Finshing The Bodice Inside

There have been some changes and developments on how to finish the inside of the bodices. I had originally thought to line them after all the decoration was applied. I thought this would cover any stitching and make it look clean inside. I could also have made it long enough to fold up and slip-stitched over the seam allowance of the skirt and bodice where they attach. But when I mentioned this to my tutor at my fittings she said it wasn't usually how costumes were finished, that lining is something done more in fashion. This is because a working costume needs to be easily adaptable for a show, so having a cumbersome lining only makes it more difficult. This made sense but I also wanted to use the seam allowance as casing for the bones and I didn't want to put too many stitch lines through the front. So to make it look neat and tidy I folded over all the seam allowance and slip-stitched it down. This way there were slots for the bones where needed but they all looked uniform and neat. And if every they needed to altered or let out, they could be easily opened and adjusted. To finish the neck-line (before the decoration was applied) I added a small facing. I originally had made it a little wider but it conflicted more with width of the shoulder so I had to trim it down. I feel like this has made the inside of the costume very neat without too much hassle or bulky extra fabric. I will probably finish the hem with piping and a facing as well. I also think that the stitching lines that are holding down the surface decoration look neat and tidy as well.

Making the Underskirts

For the first fitting I wanted to make just the under-skirts for both dresses. It had been suggested at my toile fittings that I make a yoke for each skirt and then attach the base skirt; that way the layers could be just sewn onto the yoke eliminating a lot of bulk in the connecting seam to the bodice. To make the yokes I draped them over the hoop skirts and made a pattern from that. I made sure to use the bias so they could easily fit the waist seam and the width of the hoop.

Once the front and back yoke were draped I made a pattern and cut out of my top fabric. For Princess Colour I am using a silvery silky lining fabric and for Princess Silhouette I am using a shiny satin fabric. I had originally backed the silver fabric in vilene to make it stronger but later discarded it because it didn't fuse very successfully and wasn't really needed. I then cut out the base skirts. For this I just used the width of the fabric and the length I had cut the base skirt on the toile. The silver fabric was really wide, about 60" so I only cut two pieces. The black fabric was bit narrower so I cut three pieces so there were two for the back however I cut these down a little so they wouldn't be the full width of the fabric.
I french-seamed the skirt because I wanted it to be fully finished in every aspect. Theoretically if this character was dancing around and the skirt flew up even the underside would look neat and clean. It also neatly prevented fraying and such. When I had draped my underskirt on the toile I looked at some historical patterns and gathered the back and pleated the front. I think if everything had been sitting in the waist seam I would have done this same thing, however since it will be covering I felt it would be neater to just gather the entire skirt to keep it uniform. I did some top-stitching to make it strong at the seam and that was the base skirt finished! 

Princess Colour Base Skirt Front

Princess Colour Base Skirt Front

Princess Silhouette Base Skirt Front

 (I would just like to note that these skirts are attached to the bodices which is why some bunching has occurred but these will be smoothed out in the fittings! Also this black fabric does not read well in photos, I promise it looks better in real life!)

Princess Silhouette Base Skirt Back

Laser Cutting Designs

Now that I had done my laser cutting trial I was ready to create the designs I actually wanted to laser cut. There were motifs used in the illustration but they weren't very clear and since this is an interpretation I wanted to take it a step further. I decided to take my inspiration from lots of different places. Here are some of the designs I took inspiration from:

Fairclough, O., Leary, E. (1981) Textiles by William Morris and Co. 1861-1940. Great Britian: Thames and Hudson.

Fairclough, O., Leary, E. (1981) Textiles by William Morris and Co. 1861-1940. Great Britian: Thames and Hudson.

Fairclough, O., Leary, E. (1981) Textiles by William Morris and Co. 1861-1940. Great Britian: Thames and Hudson.

Wall paper from the Wallace Collection Museum

A lot of my inspiration comes from William Morris and Co and textiles from the Arts and Crafts Movement. I suppose it isn't just coincidence that they are some of my favourite textiles but I also think this is an appropriate fit for the character. For me these designs both look to the future and the past. They feel modern and antique at the same time and I really feel like that is appropriate for a Princess of Nowhere.

After much time spent in Illustrator here is my file that I will be laser cutting. I did all the small designs individually then compiled them onto a file that will be the size of the laser cutter. I'll cut my fabric (with the transfer adhesive) to the size of the laser bed as well. This way I will hopefully get as many designs out of one piece of fabric. (Sorry it is a bit light, it needs to have a really thin line in illustrator to cut so it's a bit difficult to see!)

First Laser Cutting

I had my first session with laser cutting this week. I had done just a small design in illustrator to get used to the process and see how things would lay out. I had an induction early in the work-shop and had printed out a few hand-outs on using the laser cutter so I felt prepared. I still needed a little help but the results were so exciting! I really can't wait to get started on the final cuts for the costume! This was a good trial to do because I took lots of different types of fabrics to gauge how they cut and the different settings they would need. This way when I have my final images done I won't have to do samples and can just start in on the final fabrics. This was also good because I think I can use all parts of the fabric, both the images it cuts out and the fabric negative.

Laser Cut Pieces

The Fabric Negative

Draping Princess Silhouette

Using my historical research and line drawings I draped Princess Silhouette's dress. I also opted not to put the corset on the mannequin for draping this dress for the same reason, I didn't want it to get damaged in any way. I also used a basic stomacher to better get the shape of the corset.


The Bodice:

After draping Princess Colour's bodice this seemed relatively simpler because it had fewer pieces.  But it was still just as challenging, especially with the stomacher. I am really pleased with the results.

The Skirt:

Very simply: I just used the skirt from Princess Colour's toile for this toile. Since they will be same it made sense to not waste the time making the skirt again.

The Sleeves:

For these sleeves I decided to also use fabric that could be top fabric and the correct weight. I also decided to make three channels on this sleeve. Looking through the book at various illustrations of the silhouette Princess the sleeve looks a bit different from how it does in the colour illustrations, so I wanted to make it different. I have the feeling they might be a little too long, but only a fitting will tell!

Draping Princess Colour

Working from my collaged research pages and line drawings I draped Princess Colour. I decided not to put the corset on the mannequin because I was afraid it would get damaged by all the pins, so I just carefully padded out the mannequin.

The Bodice:

I started first with the bodice. I haven't ever done female draping on the stand in University before, aside from a few exercises beginning of second year, so this is a new process for me. I learn the importance of having the right shaped mannequin and making your original design lines as neat as possible the first time so it is clear when you are tracing the pattern off again later, where the right lines are. But over-all I am very pleased with the result.


The Skirt:

While gathering my research I came across a pattern instruction to gather the back of the skirt and pleat the front, this is the basic principle I used when making the underskirt. Although you will never see it, I think it is a nice idea to have it grounded in historical research.

The Sleeves:

 When it came to thinking of the sleeves I knew it had to be light and flowing. By using organza I think I'll be able to really judge the shape and flow of the sleeve in the fitting. And since it is a basic one piece sleeve I also might be able to use it again as the base for the real one.

The Tabs:

Creating the tabs was a huge experiment that really paid off. When I had to begin them I was unsure, I much prefer if I can pattern something first then drape it. But by making up the shapes I was able to see how they all hang differently and about what size looks more appealing. I'm not sure how to proceed from here, though, after my fitting. I'm not too sure if I will want to pattern them from the draped bits or draft whole new ones. From this little experimentation I can really see the dresses taking shape.

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.

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

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.