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.

Lace Dye Disaster

One of the first purchases I made for this project was some lace to use on both my bloomers and chemise. I was very pleased with what I had found because I felt like the motifs were lovely and they looked delicate and natural. One was a wide crocheted lace for the neckline of the chemise and the other was a netting and crocheted lace for the hem of the bloomers. These pieces of lace only came in cream and although the content of each wasn't listed in the shop I thought I'd be able to dye them. I was interested in dying them a dark grey to go with my designs. I bought a dylon dye in Antique Grey and planned on dying at home. I will be the first to admit that it wasn't rocket science, I followed the instructions and estimated the amount of dye and the time it needed to sit. I left it in for about an hour and forty-five minutes. Considering where it started it was definitely a noticeable change. In my room it looked like a nice dark grey however when I pulled it out of the bag at school it looked very green. I was shocked by the differences in the colour by the lighting. I tried to dye it again in a straight black dye and even though I left it overnight it didn't really take any of the dye. Unfortunately I had to just leave it and find an alternative. Since I wasn't sure on the content and since it wasn't taking any more dye I didn't want to spend too much time on something that might not turn out. I think this was a good lesson in knowing what you are buying before you purchase so if it needs to be dyed it can be.
Luckily not all is lost and I should be able to use the lace in some aspect of the top dresses.

Lace after first failed dye attempt.

Lace after second failed dye attempt

Creating the Open Cage

 To begin the open cage I had a few references to look at. First I had the great images I found on the Metropolitan Museum of Art's website and I also had the research I did at the National Theatre Hire Department. I used a combination of both those resources to make up my measurements. Below is the sketch I did on the day I started just to get my thoughts down on paper and have plan to follow. Along with deciding on the width of the hoops I had to decide on the width of the strips that would hold them together. I found these two different width peter-sham strips in the studio (one to be later used in the waistband) and did a test (below) to see which width would be more aesthetically pleasing. I ultimately decided on something in between these two widths.

Once I had my general plan I first started with the waist band and the strips. I tried to really reinforce each piece so that it would be strong and supportive. I made the waistband with peter-sham following the instructions from Fundamental Studies. For the strips I cut 12 strips, over-locked the edges of each, and put stay-flex (the width of the finished strips) on the wrong side of 6 of them. I folded over and ironed the over-locked edges on each strip. Then placed two strips together, marked where each hoop opening would be, and sewn to each pin, left a little opening, and continued to the next pin til all 5 ring openings were complete. I had planned out the waistband size and the distribution of the strips around the waistband.

I first attached the strips on just based on my diagram. When I put what I had made on the mannequin padded to my model's size I realized I should make sure this could still be proportional to a smaller waist since it would be worn over the corset, which will make the waist smaller. So I moved the front two strips more towards the sides than the front. This was a good lesson in learning to think about how it will be worn in conjunction with other garments.To continue from there I began to start the wire. I purchased some Narrow Gauge Steel Hooping from an amazing website: Vena Cava (http://www.venacavadesign.co.uk/). I decided on this material after reading about it on their website and ordering a small sample. I liked it's lightweight quality but that it still had strength. It also seemed very user friendly with brass joints available to order and a very reasonable price. I had already decided on my bottom hoop measurement with the help of research and cut that piece first just to gauge the size. I liked the width for the bottom piece and scaled down evenly from there to get the other hoop measurements. Once I got to the top two I had to reconsider the measurement. Because it has an opening the hoop will be missing the front section, therefore I could not cut it to the measurement planned. I still started with a piece that was the original size planned and then cut it down to fit just the back half while still keeping the correct shape. Once all the wires were the right size I loosely joined them with the brass joints but didn't clamp down on them til I can have my first fitting to be sure I am pleased with the size and proportion.

I also decided to add a lacing to the front of the hoop to connect the front two strips. I came across this idea while researching different historical hoops. It is used to keep the balance of the hoop and so that the front two strips do not bend out, preventing a smooth shape in the front. I also think it adds an extra element to the look of the hoop that I think works with this daring character.

Evaluation:
I am very pleased with this foray into hoop making. I was apprehensive about starting since I've never made an understructure like this before. But having  first hand and second hand research really gave me the ability to make educated decisions within the experiment of creating this hoop. I learned that when making understructures it is important to really consider many factors before beginning. Not just the size of the hoops to how it'll fit the design but also what it will be worn with and how it will support the fabric. I think I was able to consider most factors in this creation but after making this I will be able to feel more confident in making the second hoop.

Fabric for the Underwear

To really begin making the undergarments I've been collecting the fabric I want to use. I've tried to use a lot of the resources in the area so I could get the materials fast. I want to do a big trip to London for the dress fabric but wanted to keep it simple for the undergarments.

Corset Fabric:
The first fabric I found was some from Laura Ashley it is a looser weave cream fabric with a gold print. The print is more 18th century style so I plan on using it for Princess Silhouette's corset.

Princess Silhouette Corset

Throughout my other searching I've been looking for a fabric that is a similar colour to the back-ground of the above fabric. That way it is similar but different and keeps both corsets in the same colour story. Unfortunately I haven't been able to source that fabric easily and then I realized I could just use the underside of the Laura Ashley fabric. That way there is no issue with matching the colours. The only thing I was worried about was that the pattern would show through but I discovered that backed in black drill this wouldn't be a problem and it wouldn't show through. 

Princess Colour Corset

I think it's a very good idea to have a print for one and no print for the other. Having Princess Silhouette have a print adds much to her character because it feels more decadent, which I consider her character to be, and it is also a nice contrast to have a little colour when her main dress will be more plain.

Bloomers and Chemise:

I had a difficult time sourcing the fabric for the chemise and bloomers. I knew I wanted it to be the same fabric for both however I had a specific colour in mind and I just couldn't seem to find it anywhere. In terms of types of fabric my tutor suggested a fine cotton lawn type fabric. We also looked in the University's haberdashery fabrics to see if there were any good options. We found a kind of yellow cream without a label on it and I was able to get a small sample. I found out later that it is actually a Wool Delaine and very far out of my budget at £12.50 a meter. I eventually discovered a lovely white cotton voile in the John Lewis Fabric Section. Although it wasn't the right colour and it was pure cotton so I knew it would dye well, and at £5 it was a good deal.

On the left is the Wool Delaine and on the Right is the Cotton Voile

I really like the way the cotton voile drapes and it's lightness. I think that if I can get it to dye properly it will be the perfect fabric.

Hoop/Cage:
I was lucky not to have to do a lot of searching for the fabrics for my cage and hoop skirt. The open cage doesn't take very much fabric at all and I knew I wanted something sturdy so I just used the same black cotton drill that I was backing my corsets in. And for the hoop my tutor suggested a cotton organza which had the lightness I was looking for and was sold at University so it was easy to acquire.

Organza

Black Cotton Drill

Evaluation:

I feel confident in all of my fabric decisions. However it took a lot of time decided exactly what I wanted. One of the reasons I felt this project would be good was that I would improve my fabric sourcing skills since it is an area I don't feel particularly strong in. It was very different to be the designer and the maker on the project because sometimes I couldn't decide if it was more important to get the right colour (which might be what a designer would say) or to get the right type of fabric (which is what the maker in me said). Luckily I was given some guidance by my tutor and choosing a colour palette for all the underwear really helped me focus on exactly what I needed or what I would need to change the fabric to. I feel like I can take away from this the understanding that both colour and type are very important and that both should be considered when buying fabric. I feel like now I could be in a meeting with a designer and maybe ask more specific questions about fabric and how it relates to the design after this sourcing experience.

Bloomer's First Fitting

 I decided after pattern drafting my bloomers that I would make a toile and have a fitting before cutting into my top fabric. I already knew how I wanted the front waist band to look based off of a pair I looked at the National Theatre Hire Department. What I really wanted to look at was how to do the back. On the National Pair there was a small stand with snaps and on a similar pair with a flat front it had elastic. I was hoping to do a drawstring back because I knew it would be comfortable and easy to fit but I wasn't sure if it would work as well as elastic or snaps. I also wanted to check the length before cutting into my top fabric.

Bloomers Front

Bloomers Back

Bloomers After Length Alteration

Evaluation:
Here are the calico bloomers for the first fitting. I was very pleased with the result. The drawstring back worked well and they seemed like a roomy fit, considering she just slipped them on over her jeans. The only adjustment I made was to the length. It was actually a significant amount of fabric which is why it was good to do during the toile fitting because it will save me some top fabric. I think this was a good exercise for me to do. It only took me a morning to mock up the toile and I was able to gain insight into how I will make the actual pair technically and how it will look visually. I'm not sure if I would have done a toile if my model wasn't so readily available because it would mean more scheduling, but since I've gone through the process of pattern drafting to toile I feel I could make another pair of bloomers in top fabric without having a fitting first.

Corsets First Fitting

My first fitting for the corsets went well. I felt like I was a little overwhelmed getting everything together and ready but the end result was positive. I've never had a corset fitting because I have been mostly making men's costumes since second year, so this was valuable new experience. This was also a well rounded experience because I had two very different styles of corsets, so I could see how to alter both and how they can be altered differently depending on the shape I wanted to maintain.

18th Century Corset
Worn by Camilla

Corset Front

Corset Back

This corset was made straight into top fabric after drafting my pattern, a first for me. Overall I was very pleased with the fit. It completely laced up in the back and it was a good length in both the front and back. The first obvious problem was that the straps were much too short. When I patterned my starp I looked on my altered basic block and measured from the altered back on the corset to where the shoulder was on the block, and measured the same on the front then added them together. In hindsight I should have just added more seam allowance just in case, because making it shorter would have been easier. The other major alteration was just to take it in a little right on the front side seam so it was really fitting her body a little closer. I also took in just a little on the side back seam as well to create the correct shape.

After Alterations

19th Century Corset
Worn by Rose

Corset Front

Corset Back First Lace Up

For this corset I decided to make a toile first because it was completely different from anything I had made before and it would have been difficult to make bigger alterations if it was already made with piping and all. I felt like this was a positive first fitting. I wasn't entirely sure if it was going to lace up completely in the back or if there as going to be a little gap, however the first thing my tutor did was to re-lace the back so it was tightest in the centre and looser at the top and bottom. This was more helpful in creating the nice S-shape that I was aiming for. Once the corset was re-laced there were some other changes to be made. All of the changes mostly dealt with altering the inserts on the front and back. Both of the bust inserts were taken in quite a bit and a little was taken out of the back insert. To accompany the back insert the side seam was taken out a little as well. It might seem counter productive to take one piece in and let the other out, but it assisted in creating the correct shape; seeing how this corset was altered will be really helpful I think for altering future corsets or bodices. Once it was pinned to fit correctly I could see that most of my design lines were correct which was something I was worried about before the fitting. Only minor adjustments were made to the hem to fit a more subtle curve like in my historical research. All in all I was pleased with this corset fitting.

Back after being correctly laced

Front Alterations

Corset after Alterations

Evaluation:

I am very pleased with my first fitting. It felt slightly overwhelming at the time but I feel like my patterning skills have improved because I didn't have too many major alterations on either corset. One thing I learned from this fitting that I will carry with me through the rest of the project is to not have simultaneous fittings for both girls. It was a bit confusing and I felt like while I was altering one corset my tutor was making changes on the second and I wasn't able to devote my attention to both evenly. I think it was good learning experience to make one corset in top fabric and one as a toile. I will assume different paths after this fitting to complete each corset and I am sure that will affect both time and technique.