Jemma Rowland

BA (Hons) Costume For Performance Design Independent Project

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Final Evaluation

This project has challenged me more than I initially thought it would. It took me several attempts to drape the skirt and this was something I was not anticipating. I found that I am more confident when it comes to draping because I had to do this so many times. Initially, I created a toile and then tried to transfer the shape onto the top fabric. This didn’t work as I had planned, however, meaning I had to drape the skirt in my top fabric anyway. With hindsight, I will probably just go straight into top fabric next time as I am confident that I would be able to get a more accurate drape. I have learnt that certain techniques don’t work for everyone but I am glad that I created a toile and attempted to transfer the pattern onto my top fabric because I now know that this is not the most time efficient method for me. However, I do think that the drape of my skirt is a particular strength because the shape is good and the pleats are deep enough so that the fabric hangs well.

  Working to the National Theatre’s standards has also been a new experience; creating a garment to a high standard whilst also thinking about how it can be altered easily has been a challenge because it affects how processes have to be undergone. I needed to consider any alterations when designing the decoration, for example. I decided to insert a tuck behind the decoration that could be let out if alteration was needed. This meant that the decoration would stay in the same place on the skirt and was more effective than if I were to have just added a 4-inch hem. Decisions like this are not something I have had to consider before because I have never created something that could be easily adaptable. This has definitely been beneficial to my development because I will now take these considerations with me on further projects.

  Working with the National Theatre because has allowed me to experience what it is like working with what you’re given. I have learnt to be sparing with fabric and it has proved very challenging. I had many problems with the fabric I was given, especially the amount it frays. However, I feel as though I have developed my independent skills through using a challenging fabric because I have had to problem solve. Although I am not totally pleased with the final finishings of my skirt, I feel as though I used the best technique I could considering the problems I faced and the time frame. The time constraints caused an issue for me, especially because I fell slightly behind after I had to re-drape several times. I think I coped well but I also need to improve my time management skills further.

  Overall, I am pleased with my final garments. I feel as though I learnt a lot from working with a partner when creating the bodice. Working as a team is definitely a skill I plan to develop further, because it is very likely that I will be doing this in the future. I think we were a good partnership and completed the bodice to a good standard. This project has furthered my skills as a costume interpreter because I have had to work to requirements specified by a potential employer with time constraints whilst overcoming challenges along the way.

[jemmarowland]

Bibliography

  Arnold, J. (1977) Patterns of Fashion 2: Englishwomen’s dress and their construction c.1860-1940. London. Macmillan Publisher’s Limited

  Hunnisett. J. (1991) Period Costume For Stage and Screen 1500-1800. UK: Players Press.

  Hunnisett, J. (1991) Period Costume For Stage and Screen 1800-1909. UK: Players Press

  Peacock, J. (1886) Costume 1066-1966. London, Thames & Hudson

  The National Theatre Hire Department

  Wolff, C. (1996) the art of manipulating fabric. Wisconsin, Krause Publications.

  Pinterest (2014). Independent Project. [online] Available from: http://www.pinterest.com/jemmarowland/independent-project/ [Accessed 16th April 2014

  V&A (2014) 18th Century Fashion [Online] Available from: http://www.vam.ac.uk/page/0-9/18th-century-fashion/ [Accessed 30th April 2014]

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Final Garments

Here is the final images of the bodice Gemma and I created. 

Below is an image of the entire ball gown to show how we have made the bodice match the skirt. However, the skirt was made entirely by Gemma and the bodice was what we created together. You can see how we have tried to tie in the design features, for example the scallops on the sleeves and the scallops on the hem of the skirt and the roses on the bodice with the roses on the underskirt.

Below is an image of my final 18th Century Decorative skirt

I think the decoration has worked well. If i had more time and more fabric, I would really like to add a central panel in order to make it even more decorative

[jemmarowland]

Weekly Reflection

WEEK SIX

Gemma and I managed to finish our bodice this week and I am pleased with how it has turned out. We draped our bertha on the mannequin on Monday and, with help from Mark, decided that the best thing to do would be to fold the lace around the centre back panels. Initially, Mark suggested that the lace should go all around the bodice, with it finishing on the centre front and with snap fastenings on the shoulders to make it easier to get on. We tried draping this a few times but in the end decided that it draped much better when the lace finished on the centre back. Having draped the bertha, we then attached it to the bodice using swing catches. This meant that the lace could be secured onto the bodice but it still draped well and the stitching was not visible. We managed to fix the eyelets in by wednesday and our bodice was complete. I am really pleased with how Gemma and I have worked together on this project; it was a new experience for both of us but I feel as though we adapted to each other well. I know that this has been beneficial to me as a practitioner because it is something I will have to do on several occasions; working as part of a team is a common occurrence in industry and I am pleased with how my first experience of this has gone.

I found the rest of the week more stressful, however, especially in terms of decoration. I came across a big problem when I realised I didn't have anywhere near enough fabric to complete the decoration the way I wanted to. After speaking to Mark, he advised me of an alternative idea to create pleats in between the scalloped edges. I had to create semi-circles that were the same depth as the scallops but double the width of this. I then had to hand hem each semi-circle and then tack lines from the centre point that I could then fold to create constantine pleats. Although I knew this would look effective, I was worried about the amount of time it was going to take. However, after deciding that I wasn't going to be able to create the hand-stitching panel down the centre due to lack of fabric, I realised that this was the best solution. I had just enough fabric to create this but it did take a lot of time and involved a lot of stress. 

I have felt as though I may have been rushing a bit this week. This is down to the fact that I underestimated how long each process would take, especially the scallops and ruffles at the beginning. This pushed my plans back slightly, meaning everything else was more behind than I had planned. Although I think I dealt with this well, I also feel as though this could have been less stressful if I had managed to start my decoration earlier. 

The processes this week involved a lot of hand sewing, especially herringboning down the pleats to attach them to the ruffles. I also decided to bind the inside of the ruffles so that they looked much neater and, because the fabric frays so much, it will help to preserve the garment for longer.

Overall, I am pleased with how this week has gone. I still had a few tasks to complete at the end of the day on Friday but I have managed to finish these over the weekend ready for hand in on Tuesday. I completed the waistband to the National Theatre's standard and attached the fastenings - a hook and bar along the top of the placket, with snap fastenings down the placket. I decided to attach two bars to the top of the placket to allow for easy alteration. This skirt will also be worn under another so it doesn't matter if a bar is seen when it is being worn as it will not be seen underneath another garment. To make this skirt easy to alter, I also need to insert a 4 inch tuck underneath the decoration. I have decided to do this rather than a 4 inch hem because it allows the skirt to look the same, even if it has to be altered for another performer. 

I think that this week has been the toughest of the project, because the pressure of the nearing deadline has made things more complicated. However, I feel as though I dealt with it well and it is good practice for further career experiences when I will be working to even tighter deadlines. 

[jemmarowland]

Weekly Reflection

WEEK FIVE

This week, Gemma and I managed to finish the main construction of the bodice; we piped the top and bottom hems, restitched our sleeves and neatened the inside of the bodice. All we have left to do now is drape the bertha, create the rose fabric element on the front and punch the eyelets. We will continue with this next week. I think that, overall, we have worked well as a team. We haven't been rushed for time and I'm happy with the standard we have completed our bodice to so far.

I also began work on the decoration of my skirt this week. I completed the thin, smocked trim over the weekend so that is ready for application once all the decoration has been completed. I began created the scalloped decoration. However, I had some problems with this, mainly involving time and fabric. I underestimated how long this trim would take me to make and how much fabric would be involved. As it turned out, each ruffle took almost 1m of fabric and I needed to create enough to go around 15 scallops. Although this has taken much longer than I had planned, I have almost finished this and aim to be attaching my decoration by early next week. I think I will also face another problem with fabric next week, as I only have around 90cm of fabric left on my roll and I still need to create pleats to go under the scallops, a section of hand sewing down the centre front and a waistband. I think that this will cause me a few issues and I am planning to speak to Mark about it early next week so that I can move forward. 

I think that this week has probably been the most challenging so far. I have come across a number of problems that I have had to tackle independently. I do, however, think that I have dealt with them to the best of my ability. I had another problem with fabric this week because the silk dupion I have been provided frays quite badly. I have tested a number of techniques on my ruffles to stop this happening but none of them have solved the issue as well as I would have liked. I tried pinking the edges and then machine hemming the ruffles by topstitching. This didn't stop the fraying so I tried overlocking the edges and then machine hemming the bottom but this made the ruffle quite bulky and the overlocking can be seen. I tried double folding the hem and this worked, but it made the ruffle too small and I do not have enough fabric to do this for all the ruffles, whilst making them the size they were originally. To overcome this problem, I have decided that the best thing to do is to pink the edges for now, to minimise fraying as best I can, and then once the skirt is finished, I will trim down the seam allowance on the ruffles right down to the topstitching so that the fabric has a very little area to fray in. Although this does not stop the fraying completely, this is the best solution I can find. I found this very challenging and frustrating at times because I felt as though I was wasting time.

Next week, I will be finishing off my skirt and Gemma and I will be completing the bodice. Below is a revised work plan of my final week's work. It is slightly more detailed as it is the final week and it will help me tick off exactly what I have left to do:

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Visit from the National Theatre

Fiona, a member of the National Theatre's staff came to see our progress on this project. We put our costumes on the mannequins for her to give us feedback.

The following comments were made about my costumes:

BODICE:

Don't make the bertha out of the main taffeta fabric, create it out of the brown lace. This will stop the ball gown looking very top heavy and keep with the sophisticated, "light" feel they have asked for. 

The sleeves work well with the scallops and the lace, but add some gathering to the top so that it adds some extra fullness and allows it to sit better

The neckline does not necessarily need to be altered, attach the rose fabric onto the main one rather than backing it on the other fabric and it will help to keep it in place, whilst remaining sturdy.

No need to use the brown velvet ribbon because it is too heavy for the garment and it will look much more effective without it.

SKIRT:

The size of the scallops is good, no larger or they won't look as effective

The pleating underneath is good.

The panel down the centre should end in a more triangular shape rather than a straight rectangle.

No need to use the trim provided because there is not much of it and it doesn't fit in very well with the fabric and the design, especially because so much of the decoration is made from the fabric itself.

After having this visit, I feel as though I am on the right track. I found it useful to have someone come and look at our work whilst it is still in progress because it is good experience for when we are actually working for a client. The National Theatre have mostly given us free reign over what we create, but it was helpful to have this visit half way through the project because it would have allowed us enough time to change things if we were doing anything that they particularly didn't want. I found it interesting that Fiona decided against some of the trims we had been provided. I have learnt that it is not always necessary t use everything provided by a client, if you don't think it is very relevant.

I found the points Fiona made useful, especially in terms of the bodice because Gemma and I were a little concerned about how to create the bertha. I agree that the lace will be much more effective, we will just need to be sparing with what we have left to work with. Below is an image of what we aim to make the bertha like:

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Weekly Reflection

WEEK FOUR

This week I worked on my skirt again. After discussing my decoration with Mark, I was confident that I knew what I needed to do this week. However, I hit a minor stopping point when Mark advised me that my skirt was not flat enough at the front and the pleats started too close to the centre front, meaning I should redrape it. I was not enthusiastic about doing this, as I had already draped it several times before, but I agreed that the shape was not correct so I allowed myself half a day to redrape. I felt this was an appropriate time because, having draped it several times previous, I thought I was well practised and knew exactly what I was doing this time. I managed to achieve this and I am now a lot more confident in my draping ability. 

I initially planned to complete the waistband and placket before starting my decoration, but after deciding that my decoration was going to have an additional panel down the centre front, it made more sense to do the waistband after this. I did, however, complete the placket and I am pleased with how it looks. I also discussed with Lucy how I thought I should do the waistband, as the National Theatre requested that the petersham should not be seen. Having worked at the National Theatre, Lucy told me how they make their waistbands, sewing the petersham directly onto the main fabric and then creating a binding over the top of this. I have decided to create my waistband this way because the National Theatre requested that the garments need to be durable and I think that this will give it more strength than if I were to create it another way.

I now need to get started on my decoration. A member of the National Theatre is going to be visiting us on the 12th May and I want to ask her advice on my decoration to see if it was they were expecting. 

I feel as though this week has set me back slightly, especially after I had to redrape my skirt again. Although it is frustrating that it has taken me longer than I would have liked to begin my decoration, I still feel confident that I will be able to finish in enough time. Gemma and I are planning to work on the bodice on Wednesday next week and I hope that we will be able to get most of the decoration complete. 

[jemmarowland]

Decoration Samples

This week, I have created some decoration samples in order to have a tutorial with Mark about how I am going to apply it to my skirt. I had a tutorial with Mark and Michaela on Monday, however we all agreed that I needed to do some further research into 18th century decoration because my ideas were not strong enough. I found this quite challenging because the research I could find was very limiting, especially as the majority of the overgowns from the 18th century were full of decoration whereas the underskirts were more typically plain. This is something that I was not expecting when I started the project and is an issue I have had to overcome. After undergoing more research, I have come up with an idea that I think will look very effective. The following images show the samples I created whilst decided on decoration. 

These were the initial samples I created. After deciding that I needed to look further into fabric manipulation, I found some reference images that will help me to create my final decoration idea.

Images from: Wolff, C. (1996) the art of manipulating fabric. Wisconsin, Krause Publications.

The image in the top left corner caught my attention because I think something like that would look very effective along the bottom of a skirt. I spoke to Michaela and she suggested that it may look a bit too much like a curtain. However, after discussing it with Mark, we decided that, if done well, it will actually look quite effective. I really liked this image because it involves a lot of techniques whilst still appearing simple and not over the top. 

For the decoration on my skirt, I plan to use the reference image to create scallops along the hem, with ruffles over box pleats. I will then use the top sample image to place over the top for added texture. Down the centre front, I will create a panel of hand stitching to give it further decoration.

[jemmarowland]

Weekly Reflection

WEEK THREE

This week, Gemma and I began construction on our bodice. We managed to get it constructed to the point of now needing to apply decoration, meaning we have piped the front and back seams, sewn the entire garment together and attached the sleeves. 

I feel that we worked well together, dividing the tasks equally so that we each made half of the bodice and had the chance to do something for every process. I am enjoying working as part of a team because I think it is helping me develop my making skills in that you have to learn to adapt to other people's methods. I think that Gemma and I have similar methods when it comes to the bodice but there were a few areas in which we came across challenges that we had to try and overcome independently but also as part of the team we are in. 

Initially, we planned to begin construction of the bodice on Monday, but Gemma needed to work with Mark on her skirt that day. This was not a problem, as we began the skirt on wednesday and still managed to get as far as had timetabled ourselves too. This is an example of how things have to be altered when working with other people because each individual has to be flexible enough to work with the other. Although this is a new experience for me, as previously I have only ever completed my work independently, I think we are working together well and I am enjoying being able to share the workload, especially as we are managing to complete tasks in a much faster time than I expected. 

Next week I will be working on my skirt for the week, trying to get as far ahead with the decoration as possible. However, this involves tutorials with Mark because he has asked to approve our decorative ideas before we go any further. Gemma and I have decided to focus on our skirts next week and then return to working on our bodices on wednesdays because we then have the opportunity to work into late night study if necessary.

[jemmarowland]

Weekly Reflection

WEEK TWO

This week has been very productive; I have draped my skirt and am now ready to put a waistband and placket on before I begin decoration. However, I did drape the skirt in calico first and this took two days in the studio. I planned to then transfer this to my main fabric but it did not go to plan, meaning I ended up draping my skirt on the mannequin in the top fabric as well. With hindsight, I should have just done this in the first place and, had I been in industry, I probably would not have done a toile. I did not feel confident enough initially to go straight into the main fabric but I feel as though I have wasted two valuable days of work by having to re-drape the skirt anyway. Despite this, I now feel a lot more confident to be able to drape a skirt on the mannequin competently. 

Gemma and I discussed our bodice this week and decided that it may be best to get as much of it complete as possible before we are more pushed for time. For this reason, we have dedicated the whole of week 3 to the construction of the bodice. Ideally, I am hoping that we will be able to do some of the decoration in this week as well, especially as it will then mean we have less work to complete later. I have not allocated time for this in my work plan yet, however. This is mainly because our garments need to be made to a high standard and I do not want to feel rushed to complete the bodice, as the construction is probably the most important part in terms of how well it will last. I am looking forward to beginning this tomorrow and working as part of a team.

Despite having difficulties with my skirt this week, I still feel on track and capable enough to get everything completed on time. Although I had to re-drape my skirt, I am still ahead of what I initially planned to be by the end of this week. I have begun sampling some trimmings for the decoration and will show these to Mark this week for his approval. 

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Change in Workplan

Gemma and I decided that we would focus on our skirts this week, as we already had a pattern for the bodice but not for the skirt. However, we were also concerned about having two garments to work on alongside each other and decided that we would dedicate a whole week to getting as much of the bodice complete as possible. We hope to start the decoration in this week as well but I haven't altered this in my workplan yet because we aren't sure how long the construction is going to take.

I had allocated three days to construct the toile of my skirt, when I only needed two and on the third day I draped my actual skirt so I have altered this on my work plan.

Week 3 is now being dedicated to the construction of the bodice. We hope to get as far as possible with this process, possibly even to decoration stage if we can. I have also changed my mind in regards to the skirt. Initially, I planned to decorate the skirt and then add the waistband and placket but I have realised that it will be much easier to finish these parts of the skirt first so I have altered this in my work plan as well. 

I have allocated extra time in the 6th week to decorate the bodice but this could change depending on how far we get with the process next week. 

[jemmarowland]

Skirt Construction Continued

Above are images of my final draped skirt. Initially, I planned to transfer the pleats from the toile when the fabric was flat but this didn't work as well as I had planned. I decided that the skirt needed an extra pleat at the front and, in the end, I realised that trying to do this flat would take too long so I ended up re-draping it onto the mannequin. This was a little frustrating because I had already draped it twice, but the practice was also beneficial and I am pleased with how it now looks.

The next step will be to add a waistband and placket before starting the decoration. 

[jemmarowland]

Skirt Construction

I began constructing the skirt on Wednesday (23rd) and continued today. I decided to initially drape the skirt in calico rather than going straight onto the main fabric. I decided that i needed more experience in draping before I could do this straight away and didn't quite feel confident enough yet.

Below are the panniers and petticoat that we were required to drape over in order for the shape to be accurate. 

Front View - After speaking to a tutor, it was agreed that another pleat needed to be added at the front to allow it to drape better and so that the flat piece at the front was not so large.

Side View - 

Back View - On my first attempt at draping this, I did not have enough fabric for seam allowance on the CB so I had to redrape it so that the pleats were not quite so deep. I didn't want to add any extra fabric because I was already using 5metres of calico and we had only been provided with 6metres of our actual fabric. This needs to be used for decoration as well so I want as much as possible to be able to do this effectively.

After having draped the skirt in calico, I now need to transfer this to the top fabric. However, I have decided that I need to add another pleat to the CF panel so I will need to work out how to do this without losing the rest of the pleats. I will mark up the pleats as they are and then press the calico before lying it over the top fabric to transfer the pattern.

I enjoyed draping this skirt and, although it did take longer than I had anticipated, I am happy with the outcome and did not find it too challenging. However, I have draped it so the pleats are all pointing towards the CF, a technique I was not familiar with before and I did find this a little strange. After having looked at the sample skirt sent to us though, I decided that I would do the pleats this way because that is how they have created them on the sample. After having draped the skirt this way, I think it looks effective and it helps the fabric to drape well over the panniers at the sides. 

[jemmarowland]

Decorative Skirt Research

Below are a collection of images collected to use as reference for my decorative Georgian skirt. I found it difficult to find research into decorative skirts because they are worn underneath large gowns, meaning that finding an image of an entire skirt proved almost impossible. However, I have managed to find some references that will help me to create what The National Theatre have asked for.

Here are a selection of techniques that would have been used for 18th century decoration. I will, of course, have to sample before I can create the decoration but I really like the scalloped technique. I think that fraying the edges may prove too difficult because the fabric does not fray in a decorative way and the threads then do not match the colour of the fabric.

Hunnisett, J. (1988) Period Costume for Stage and Screen: Patterns for Women’s Dress 1800-1909

Below is an example of how the underskirt would sit on top of an overgown and how much would be seen. This shows why the majority of the decoration should be on the CF panel. This is also a useful image because it gives a better idea of the placement for decoration. 

Hunnisett, J. (1988) Period Costume for Stage and Screen: Patterns for Women’s Dress 1800-1909

The following images can be found pinned to my pinterest board: 

http://www.pinterest.com/jemmarowland/independent-project/

This dress has a heavily decorated underskirt, with a lot of the CF on show. This is an example of the type of dress my skirt would be worn under so it is useful to see how much will actually be seen. 

Here is another heavily embellished underskirt. The decoration is symmetrical and looks very effective. It has also been achieved by manipulating the skirt fabric into ruffles and other shapes. A braid trimming has also been used. This is how we have been asked to decorate our skirts so it is useful to see how it has been done in the past.

This illustration shows how ruffles are used on underskirts to make the garment look 'over the top'. Decoration like this would have to go all the way around the skirt, however, and I don't know if i will have enough left over fabric for that. 

The below image does not have an overly decorative skirt but the over dress is a polonaise gown and The National Theatre suggested that our skirts would be worn under such garments. It is therefore useful to see how much of the underskirt can be seen, especially with the overskirt being tucked up around the back. This therefore gives us more fabric to decorate on and means our designs could be more intricate.

These images, along with further research on my pinterest board, will help me to both drape and decorate my Georgian skirt. I have found it useful to see how much of the skirt is seen over different styles of overgown and how decorative the historical gowns have been.

I now need to drape my skirt on a mannequin, over the panniers and petticoat provided by The National Theatre. However, before I begin decoration, I plan to sample different techniques before i decide what the final skirt will look like.

[jemmarowland]

Bodice Research

Below are some reference images that I have gathered to use as inspiration for the 19th century ballgown bodice.

This is image is useful because the bodice appears to have a pleated bertha around the top, a feature that our bodice is going to have. It is interesting to see how far it has been placed off the shoulder and the scale of it. The sleeves on this image, however, are a little too big for what Gemma and I will be making, although the layered effect could still be useful.

Arnold, J. (1977) Patterns of Fashion 2

This image shows a bodice from the middle of the century, with a frilled bertha. This could be use a reference because we have been supplied lace by The National Theatre to use as decoration and it could be positioned as a trimming for each pleat.

This bodice has a much more simple design and the bertha is simply pleated with no other decoration. This will be useful because, although we have been asked to decorate the bodice, it clearly shows the basic structure of the bodice and where the bertha is positioned. Therefore, this image will be very useful as inspiration for our own garment.

Hunnisett, J. (1988) Period Costume for Stage and Screen: Patterns for Women's Dress 1800-1909.

The following images can all be found on my pinterest board, as I felt this was the most effective way of compiling my internet images in order to keep them in one place.

Available from: 

http://www.pinterest.com/jemmarowland/independent-project/ 

This image shows a bodice with frilled bertha decoration and matching sleeves. This is a good reference because it shows how the decoration can be applied. 

Below is an image of two ladies in 19th century ballgowns. While it is useful in terms of decoration, the reliability of it can be questioned because it is a drawing and not a photograph or historical image. Having spoken to the National Theatre, I am now more aware that these types of references are not always the most appropriate.

This image shows a simple, undecorated ball gown. The bertha design is useful and the simplicity of the bertha and the petite, frilled sleeves together add to the elegance of the garment.

This is the back view of a 19th century bodice. This is useful because it shows what the bertha could look like from behind, especially as it is a much shallower curve and does not go down as low as the front would.

These images will help Gemma and I to create a bodice that will be both historically acceptable and within the guidelines provided by The National Theatre.

The next step with the bodice will be to begin construction and then come up with a combined idea of what we would like the decoration to be like.

[jemmarowland]

Weekly Reflection

WEEK ONE

This first week has really inspired me to get started. The initial briefing was exciting but I did become confused as to what I was supposed to be making later on in the week. I was concerned that the decorative skirt was a much smaller task than we had first anticipated and that it was not really going to be very difficult. However, after discussing it with the National Theatre, i am happy that it will definitely be enough work. Not only this, but it will challenge me a lot, something I am looking forward to. I am slightly concerned about the time we have to complete this project, especially as it is the shortest time frame we have had to date. However, I am confident that if I stick to my work plan, I will be able to finish the project in the appropriate time. As of yet, i have not had to make any alterations to my work plan.

The trip to the National Theatre was extremely beneficial, not only to this project but for future ones as well. Some of the advice was very useful, for example, they informed me that the best references are images of real garments, meaning sketches and drawings are mostly someone else's opinion of what historical fashions were. This was something that I had never thought about before and it will be something that I use in the future. It was also very useful to talk to the people who worked there and it gave me a much clearer insight into the industry. I think it will help me a lot in terms of making something technically accurate and to the client's requirements. 

I think that I now need to carry on researching so that I have a solid idea in mind of what I need to be making. This should be done before Wednesday, when i will be beginning to construct my garments. This is important because it will allow me to make sure I am doing things historically accurately, especially in terms of the skirt.

[jemmarowland]

Fabrics

Here is the fabric that has been supplied for the ballgown. As i will not be making the accompanying skirt, I will only be using bits of these fabrics. For example, the main part of the bodice will be made from the brown taffeta (sample 1) and so will the bertha. The rose fabric will be used for trims and for covering the top of the bodice. The bottom three samples are a variety of trims that we will use to decorate the bodice. 

Here is the fabric that has been supplied for the Georgian decorative skirt. Most of the decoration will be made from the main skirt fabric, but manipulated into pleats and other embellishing techniques. However, the National Theatre have included some bronze/copper coloured braid that can be used as part of the decoration.

After seeing these fabrics, I am excited to get started!