Wedding Dress Progress Post #1

Gratuitous Walnut photo. 

As I mentioned before, one of my biggest projects this year is making a wedding dress for a dear friend of mine. While I normally wouldn't commit to sewing such a scarily important garment for someone who isn't around for regular fittings, there are several reasons why I agreed to tackle this:

1. Elaine is my oldest friend. She and I met freshman year of high school and were fortunate enough to discover that we lived a block away from each other, which meant we could always run over to do homework, hang out, or presumably borrow cups of sugar, though we never did. She has always been an incredibly vocal supporter and gracious recipient of my creative output, so when she stated that she believed in my ability to make a wedding dress, well, who am I to say no? 
2. The design she chose is actually fairly easy to fit. Corsets are somewhat adjustable, and the skirt I'm making has an elastic waistband, so even pre-wedding measurement fluctuations shouldn't be too much of a problem. *crosses fingers*
3. I would never otherwise have an excuse to make something so cool! It seems like a good challenge to take on, and I don't have to pay for pretty pretty materials. 
4. I'm always saying to Elaine, "I could totally make that, and for cheaper!" She's gotten tired of it over the years (not seriously, though...okay maybe a little seriously), so now's my chance to back my statements and prove that yes, I can do a comparable job for less than £860.

I did a corset muslin when she was here for the TORn Oscar party, but I have yet to finish modifying the pattern pieces. I decided that I needed to just dip my toe into the proverbial wedding-dress-making pool and get a feel for how the satins she chose handle, so I started making the skirt instead. And let me tell you, cutting into the actual fashion fabric is scary! Even if it is a very simple circle skirt pattern and the fabrics weren't that expensive.

Cropped like mad to cut out the sewing room clutter. It doesn't look like much yet, without all the trims and lace.

I didn't think to take pictures of the un-ruched overskirt.

I used Simplicity 5006, View B, and cut two layers, one in a drapey purple satin and one in slightly stiffer cream-colored satin. I'm not sure why Simplicity saw it necessary to provide both a front and a back pattern piece, seeing as how they're exactly the same (only difference being markings for cutting on the fold for the front, and zipper placement on the back), but whatever. For the back pieces, I added a slight train and opted to cut it on the fold so as not to end up with a seam down the center of the train. I sewed lapped side seams in order to enclose all the raw edges; this also conveniently provides a channel to thread a ribbon through for gathering up the sides. Since there's no seam on the center back, I followed this tutorial on Casey's Elegant Musings to make a slash opening. I'm not going to insert a zipper, since the opening will be covered with the gold lace overskirt. I sewed on five hooks and eyes on the waistband instead. Oh yeah, the waistband is elastic, both for comfort and for a more adjustable fit.  

I basted the two layers of skirt together, bound the top edge with seam binding, and then zigzagged it to the elastic. 

Trying to distribute the fabric evenly, hold the elastic stretched, all the while sewing neatly, was a bit of a nightmare. 

I still need to hem the bottom and add the Venice lace trim, but the one I purchased turned out to clash with the gold of the overskirt. Clashing golds are okay for a casual shieldmaiden costume, but not for a wedding dress! I'm ordering a different trim from eBay, so hopefully that one works better. Golds are so hard to photograph/match when ordering online!

Gaah! Totally different golds!

Next part: lace overskirt. Hello, learning to drape by the seat of my pants!

Victorian, Edwardian, and Modern Costumes from CUT!

Yesterday I showed you some of the earlier era gowns from the Bowers Museum's CUT! Costumes and the Cinema exhibit. Here are the post-Romantic era costumes:

Once again, underpinnings are important. Have a cage crinoline. 

And a lobster tail bustle. 

I love it when they put in details nobody's likely to see, like the lace and tiny tucks on these drawers. 

Structure underneath the gown is required to get the amount of poof in Carlotta's dress from Phantom of the Opera.
Although this seems to need another petticoat, judging from the line going across the skirt.

The back of Carlotta's dress.

I'd never heard of The Land of the Blind, but this is a Red Dress, capital letters deserved. Ridiculously difficult to photograph, though. 

A bit less voluminous: classic bustle gown from Portrait of a Lady. 

The frilly back.  

More smocking goodness, from Miss Potter. 

Scarlett's Johansson's dress from The Prestige.

If ever a dress looked like a wedding cake, this would be it. 

Moving onto the Edwardian era: Uma Thurman's military-inspired outfit from The Golden Bowl. 

I believe this was an original Edwardian piece layered over a new underdress. Oh, that pouter pigeon front! 

Kate Winslet's dressing gown from Finding Neverland. 

First thought: absolutely breathtaking. Second thought: good golly, that must be a beast to move around in. 

Seriously. That. Detailing. 

Maggie Smith's dress from Gosford Park and a beaded gorgeousness from Mrs. Dalloway. 

Teens era. This coral dress could be from Downton Abbey, except that it's actually from In Love and War.

The most modern thing I took a picture of: a gorgeous teal-gray bias cut gown, but I don't remember what movie it's from! I want to (and Mr. Cation wants me to) make a gown like this so badly. 

For an aspiring costumer like myself, it was like two hours of heaven. I took so many pictures, hoping to capture all the exquisite details, but unfortunately the dim lighting made some of them quite fuzzy. Next time, I'm bringing a sketchbook! It's funny, since I've become interested in costumes and historical fashion, I've gone to so many more museums (and been more interested once I'm there!). From the De Young's Gaultier and Nureyev costume exhibits, to the Legion of Honor's Cult of Beauty exhibit, to the incomparable V&A, and of course the FIDM museum's yearly award-winning-costume exhibits, an interest in clothing has given a focus to my museum attendance.

Even a scrimshaw exhibit has fashion bits in it! Look at that classic Romantic era gown. Apparently, whalers used to use Godey's Lady's Book as source material for their carvings. Who would have thought?!

See, I've always believed strongly in the importance of museums; my dad started us young on going to look at art and science museums, but there was never really anything I particularly wanted to see of my own accord. Now, instead of cursorily checking out museums because I should, I actually enjoy going (what a revolutionary thought!). Costume exhibits are especially fun, but even having a rudimentary grasp of historical fashion has given me a framework to hang actual history on, if you know what I mean. I'm learning so much more about world history now that I need to research things like the textile industry, peasant life, and political statements through clothing color. If only I had discovered this earlier, who knows, I might be a history teacher instead of a science teacher! This just gives me more reason to keep incorporating things beyond the curriculum/textbook, because one never knows what might catch a student's eye and inspire more learning. Here's to not being a lazy teacher! 

CUT! Costume and the Cinema Exhibit at Bowers Museum

Fanny Campbell, female pirate, 19th century scrimshaw. Perfect for the "By the Sea" HSF challenge, right?

I've been traveling so much for work, and Mr. Cation has been so busy wrapping up his thesis project for school, we haven't had much time for dates. So this past Saturday, we took some time to go check out the Bowers Museum in Santa Ana together. Okay, I'll admit that it was really my idea, since a costume exhibit isn't really Mr. Cation's idea of fun, but it was still nice to have some downtime together. Plus, we both really liked the scrimshaw exhibit. Anyway, I thought I'd share some of the photos I took of the lovely, lovely costumes. I'm going to split this into two posts, though, since there are quite a few photos! 

I'm so glad they emphasized the importance of underpinnings! 

The conical torso and panniers. 

Panniers are definitely required for this 17th century dress from The Last King.

The back of the Baroness Rodmilla de Ghent's dress, from Ever After. Dubiously set in the Renaissance era.  Check out those gorgeous pleats, though, and the little tassel hanging down from the storm flap collar. 

Captain John Smith's costume from The New World, possibly the worst film ever recommended by Mick LaSalle. 

Slightly more exciting captain: Jack Sparrow, from Pirates of the Caribbean: Dead Man's Chest. 

And now for some prettiness: this light blue Georgian gown, complete with screenprinting and embroidery, from The Duchess. 

Absolutely enormous poofy bustle. 

Love the detailing on the sleeves!

And of course, we can't forget Lady G's iconic dress.

This is enough to make me want to sew bound buttonholes. 

The guys got to wear pretty things in The Duchess too. 

...and in Casanova, too. 

Check out the fantastically huge cuffs! Swoon.

More loveliness from that era, but from Goya's Ghosts.  

From the same movie.

Moving forward several decades, here's the Regency era gown that Marianne Dashwood wore in Sense and Sensibility. 

Jane Eyre's Romantic era wedding gown from the 1996 version. Look at that smocking!

Moving along to the 1850s and Little Dorrit. 

Whew! That's a lot of pictures! And that's only the costumes up to the Victorian era; I'll post the later era stuff tomorrow. My only gripe is that it was so dark in the exhibit hall, it was difficult to get good pictures. That, and the weird spotlighting washed out a lot of my detail shots. Still, you get an idea of how amazing these outfits are, and how much work went into making them. It makes me want to sew up costumes from every era; thankfully, my stashbusting commitment reins me in a bit, since I don't have appropriate fabrics or patterns for most of it. That's probably a good thing, though, as the sewing room closet is already full enough of costumes as it is.

Winner Winner, Chicken Dinner Not Provided

Well, it was difficult, but EmSewCrazy and I have selected the winner of the February Stashbusting Sewalong Challenge! Congratulations to Andrea of StitchParade, who made this gorgeous shirt for her very lucky husband!

[source]

Andrea, please contact me at cationdesignsblog [at] gmail.com with your mailing address so we can send you a little something!

I really enjoyed going through all the links and checking out all the generous gifts you all have bestowed on your loved ones. As much as I like selfish sewing*, it's nice to share one's skills and stash with others, too! Here are some of my favorite projects and other top vote-getters from the link party, in no particular order:

Can I help it if I'm a sucker for dinosaurs and turquoise?  Long-sleeved shirt by The Brothers Yount.

Heavenly Handmade's pleated skirt was a hit with you guys, and no wonder; it's absolutely perfect for a little girl!

Isn't Musings of a Seamstress' vest for her husband just the last word in vests? Swoon!

Sewing for others long distance is no easy task, but kbenco pulled it off admirably with trousers for her daughter. 

I want to work with Yentair -- she made this awesome octopus-tentacle print dress for her coworker!

I'm in awe of the beautiful and intriguing design process that led to this origami-esque silk purse for Dashing Marmot's aunt!

Great jaerb, fellow sewasauruses! Keep up the good work, and I hope your changing seasons projects are coming along nicely. My first two projects this month were really more fall-appropriate, but my next make will definitely be springy -- stay tuned!

*If you want to see some of our favorite selfish sewing from this month, go check out our picks over at EmSewCrazy!