cutting two pieces the length I wanted it to be; one for the back and one for the front. I used the entire width of the fabric because it needed to be a little bigger so it could slide over the head easily. Then I just started to work with the fabric and this is what I ended up with:

Front

As you can see the front has more small pleats around to create a slopping neck-line. Where-as the back has just one really big pleat in the centre back as the focal point.

Back

In the end I did cut off quite a bit of seam allowance and excess. I wanted it to be roomy but not massively big. I planned on using french seams to finish the side seams so I could pin it right together on the form.

At this stage I still hadn't decided on my lace so, although I wasn't going to use it, I pinned on the original lace I bought to see how it worked with the fabric.

With Original Lace

I was actual very surprised to find that I didn't particularly like this lace on the chemise. I feel like it looks a bit heavy and is maybe even a little too wide. Although I still really like this lace and will use it in some capacity on my costume I don't feel like it really fits here. 

Second type of lace

I found this second type of lace in my room when I was looking through some of the lace I already had. I'm not too sure where it came from but I thought that since it is a little more narrow it might be a good comparison to the other lace. I think this is actually a much better fit both in style and width. I like the scalloped edges and the straight edge would make it easier to attach to the cotton voile.

I've tacked this lace on the chemise ready for the second fitting and after that I will decide to either keep this black lace or find something different.

Dying the Bias Binding

 For the Princess Colour's Corset I decided on a cotton bias binding. I was originally thinking of doing it in black bias binding to match Princess Silhouette's but it was too bold a look. And investigating my historical research it was colour matched rather than a different colour. I could have made my bias binding out of my top fabric but I had problems with the pattern showing through the underside and I didn't want to take the risk of it looking sloppy. The bias binding I found was a cream and I thought that compared to the swatch I had brought it was a good match. Once I was able to put it against the corset it was clear it wasn't the best match. So I did a bit of tea dying to make it a little closer.

Tea on Left, Bias Binding on Right

Dyed Bias Binding

It took two bags of Twinnings Lady Grey and about 7 minutes to dye the binding. I made sure to work in my kitchen in the afternoon when there was a lot of natural light so I could really gauge the colour. I think this was a successful solution for my bias binding and I think it matches well with the colour of the corset. Most importantly it doesn't stand out which is mostly what I wanted the bias binding to do; blend in.

Making the Bloomers

I just wanted to make a quick not on how I made the bloomers for my own record. The cotton voile is very thin and I wanted it to be a bit denser than the chemise. I decided to use two layers of the cotton instead of just one. I really wanted these to be completely finished inside and out, preferably without any over-locking. I feel like all those threads would show through some how and keeping a common technique with the chemise I decided to French seam them. I made both the inside and the outside 'pair' first and then put one in the other and top-stitched down each side leg to hold them together. I feel like this was the best way I could have done them because all the seams are neat and tidy and match and the layers aren't pulling on each other and there is still a lot of movement. The two layers are attached together at the outside side seams as well as at the waistband so they won't move apart at all.This also gave me a great opportunity to improve my French seaming abilities working on both straight and curved seams.

I also wanted to strengthen the waist-band without it showing through or looking heavy. I did a few testers with a few different fabric strengtheners. I tried: white stayflex, cotton vilene, and a dress-makers interfacing. All three did their job but the vilene was the best. It was still light but didn't show through as much. It was worth doing a few samples to get the best material to work with the bloomers.

Sample with different backings

Dyeing Chemise and Bloomer Fabric

Samples in a Row with Original on the Left

For my chemise and my bloomers I wanted to use the same fabric for both and wanted a soft champagne type of tone. I knew the fabric needed to be light and delicate. It became very apparent that I would not be able to find the type of fabric I wanted in the colour I was looking for. I resigned myself to getting a white 100% cotton voile that I knew would dye well. I decided to do a home dye to fit a busy schedule and the limited availability of the dye room. I had two dylon dyes: Powder Pink and Dark Brown. I did about 6 small samples at various times and dye strengths. The first sample I left in for 8 minutes and there was almost no change. I added more pink and left in for 10minutes with almost no change as well. After that I added an equal amount of pink and brown dye and left samples 3 to 6 in for 10 minutes, 20 minutes, 30 minutes, and 40 minutes respectively. After looking at them in a row samples 3 and 3 are by far the most successful because they aren't too dark and nice mix of pink and brown. I was anxious that there wouldn't be enough dye to do all 5 meters of my cotton so I emptied the tub and started again. I think this wasn't the brightest idea because I mixed new dyes and they were slightly stronger than the ones I had used on my samples. I think the brown was stronger than the pink rather than being even; if they had both been the same strength it would have been fine because only the amount of time it was in the dye would have changed. But I panicked when I put the dye in and saw how fast it was picking up the brown. Instead of leaving it in for 10 minutes like I had planned I took it out after 5 because I didn't want it to get too dark. I initially felt the fabric was too dark in colour but as it was drying it got lighter and I was really pleased with it. Unfortunately I had a similar mishap when I got into university as I did with the lace. In the lighting at uni (which is more of a natural true light) the fabric was very pink instead of being a nice champagne. To make it more brown and the shade I was looking for my tutor suggested tea dyeing it a little. I used 6 bags of Twinning's Lady Grey which made my room smell amazing. And let the bags steep for a little and put the voile fabric in for 30 minutes, took it out rinsed it and put it back in for another 25 minutes. This result was much closer to the colour I wanted and a much better fit for my costume and design.

On Left: Original Fabric Swatch on design/ On Right: Finished Dyed Fabric Colour

Creating Hoop Skirt

To create my second hoop (a hoop skirt) I am using a combination of research (first and second hand) and insights from making the open cage. My research is a combination of book research and notes from my visit to the National Theatre Hire Department. I've also looked at a tutors pocket hoops for techniques for working in organza. I've decided to make this hoop the same size as the open cage in width. I think keeping them the same size will help create a commonality between the two looks. Again I do a rough sketch and plan for each aspect of the hoop and how it will be worn before I start (see below). I had originally planned on cutting strips of organza and sewing them together to make the hoop but after looking at research I have decided instead to just cut a rectangle the size of the last hoop (plus seam allowance and a little give) and just gather it into a waistband. I've also decided to make my casing out of organza as well and this is where I start. Once I begin to cut my rectangle and then my casing I discover that organza is more difficult to work with than I thought. It doesn't hold chalk marks very well and it moves easily. To help make the casings easier to iron, I make a paper strip that is the finished width I am looking for and place it in the centre of the casings and fold over the edges around the paper to get the correct size.( See image below)

Sketch

Ironing Casing

I would say this technique half worked. It did make it easier to get the correct size but it didn't ensure that the edges would be perfectly straight or that the organza might stretch a little when ironed. After the casings were pressed I tacked where I wanted them to be placed on the rectangle. I normally would have just carefully drawn them in but since it is hard to mark on organza tacking was a clearer marking. But before I put the casings on I french-seamed the centre back seam. This way the casings would go over the seam and therefore the hooping as well, allowing there to only be one join in the hooping. Then I placed the casings on and straight stitched them But before gathering into the waistband I needed to put an opening in so that it can be put over the head. I did a little sample of this first. (see below)

Back Opening Sample

Once I felt confident in creating this I cut down the centre back of the hoop and made a little stand for the opening. Then I just added the waistband. One of the challenges in making an organza hoop is finishing off all seams and making it look neat. I was able to create the hem easily enough by incorporating it into the bottom casing. However at the waistband I made sure to zig-zag the gathers on the rectangle so they wouldn't fray as much and look sloppy.

Hoop shell

Here is the finished skirt without any hooping in it. I like how modern it looks just like that, it is encouraging to see since I am going for a more modern look with this hoop. Then it was time to put the structure in to create the hoop. I decided on using another product from Vena Cava called TripleFlex. It is a tri-fold plastic boning. It was recommended by my tutor who also used it in her organza pocket hoops. But I also ordered a sample first to see if it would be strong enough. I think it is a really great material to use for this type of structure. It is very light-weight but still maintains its shape and is almost clear so it won't be noticeable through the organza. As an added bonus I can even cut it with strong scissors and it is also very reasonably priced. I had my hoop measurements from the cage hoop and for the bottom three hoops it was easy to get the right size. However it was rather difficult getting the plastic to join together. I thought (from off the website) it could be joined with just tape but this doesn't seem to be holding it together very well. And then getting the top two hoops the right size is a whole other challenge. I first (implusively) cut them the length of the finished hooping on the open cage. But this hoop comes closer together than the open cage and therefore it needs to be longer than that. I try it with the original scaling down but it still seems a little off. I finally get two lengths that I feel are the right length. It sits a bit wonky and I can't tell if that is the distribution of the gathers or the actual length of the boning. I think it will take the first fitting to work out some of the problems.

Initial hoop lengths

Before Fitting

Before Fitting

Evaluation:

I would say that between the two hoops skirts this was the more difficult one to make and I wasn't expecting that to be the case. I really found the fabric difficult to work with and I think my lack of experience working with silk organza affected the entire process. Ultimately I am neither pleased or displeased with it's outcome but rather anxious to see it in a fitting. I think it will look better on a body and in combination with the other undergarments. I also think I have more finishing to do on this one to make it really be a solid undergarment. I did learn a lot about working with this type of fabric which will come in handy as I will be using organza on the top dress as well.

Organza Pocket Hoops

These are organza pocket-hoops that one of my tutors made. They are a really lovely delicate pair of 18th century underwear. When I decided to make my hoop sheer my tutor recommended silk organza and a plastic boning called Triple-flex; these are the same materials these pocket hoops are made of. I was able to really look at how they were made to take into consideration when I make my hoop skirt. Here are the main facts I gathered from these hoops:

* They are made with just one layer of organza with organza casings where the boning slides through.
* All seams are french-seamed or finished with a zig-zag stitch: no overlocking.
*Waist band only has organza in it with no stabilizer and is slip stitched although you can see the seam allowance that sits in the waistband was zig-zaged on either end before being sewn together.
* It is attached at the waist-band with a hook and bar.

Although my hoop skirt will not be similar in shape to these pocket hoops they will probably take a similar making process. First hand research like this is always invaluable.