Jul 21, 2015
Tailored Waist coat and Jodhpurs for the AUB production of Once In a Lifetime Designed by Sophie James, directed by Ken Robertson.
Photograph credit Bill Bradshaw.
seen from Malaysia
seen from China
seen from Malaysia
seen from Mexico
seen from China
seen from United Kingdom
seen from United States
seen from United Kingdom
seen from Mexico
seen from Malaysia
seen from Paraguay
seen from United States
seen from Ireland
seen from Spain
seen from United States
seen from United States
seen from Malaysia
seen from France
seen from Malaysia
seen from Malaysia
Tailored Waist coat and Jodhpurs for the AUB production of Once In a Lifetime Designed by Sophie James, directed by Ken Robertson.
Photograph credit Bill Bradshaw.
19th Century corset. Undergarment for Vanity Fair.
Photography credit Margaret Maguire.
Dyed calico 19th century dress, chemisette and shawl for the AUB production of Vanity Fair. Designed by Frankee Walker, directed by Philip Dart.
Photograph credit Bill Bradshaw.
The Glass Slipper: Finished Garment
Here are some photos from filming and my own images after the dress was finished. Toile, two fittings, lots of decoration and three and a half weeks later, the dress was ready for filming!
Metalmorphosis
The piece is copper in colour: which represents ‘Cu’ the metallic element that is malleable to touch. The Multiple surfaces within the piece capture copper’s ability to be manipulated and show that it is product of metamorphosis, or in this case ‘Metalmorphosis.’
This garment has been shortlisted for the World of Wearble Arts Awards 2015 and has now been sent over to Nelson, New Zealand for another round of judging.
‘Metalmorphosis’
Spreading metres and metres of copper lame across the studio, prepping it to be sent off for pleating.
Spot welding the architectural crinoline together: using crinoline steel.
Fitting for the under-bust corset: choosing the shape and marking with pins.
Drafting the bodice on the stand over the under-bust corset.
Bodice/crop top and layer one of the pleated skirt coming together.
Applying the panels to the yoke over the bodice/crop top.
Button hole stitching around the corset eyelets for a unique finish with metallic copper thread.
Textiles/Fabric Manipulation ‘Metalmorphosis’
Here are a series of close ups of fabric manipulation techniques I used throughout the piece.
Two of my favourite fabric manipulation techniques are pleating and smocking. Here are close ups of the copper lame fabric and silk I used to represent the metal ‘copper’ to show the malleable properties of the metallic compound.
Independent Project - Ballet. Create a romantic tutu and bodice for a theoretical production of Giselle.