final Evaluation

Yet again, I have handed in an incomplete garment and project. This is very distressing and causing doubt for my future. I am quite alarmed at the standard of the product at its present state, and am no further in gaining the time management skills I need so desperately to succeed in this, or any, industry.
I was elated at being able to pursue a costume that represents goals for storytelling and construction from my point of view. I am filled with endless ideas and concepts of building characters and a story from this costume alone, it represents my visionary designing style that I hoped I would be able to pursue in this project, but have failed to do so with lack of researching my design aspiration ideas and poor time keeping skills. My learning agreement states plans of simple and reachable goals through a structured time plan, I failed at practising this method like in projects and efforts past. At present I think I am untrained in perspective and overwhelmed by my perfectionism, which I don’t think is a bad thing but will hold me back when in the industry.
I had a plan of an extra workbook that would express ideas for a production with all the trimmings, and why the likes of Disney and showmanship mean so much to me, while providing me with further insight on what type of designer and thinker I may be and what career path I might chose. This workbook was started but forgotten to be continued due to the amount of practical work I have taken on, I truly believe that this project subject is worth every effort which will be realised and completed after marking for personal and portfolio goals.
I don’t have a problem with my construction and visualising skills and my devotion to certain subjects is all I need to spare me on, however my lack of continuity and toleration throughout more than most of my briefs is proving to beat me down. I suggest that my time in America in the summer, with the positions I have that require responsibility and control, will again help me boost my working levels.
The petticoat and corset of this project have proven to be my best accomplishment, I still see some imperfections, but I am proud to of practised and completed these pieces with precision and patience. I felt it necessary to produce Bloomers and Camisole as this is a required field of the costume (historical/performance) while expressing my ideas for exhibiting the character.
Overall I have enjoyed this project but am embarrassed because the project isn’t finished for hand in, with items not finished or started, I personally don’t want continuous sleepless nights back to back due to management skills, I also don’t want continuous marks under 60% or referred which my records show. At the end of second year I am upset that I haven’t achieved as I should and am bored with the outcomes from my time at AUCB, I am questioning my vocation and studious skills and wondering my faults. I want to be a good valued student, but I feel my individuality and habits restrict my results.




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Second Fitting

The second fitting has arrived, Most importantly, the corset fitting in order to fit the bodice. I encountered many problems during the fitting. First the corset was actually too big so I had to postboned the fitting while I ran off to remove the two back pannels then re-attach my false backs. then the corset, during my second attempt, was too small as it finished around the sides of the model. I tightened the corset as much as the model could take with ease and then measured the difference. 4" at the top and 6" at the bottom, I would make two pannels around 2" later to make up for the gap.

I also realised that steel bones were not apropriate for comfort and will get spiral bones so that the model is much more flexible. Now that the corset is in place I could fit the bodice. Due to the skirt being fine in the first fitting it wasnt neccessary to attatch it. The bodice could now be taken in more, I created two darts either side of the CF, the darts became alot longer than anticipated but were neccessary. Iam really pleased with the chest ruffle, its very similar to the attraction bride, awsome.

Period underwear

In my production of Phantom Manor, I would have a scene in the brides boudriour, in which her and her lady bridesmaid friends would be preparing her for her wedding. A scene not unlike "June Bride" from "Seven Brides for Seven Brothers", "Many a new day" from "Oklahoma" and dressing scenes from "Meet Me In St.Lois" and "Gone With The Wind", in which women and girls are dressing up or down for a party with a musical interlude or cheecky bannter witheachother. This is the type of scene I wish to portray within the Phantom Manor play at some point. SO, I want to create a set of a camisole and bloomers to match the petticoat and corset. Just a plain type of camisole with lots of trimming as the character in question is extremely rich but modestly simple, so a bold broidrey anglais is perfect with coresponding ribbon trim. The bloomers in cotton linen to breath and keep structure.

Le Corset

After it was decided to produce a corset for the character, I set about constructing the simplest form of 19th century corset I could research and develop. I went with a plain five panel corset with bust, that sat comfortably in front of the BP's and sat over the waist to a point. I drafted a corset type from the "Corsets and Crinolines" book. an 1860's corset that fit the bill perfectly. Marking off the corset sheet using the models measurements, I drafted the corset and using techniques from Defining Practice, I marked the fabric with thread. I wanted a single layered corset so I used cotton drill and decided to tryout a theory by placing the bones within the seams of the corset and in the middle of most pieces I used cotton tape as the bone Chanel's.
Within the Disney Parks, bones or rigiline are not normally used as this effects the cast members comfort and mobility. The garments are usually fitted to those with the correct "healthy athletic" body shape, also that would represent the character. So Disney employ performing cast members with the correct athletic body rather than placing someone in dis comfort to portray a character.

After First Fitting

After the fitting I deconstructed the bodice and skirt so they were back to their original flat form. Now that i have the correct mass for the chest ruffle, I could use this piece as my pattern for cutting in top fabric. The fabric (a satin chiffon) is really delicate and sensitive, with the sheen of satin and the texture of thin transparent chiffon. It became somewhat of a challenge to securely and neatly cut and sew these ruffled items. I think of it as experience to take forward and as a practice.

With a mannequin arm I could now decipher the placement of the sleeve sections to correspond with the design.
I tried different ideas and concepts on how the sleeve would look. It gave me more of an incite on how fabric falls and is placed. It proved hard to find the perfect interpretation from the design.


My next job was to cut a high collar, using the stand I draped calico around the neck, on the bias for ease, and used the seams of the mannequin. this piece was then backed onto the satin chiffon top fabric using basting stitches and mark tacking. i prepared the bodice for the second fitting by hand sewing on the collar. for the collar ruffles I timesed the collar cercumferance by three, and cut it in the appropriate means by having the collar raised 3cm at the CF to 8cm at the CB.

After apllying the collar, I thought about placing the cuffs, and decided to wait untill the second fitting to place the cuffs.

First Fitting

Where preparation is concerned for the fitting, I was ill equip from point of view of the actual garment. As I wanted to create alot of the costume from scratch to express my making techniques I found that most items were not complete in time, for fitting.

The petticoat is one of my favorite pieces! It was prepared well for the fitting, minus a secured waistband item.

At first glance I found the petticoat quite fl acid and lifeless, it needed more of a lift as it neared the ground. I tried a Bustle cadge from the 1870's-1880's periods, which is ill fitting to the required period of 1860-61, HOWEVER, for the purpose of the petticoat design, I found it agreeable, although I feel extra ruffle(s) were necessary to be added.
in this first fitting, a corset wasnt worn, it was decided that I would make a corset and in the second fitting the bodice could be fit. My design shows a mid-high waistline, as was the period. The model has a very ample bust, this dosnt put the style of the period and dress into perspective, having a corset will make a large difference so this fitting is mainly centered on the petticoat and fall of the skirt.

I added a belt to see different interpretations of the design, although this version above is sweet, its not my desired look.
the sleeve needs much attention to detail with positioning. I decided to mess around with the sleeve on the stand as I think It needs much manipulation in order to resemble anything like the design.

I found the first fitting great! Iam really pleased with the progress, as dim as it might be, but now I can continue knowing that Iam on the right track. =]

Patterning the Dress

Patterned the dress at UNI on 16/03/2010


I cut the bodice of the dress on the stand, a basic block shape of an 1860's bodice from neck to waist from a Jane Arnold book, it has two darts from bust line to waist and a curved SB(side back) seam then drawing on the design lines I figured out measurements by eye to suit the character basically from research and my design. I also considered the sort-of "simplest" option for the seams and decoration for time and alteration purposes (needs-be).

I feel that the under structure + decoration is most important for this particular performance costume to emphasize period and character. So, I plan to adapt a petticoat or just build a petticoat to suit my specifications, even though this wasn't discussed in a previous tutorial, it is April 4th now and the petticoat is ready for a fitting. Follow up for this can be seen in 02 - Construction blog "Project Petticoat". This is the design -



Using the Jane Arnold construction book, Iam using the "1866-7 Day Dress" patterns as a template for my design and construction ideas. The actual day dress has the perfect Skirt and waist level that is fitting with the attraction style, the character and importantly the period look that I want. I mimicked the skirt patterns from the 'day dress' blocks in length and hem width, but my skirt has a total of seven blocks to it rather than nine. The SF(side front) block has a 44" hem width where as the SB(side back) BK(back) have a hem width of 22" and FNT(front) is 32" but is CTF(cut to fold).



Using the construction methods learnt at the AUCB (arts university college at Bournemouth) thus far in producing garments for the stage, I will back my top fabrics in 'Light Weight' calico, this will give the costume body and top fabric protection, also I feel it will keep stitching smooth and secure. I pinned the toile of the skirt to a mannequin to ensure that the gatheres are equal and precise. There will be a 'Veil' over skirt on top of the actual skirt that will be double gathered, in a way, but this will be produced after the first fitting. The images featured are on the mannequin without a petticoat or top fabric, which has been ordered (03/04/2010) I have opted for a 'Stretch Duchess Satin' and 'Satin Chiffon' both in cream and a lemon 'Crushed Satin Jacquard' for the top fabric of the skirt where the veil is ivory to take away the sheerness of the lemon.





Check out Sleeve construction blog and fabrics blog =]