Behind the scenes of me with Eva during the photoshoot :) I’m wearing the large wool and silk traveling hat I created while Eva wears the leather tricorn I made her for an indoor playful look.
Corsetry as an original foundation of ballet is often overlooked. Many of the ideals of carriage and motion hark back to the original clothing worn for ballet which was not like a modern bodice. The corset and structural underpinnings of original opera ballet costumes of the 18th century show full sets of stays underneath entire gowns with panniers. In the 19th century, the rise of Romanticism, woman dancers are able to have more freedom of movements in their corsets and tutus sans full gowns.
Breanna mentioned Marion’s article when I couldn’t find a tulle to color match the custom dyed silk fabric for The Lilac Fairy, and it was super handy. I read up on her suggestions and picked a set of 4 different tulle colors to layer to create a coordinating romantic tutu. Each layer is doubled up so there are a total of 8 layers of tulle in the final tutu. At 4.5 yards in each layer, that makes 36 yards of fabric of varying widths.
I love to see where gowns from our shop make their way out in the world. My client was kind enough to share some images of the lovely Wisteria in Velvet gown at her ball in Vienna, Austria. The final design has a sheer ruffle added to the bustline and flowers trailing down the skirt in continuation of the flowers on the corset.
Another lovely trying on this gown. Half way done with the gown, while it was still on the form, I had decided it was a failure. Something convinced me to continue on and with a lot more hand sewing it finally was close to what I envisioned! It has looks fabulous on all three ladies I’ve tried it on thus far.
This is my first time dying coutil. It turned out fairly even. I learned that since the edges of the fabric on dot coutil tend to roll, it is more likely to be streaky near the edges. So either in future I’d dye a larger section than I needed to cut the corset or I need to figure out some way to stretch the fabric and dye it that way. So much to learn!
The collar needed to stand up in the back but I wanted to do so without requiring my client to heavily starch the lace each time. Because the lace is so sheer I decided to create a collar stand of buckram covered with lace topped with a clear plastic horsehair extension. The extension needed to be flexible and near invisible so the beauty of the lace would stand out. The flexible nature of the fake horsehair allows for my client to get the standing effect without losing range of motion of her neck. Continue reading Victorian Purple Wedding Gown: lace collar & buttons