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 =]