Reflections on Making of the Pattern

Reflections on Making of the Pattern

I found the draping on the stand quite hard at first because I had not draped such a fitted bodice before, only the historical blouses we draped on the stand. However, this has helped me to feel far more confident in draping a pattern on the stand which will enable me to develop these skills further during third year. Although I did make a few mistakes when marking out the pattern with the designers tape I have developed my skills in being able to identify how a shape can look odd on the body and correct it.

I have also learnt the necessity of counting and checking over the pattern again before I start pining on the calico as it is so easy to mark out too many panels. Although a mistake like this is correctable it wastes a lot of time having to redo it.

When transferring the lines of the designers tape to the calico I found that my lines where a little shaky so this is something I need to improve. Because the pattern drafting stage is so crucial if this is in correct then the whole garment will be in correct.

Levelling the Tutu

Levelling the tutu

I had to level out my tutu once they were constructed. A ballet tutu is always measured from the ground up so that all the corps tutus are the same level. For this tutu it is 12 inches from the ground however, it is graduated slightly so that it is longer at the back than at the front. It graduates at different points so at the bust line it drops a ¼ then at the side seam ¼ and shoulder line ¼ until it gets to the CB at 11inches.

To make it easier to level it off we cut on layer at a time and gathered the rest of the tutu to the top of the manikin then placed it on the tables so I was level with it.

Before I cut each layer I steamed them well. It was hard to get the measurements accurate especially on the back of the tutu because there are so many pleats. Cutting the net was very hard because I sometimes cut jaggered lines so I had to go back and correct them which made the whole process take longer. It was also hard because I often found although I had cut it to the pins it wasn’t the same level as the last layer so, I had to cut off more net until it was level.

Although I found this task I actually really enjoyed it. It has helped to develop my time keeping skills so that I make sure I have time to do everything else. It has also developed my accuracy in my costume making which will help me in 3^rd year.

Once the tutu was levelled I sewed the hooks and bars to the basque. On the waistband I used the trouser hooks and bars because they offered more strength, and then the other two just the size 3 hooks and bars. I sewed these on using button hole stitch.

Constructing the Romantic Tutu

Construction of Romantic Tutu

Before I could construct my romantic tutu I had to make the Basque which is the base which I have to sew the net to. I followed the instructions on our hand out to draft the pattern for the Basque. I found the instructions fairly easy to follow it was the waistband construction which I on reflection I rushed to make. To get the correct size of the waistband I used this formula: Waistband measurement – 2.5cm + 3cm extension + 7.5cm for C/B turnings. On the petersham I marked out my S/S, C/B, and C/F I did this in pencil however, which I regret because it has left marks on the inside of the waistband. I then sewed the 8cm pieces of elastic to the petersham making sure I matched up the S/S lines. I had to use a zigzag stitch to sew the elastic to the petersham so that it allowed for the stretch. However, I found that the zigzag stitch I used was too small in width so that when the elastic was stretched it made the elastic fray and the stitching come undone. So I had to re-sew it using a larger zigzag stitch. Because of this I found that when I was cutting down the excess petersham in the inner layer I could not cut it as close to the fold as I wanted so when I folded the top layer over it left a smaller elastic section. So when I was sewing the waistband to the basque I had to stretch the elastic quite a lot and it didn’t sit on top of the waist line on the basque.

Once the waistband and basque was sewn together I then had to mark and sew each line for the net the first line was the waist line then the next 4 lines where ½ inch down. The amount of panels in the skirt decreased by 2 each time so the top layer had 13 until the 5 line which only had 5. The reason we had odd numbers for the panel of the skirt was so that there was no seam at the front.

I then had to draft the pattern for the skirt, using this formula: length of bottom line basque divide no. of panels + 2”= top of panel. This measurement needs to be halved because I made the pattern on the fold. Draw straight line at top of pattern piece mark the length of the waist, then from CF go down 3/8” and connect the two points with a curve. Using this curve mark down 36” to create hem line at hem line measure along 14” this is the width of my skirt. Cut out pattern.

So that it is quicker to cut out all 45 panels, the net was already folded 4 times on the role and I folded it over another 4 times so that I cut out 16 panels at once. The net wasn’t folded perfectly so as I folded each layer over, I made sure that my skirt pattern would fit on the net without cutting any corners. I repeated this process a further 4 times to get the total panels I needed. I then separated the panels into each layer and then labelled them.

Each layer of the skirt can then be sewn together there is no seam allowance so the edges just need to be overlaid one another about 0.5cm and then sew down the middle. Mark warned us that we would have to be gentle as the net goes through the machine because it can stretch very easily so that you ended up with one panel longer than the other. So I decided to pin mine together to prevent this from happening.

 However, I found that it still did a little bit even though I was using a domestic, is possibly didn’t help that I was rushing, the net at the seam looks a little gathered and even though I have pressed it. So I will have to learn for next time not to rush and feed the net through the machine gently.

I sewed on two lines of gather stitches again I did this too fast and in places I had to start again so it wasn’t a continuous line. This meant when it came to gathering it on the skirt it didn’t gather as well as it should have done. Therefore, next time I am going to have to develop my skills in not rushing when I have lots of things to do because then I make mistakes. Another thing I should have done was tack the CF line on each layer before I gathered it however I did it afterwards so the CF was not as accurate as it should have been.

I thought that I would find the gathering of the skirt really hard but I actually really enjoyed creating the shape and trying to make each side equal I am pleased with the results. At first I thought I had made it too flat at the front because it looked so see through but once the top layer was gathered it looked fine. When I first gathered the layer 5 I didn’t put enough pins in so when I sewed it on the machine some of the gathers came out, so after that I put lot more pins in. When I blasted with steam each layer before I sewed the next one I must not have done it enough because the pleats where not flat enough, so as I level off the tutu I will steam each layer again.

You can see how each layer gradually built to create my romantic tutu.

Sleeping Beauty Review

Sleeping Beauty

The ballet is based upon the book by Charles Perrault and set to the music by Tchaikovsky, who also wrote Swan Lake who’s the influences can be seen in the choreography. The world the Royal Ballet has created through the costumes and set has created a fairytale world. The colours especially create this sugary pastel coloured world which very much reminds me of the film Marie Antoinette. Although, the costumes merged on the overtop it worked with a production like this. The 3D decoration on the fairies costumes where beautiful although when they did their dance for what the gift was I did not understand all the mime and what they were meant to represent. This probably was not helped by the fact that I remember watching the Disney movie of sleeping beauty so I got confused because of the differences in the storyline.

I thought it was clever how the audience could see the passage of time between when Aurora is first born and turns 16 by the change of hairstyles and fashion sense. Maleficent the evil character in sleeping beauty is wonderfully acted and very scary. Something I was disappointed about was the fact that the prince does not defeat Maleficent and her minions the lilac fairy does making his character a bit whimpish.

Romeo and Juliet Review

Romeo and Juliet Review

Romeo and Juliet is set to the score by Sergei Prokofiev and is based on the synopsis by Adrian Piotrovsky as a ballet production it has had enduring popularity. I thoroughly enjoyed this production it was very different to any other productions I had seen because it had a complex storyline however the storyline was still being shown through dance and mime. I liked the way this was a character and storyline led piece each dance had a meaning unlike the fun production of La fille mal gardee where they danced for the sake of dancing.

I liked the use of colour within the production I felt that they all worked together, even though there was a contrast in colour between the peasants and nobility they complimented each other well. I felt however, that the costumes worn by Rosaline and her friends at the market place were in such different style to that which they wore to the party that I didn’t realise it was the same characters. I felt it was clever how a lot of the costumes were repeats with a few accessory and colour changes. The costume worn by Juliet at the balacony scene was beautiful it flowed so well as she moved and also showed her innocence and fragility.

That dance scene between Romeo and Juliet was so powerful the emotion they conveyed and build up to their first kiss. The way Romeo danced with her sleeping/lifeless body was also very emotional.

I however, did not enjoy Tybalts death it was very drawn out when it had no need to be his mothers mourning was also a bit excessive.

Research Regency Period Puffed sleeves

Research Regency Period Puffed sleeves

These costumes from Pride and Prejudice 1980 have beautiful sleeves particularly the pink dress. I like the way it uses petal like shapes this would look lovely for a fairy for the ballet.

I like Jane’s sleeves (gold dress) the pointed edge would be good sleeves for a country girl the use of different fabrics compared to the one above which is a much softer fabric makes the costume look less delicate.

The ladies sleeves are beautiful they have so much volume they would create a very dramatic silhouette on stage.

I like the way these sleeves appear to be pleated and puffed out this gives a very delicate feel to the whole costume.

These types of puffed sleeves would often be used to portray young country girls as can be seen from this costume from the ballet Giselle. To help add the puffed sleeve hold its shape a under sleeve would be used. The shape used for ballet sleeves are different to a normal pattern because the arm hole is higher so the sleeve head is shallower but the width is wider. So I want to draft a sleeve in this style, as it will help my historical knowledge, as well as develop my learning in how to draft a pattern. The style was also popular in the ballets that Degas drew which particularly inspire me.

Decoration Workshop

Decoration Workshop

Before we started the workshop we had to consider what ballet decoration should look like and it purpose: ballet decoration should look delicate and fine the costumes should not look like human hands have made them so such things as chunky beads should not be used. Another point that has to be considered when creating the decoration is whether it will be read from a distance so it has to be bold but delicate for the people right at the back need to see the detail of the costume. Also the shape of the decoration has to be equal and balanced. The decoration also helps to convey the character because as soon as a dancer comes onto the stage the audience have to understand who she is. The decoration should also only be centred on the front of the costume because the male has to be able to lift her without any restrictions. Also the decoration needs to be sewn on the manikin so that it doesn’t alter the shape of the garment in any way.

We looked at the decoration of costumes such as this one from the royal ballet for Swan Lake, to give us ideas as to what can be used for decoration.

My decoration

For the decoration on this bodice I was inspired by quite a dark evil character because of this black and green swirly fabric which I used by cutting out the motifs of the pattern to then create the initial shape of the decoration. I then cut into some black lace and went around the edge of the pattern; because the lace didn’t lie flat it looked moss like so I built into this idea by poking out green and brown fabric to make it look earthy like a damp wood. The decoration I felt suited the character of Madge in La Sylphide.

Although, this decoration is for more of a classical style tutu it’s interesting to see whether a evil character can be portrayed through a bodice and tutu and I think it works well.

Once I had sewn this bodice I added beads to make the costume stand out more and create shape and curve at the bust area. I think I need to add even more beads to create more shape at the bust and to add more highlights, because although it is very delicate costume it does need to be readable. Having to hand sew this delicate lace has developed my skills in learning how to be gentle when sewing. Also improving my time management to makesure that I had enough time to sew my samples so that I don't rush and ruin the costume. I am however, pleased with the result I feel I have sewn the bodice well so that you cannot see any of te stitches.

 

For the decoration of this bodice I wanted to create a very delicate piece to show a damsel in distress that needs protecting a character that is young and in love like Juliet. I’m going to bead the bodice so that it brings out the colours and highlights it. For at the moment it is so delicate it will not be read very well from a distance.

 

This bodice was very much inspired by the movie The Black Swan and the merging and conflict between the two sides of her character; I want to add beading and possibly sequins to make the colours stand out more.

It was good to learn how to make this lattice as it was quite hard to make each square equal because it changes as it moulds over the body this decoration is often used for country girls costumes and is used for Cinderella’s dress.

Once I had sewn on the lattice bodice I found that I should have adjusted some of the squares because they are not completely equal.

This is for the plate tutu I was very much inspired by the colours on the male peacock’s tail feathers so I wanted to recreate that shape. This could be used for a character like the blue bird.

Learning how to decorate a plate tutu and bodice has helped develop my skills at using decoration to tell the story of the character not just to look pretty. I have learnt the importance in ballet and all theatre that the decoration needs to be read from a distance but still delicate. It also helped to develop my skills in using fabrics in different ways so cutting into lace and ribbons to create the decoration rather than just applying a strip of lace looking at how you can use the decoration in a different way. It was hard at times to know how to develop the decoration for the evil character I wasn’t sure what to do after I had applied the patterned silk. I had to learn not to be precious with my work but test and see if something looked good and if it didn’t change it. I enjoyed the freedom we had in this workshop to express different characters we were interested in. It will be interesting working from our designs to try to recreate what Mark has drawn as I feel it will be very different because there is not that same amount of freedom within the decoration when you are working to the specifications of the designer.