Odette
Swan Lake
Final project for independent study in advanced draping at Vassar College with Professor Kenisha Kelly. Design and build (unfinished) for Odette, the Swan Queen in the ballet Swan Lake (debut 1877).
Spring 2023
The bodice is constructed like a double layered corset, with boning channels between a layer of coutil and a layer of fashion fabric. Top and bottom edge are finished with twill tape and tacked to the inside. Closes down center back with hand sewn hooks and eyes. The bodice is dove grey, resembling the soft grey of signets and darker tones in a mature swan’s feathers. The intention was to add of an overlay of white feather-like appliques that almost completely conceal the grey (see later slides).
The basque and trunks are sewn together and closed the same as the bodice. The basque is constructed like the bodice, with one layer of coutil and one layer of fashion fabric. The trunks are constructed of cotton. The shape of the center front mesh cutout, traditional with most performance tutus, mirrors the other soft lines of the bodice — spreading outwards from a central point.
View from the underside of the tutu. It consists of nine layers of tutu tulle, occasionally including lavender and light grey soft tulle. The tutu still reads as predominantly white, but the inclusion of other colorus adds depth and dimension to an otherwise flat and monochrome color scheme.
Inspired by Vivienne Westwood’s corset bodices (boning style reminiscent of 18th century stays/bodies) and ability to combine soft and hard shapes (for example, delicate drape of fabric over a sturdy bodice). The final bodice is structured similarly to Westwood dresses and 18th century stays, with the inclusion of a decorative overlay imitating swan wings.
The design for the back bodice was more difficult, but eventually settled into similar long, vertical lines as the front. Possible tutu platter designs with the aim to unite the bodice and skirt via embellishment. A main inspiration was the overlay of feathers on Anna Pavlova’s iconic Dying Swan tutu.
Experiments with white chiffon for the decorative overlay imitating swan wings, the idea being to create feather-adjacent shapes of various sizes and drape them along the bodice’s style lines.
Another experiment was a delicate off-the-shoulder decorative sleeve to continue the gently curved lines at the top of the bodice.
The front of the bodice consists of four pieces. The style lines are intended to imitate a bird’s spreading wings and the boning patterns of 18th century stays, as well as to highlight the dancer’s lithe, graceful build.
The back consists of three pieces. The style lines imitate the soaring lines of the front, accommodating and accentuating the powerful back muscles of a swan dancer.
First fitting
First fitting, front left
First fitting, back left
First fitting, back right
Second fitting, in coutil base for the final garment. Center front opened to insert a mesh panel.
Second fitting, back
Second fitting, front right
Second fitting, back right
Second fitting, back left
Final fitting with boned bodice, basque, and tutu trunks. Aside from the addition of elastic shoulder straps, the bodice fit quite well.
Third fitting, front
Third fitting, back
Third fitting, right
Third fitting, left
Independent study in advanced draping at Vassar College with Professor Kenisha Kelly. For an independent study in advanced draping: based on an image from a 1950’s catalogue. Draped under the guidance of Professor Kenisha Kelley.
Spring 2023
1950's inspired dress
The inspiration featured a pleated upper bodice with an asymmetrical waistband and circle skirt.
The box pleats that make up the front and back bodice were meticulously created by hand.
The irregularity of the bust and curve of armscye greatly challenged efforts to regulate the uniformity of the box pleats.
The back of bodice was easier to pleat, on account of it being a smoother surface.
Inspired by the wrap dress at the far left
Final project for Introduction to Costume Draping and Drafting at Vassar College with Professor Kenisha Kelly. The course included drafting body blocks, basics of flat patterning, basics of draping for the female form, and various bodice, sleeve, and skirt manipulations. Free choice of inspiration for final project.
Fall 2021
Edwardian ensemble
The inspiration for this dress came from a multitude of sources, especially the regal, ethereal wardrobe of Queen Maude of Norway.
The back of the bodice is form fitted. The small waist contrasts with the voluminous sleeve and skirt.
The voluminous blouse gathers down into a triangular waistband. The sweeping skirt is likewise sewn to the waistband with lots of small pleats at center front.
The blouse itself is gathered into a two-part yoke with a standing collar. The sleeve is gathered at the head, into the blouse, and into a cuff, which sits just above the elbow.
At the back, the two-piece yolk is simplified into a single piece. A seam at the princess line helps shape the bodice to the form.
At center back, the skirt is also pleated into the waistband. Because the bodice is fitted at the back, it is sewn neatly into the waistband.
Princess Buttercup's red dress The Princess Bride (1987)
Attempt to replicate a costume as screen-accurately as possible. Copy of the iconic red dress designed by Phyllis Dalton for the character of Princess Buttercup in The Princess Bride (1987). With research conducted at the auction site Propstore.
Fall 2020
Following screen captures, the bodice is constructed without a collar seam. The top edge is finished with small piping and shaped at the front bust with three pleats.
The dress closes at the center back with lacing. Slightly sloped princess seams add shaping.
The skirt is pleated densely at the back. The pleat depth and total width of the skirt were carefully measured and calculated based on various stills. The center back closes with hand-bound eyelets, and the laces are finished with golden medieval-style galets.
The sleeves are densely cartridge pleated into the cuff with closures identical to the center back. Despite careful measurements to calculate the sleeve width needed to gather down into such dense and deep cartridge pleating, the fabric width was too narrow to accomplish this. In order to achieve the proper volume, an inaccurate triangular gore was inserted at the bottom of each sleeve.
Swing tacks for a button-up collar.
After dyeing the spelunking suits, hiking harnesses and shoulder- and knee-pads are hand stitched to the suits. The placement of the equipment had been previously thread marked. The straps are secured across the back and at each corner of every pad.
Quick rigging of the jumpsuit waist harness; opera hook and eye sewn along the inside of the belt, careful to not leave any gaps and thus preserve the illusion from the front.
A quick change that involved a pair of purple shoes that buckled at the ankle had to be modified in a way that did not include elastic, as per request of the actress. Velcro.
A quick change that involved a pair of purple shoes that buckled at the ankle had to be modified in a way that did not include elastic, as per request of the actress. Dress hook and eye sewn underneath the buckle. Later, a snap along the tail of the strap was added to keep it in place.
A quick change into a business suit, complete with a white button up. Leotard bottom added to the white button down to prevent it from becoming untucked, which was secured at the front of the hips with two pieces of velcro. Snaps disguised by shirt buttons; area covered by the trousers had a strip of velcro for speed.
Taking in the waist of a pair of leather trousers at center back). Waistband, leather, and lining separated from each other and individually modified. Label and belt loop were also removed. After all alterations are complete, the trousers are reassembled, complete with detail stitching, label, and belt loop.