Spring Awakening -- the beginning

And so it begins again! I began working on my next big build last semester in December. I have an 1890s era hot pink corset to construct, as well as a black Victorian bodice and skirt. The trick here is that I was unable to do any fittings until this term...with the show coming up in mid-February, there was no question that I had to start building the corset in the actual fabric and get as far as possible.


The corset:
 I did a lot of research into different corset shapes and patterns and ended up draping it. The corset the designer wanted me to use as an example is from the 1890s and is sort of a conglomerate of earlier corsets and the more modern ones. It has gussets at the bust and the back hip and a straight busk. I constructed it out of two layers of coutil and one layer of fashion fabric. The trick was the bone casings...we wanted top-stitching to be a part of the corset design, so I had to stitch very carefully by machine, moving from the bone channels in the center out to the edges so that the corset would remain smooth. I had to sort of curve the corset while stitching, in order to maintain the shape it would be over a body...without the right amount of ease between the layers, wrinkles and bubbles could be created. I wasn't completely successful with this, but I do understand the concept behind it and I think it just takes some practice.

What I learned? Don't use the industrial machine! I chose to use this machine because of all the layers...I thought it would sew a lot easier, and it did. However, it would have been easier to maintain that curve with a free arm machine rather than one built into a table. Live and learn!

Once I got the channels sewn I stitched the panels together. There are ten panels total, with a front opening busk as well as lacing in the back. I basted each panel together before attempting to stitch by machine -- there were just a lot of layers to deal with as well as some tricky curves.

Next I stitched in the gussets...lots of careful sewing, but I think they turned out pretty well. Again, difficult because of all the layers.

Once those were sewn in it was time to insert the busk.

I stitched a sort of temporary grommeted and laced closure in the back, just in case things would have to move once I had the fitting. 

I thread-marked the top and bottom hem and it was ready for the first fitting.

The Gown:

Thankfully I was able to at least drape the gown before winter holidays. I'm really happy with how the drape turned out. I spent a lot of time making sure the dress form was padded as accurately as possible because of the fitting situation. I marked my style lines carefully and went over them with the designer to make sure it was exactly what she wanted. All ready for draping, I began my work. I have to say I was just really in the zone for this drape. I was excited for it and I just had a really good idea as to what I wanted to do with it. Last year I had done something similar, so I was feeling a lot more confident than I have before. In about 3 hours I had a half drape of everything but the sleeves and collar. I left it there for the break knowing that once I got back I could easily pattern it and make myself a mock-up to be fitted within the first week of school in January.

I should mention a little about the character -- this is the adult woman in the show -- the only adult woman in the show. This is her teacher look -- strict, German, simple but proper. The bustle is subtle -- she is a working woman and things need to be practical! This is also when the bustle is going out of fashion. The corset will be worn underneath and will be featured in a scandalous reveal! Due to this, I also have to make the bodice easily removable...so far we're thinking center front zipper, which should work great, even if it's not quite period! ;)

Tailoring II -- Vest and Trousers

I finished drafting the pattern for my trousers and vest and had my first fitting a couple weeks ago. Once again I'm making these things for my boyfriend, Matt. I decided to do a double breasted vest with a collar...mainly because I've never done a double-breasted anything and I could use more collar practice...plus the vest is pretty awesome. It's based on a 1890s vest draft. For some reason all of the drafts that we could find do not include a full collar -- it always seems to go into the shoulder seam. We know there were and are most definitely vests that have full collars, so I'm not sure what's up with this...anywho, I had to drape the collar to figure out how it all works with the vest.

So, here's Matt at the first fitting -- everything went pretty well! I'm really happy with how the trousers turned out. They have pleats and cuffs (again, just wanted to try some things I've never done before). We've decided that this crazy conglomerate of time periods and styles has equaled Captain Nemo. So here's Matt as Captain Nemo, fitting number 1!

Stretch!

This semester I've started a new class about stretch fabrics -- how to drape, pattern, and sew with them. Quite exciting! We started off the semester with a leotard. My professor gave me one of her patterns. I cut the fabric ans stitched it all together as a sort of practice round of getting used to the fabric and learning some stretch sewing techniques without worrying about the pattern and alterations.

Working in stretch is really interesting -- it is very different than working with 'regular' fabric. It's both more finicky and more forgiving at the same time...it takes a lot of trial and a lot of just doing it! I'm really looking forward to working more with it!

Here's me trying the leotard just for kicks! -- Since it is stretch fabric, even though it is not really my size, it still fits surprisingly well! You can see the drag lines where in would need to be made smaller for me. Out of curiosity I compared the leotard to one of my swimsuits -- my swimsuit is shorter in the torso as well as smaller across both waist and chest...makes sense.

Final Drape for the Term! Numero 5

This is my final drape for this term's draping class. This is an a-symmetrical ball gown based on a rendering from a production of Macbeth. It was an interesting and different challenge working from a more abstract source. I'm happy with how things turned out but definitely wouldn't have minded more time to work on this one -- I think that the skirt could be fuller, perhaps with some pleating...or maybe it would just be different with lighter weight fabric, larger petticoat...the factors are endless! Once we looked at the drape in class it was also brought to my attention the different possibilities for the bodice -- it might be more flattering to have it cut down under the arm in front, lowering and taking away what I had in back. Anyway, I love how many ways there are to interpret something and the more I learn and look the more options I have to draw upon and think through. Sometimes it's crazy trying to choose what to do, but in the end you just have to try it and learn from it and just keep making it better as you gain more experience and continue to experiment with what works.

Drape the 4th: 1500s

Here is the fourth drape in the 'speed drape' series. One more to go! This particular one is based on a fairly stylistic rendering. Based on my research I tagged it as 16th century with a few stylistic and modern twists. Looking at this drape, I would like to have the bodice be a bit more straight and flat instead of curved to the form...this can be helped with proper period undergarments. The corset that I used is more from the 18th century, but was the best I could find. Ah well! Other notes, I gathered the skirt in the front, which is what the rendering indicated, but which is not really period. In period skirts, the front seems to remain pretty flat and smooth. This particular rendering had a very full and gathered-looking skirt. With more time I think tiny knife pleats would be really nice here.

Final Sculpt -- Bird Mask

Here is the finalized sculpt of the bird mask:

Mold-making, Casting and Masks!

In preparation for Mask-making next semester, I am taking a course on mold-making and casting. Awesome! We first learned how to use a simple two part putty mold-making medium. This is used a lot in jewelry making -- that's where I've encountered it before. It's a great way to make a simple mold. All you have to do is mix equal amounts of each part of the mold medium (part A and part B) and then press whatever it is you want to make a mold of into the product. You let it sit together for about 20 minutes and then it's set! You can get a surprising amount of detail. I think this is especially nice for buttons and brooches. We then used this mold to make a resin cast. In jewelry making we would often use this type of mold to pour wax into and then cast metal...so obviously, a lot of uses and ways to use this type of mold making.

The next mold that we made was a silicone one. Again, you mix equal parts of part A and part B of the product and simply pour it into your mold box, onto whatever it is you wish to create a mold of. I made a mold of a key. The detail for this one was fantastic. I also really liked the silicone -- it is flexible and easy to use as a mold. We also poured resin to make the cast for this one as well.

Next was life casting with alginate. This was a ton of fun! You make the alginate mold for the face with the person sitting up, in order to capture an accurate face mold. You mix the alginate with water and the just start glopping it onto the persons face. They are wearing a bald cap to keep hair safe and away. The also have a tiny bit of Vaseline on their eyebrows and lashes. The alginate mixture starts out like thick chowder or oatmeal in consistency. You continue to pour the alginate over the face and constantly pushing it back up against gravity. You really need to make sure to cover everywhere and get the air bubbles out! We also kept the nostrils clear (important for breathing! ). One the alginate starts to set up it gets easier to keep it on the face. When it stops being moveable you put a layer of gauze onto the alginate to create a link between it and the plaster mother-mold that you will be applying next. Once that is all settled you begin applying plaster bandages on the alginate. It is really important to get the plaster right close to the alginate contours in order to create a stable mold. You continue applying bandages until it is several layers thick. Careful to mind the chin! When it was being done to me, I could definitely feel the alginate wanting to fall off my mouth and chin area. Anyway, then you let t set...it takes about 20 minutes or so. This whole time it's very important to keep in contact with the person under the plaster -- make sure at least one person is keeping  a hand on their shoulder so that they are assured you are nearby! It's a bit scary being under there, completely cut off from light and a bit from sound, with a bunch of heavy plaster all over your face! After it has completely set, the person simply wiggles their face a bit and it pops off pretty easily!

Next step is to pour plaster into the mold you've just created in order to create a positive of your face. We used ultra-cal plaster -- super hard and strong once set. Before pouring you must seal off the nose hole with clay. You can also fix air bubbles and anything else with the clay too. You have to be careful not to futz with it too much -- the alginate can get great detail, including pores, wrinkles, etc. The more you rub it with water and clay, they more you will lose this detail.

So at any rate, my mold turned out nicely. It's not perfect -- you can see where the alginate was falling off my cheek, upper lip, and chin -- but in general, it worked out great for a first attempt! We were working in a group of 3 people by the way, taking turns.

 We will now use this face cast to create masks! Our first assignment is to use plastiline (oil based) clay to sculpt a mask over the face. It has to be bird themed. We will then create a two part plaster mold. Next semester we will use that mold to cast a latex mask.

Here is my bird mask sculpt so far -- it still needs to be smoothed and refined.

The plastiline clay is interesting to work with -- I've done a lot of work with water based clay, but not oil based. It is very plastic! Heat makes it much easier to work with!