I've finally joined the internet world of bloggers, and thought I'd start this off in style, by showing you all my major research project for 2010. I'm studying costume making at the National Institute of Dramatic Arts (though not for much longer), in Sydney, Australia. The task I was given was to research and make something from any aspect of costuming I was interested in...
The following blog entry is actually going to be my speech, interspersed with pictures from my slide show presentation!! Here goes:
"Given the opportunity to study any aspect of costuming I wanted to, I came to the conclusion I would create an outfit based on fashion seen in 1785, using modern techniques to recreate an historic silhouette. This was an era of change in politics, world views, and fashion. The French Revolution was merely a thought, and the British Prime Minister had decided to settle a new colony in Botany Bay.
I found a fantastic 18th century quote through my research on this project I would like to share with you: “What is fashion? Is it not a persuasion that nothing was ever right till the present moment, and that the present moment will immediately be as wrong as all its predecessors?” – H Walpole. I have found this to be as applicable today as it was back then- fashion is all about ‘now’, and appearing perfect in the moment. This quote has helped me appreciate the beauty in a silhouette that today is not deemed fashionable.
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| Marie Antoinette |
Marie Antoinette had been a leader in the fashion world since early in her reign. Throwing aside the responsibility and control enforced upon her at Versailles, late in her reign she spent a lot of time at a second residence, Petite Trianon. There, she enjoyed leisure time in the gardens and farm, and fashion changed to follow suit, becoming lighter in colour and texture. Similarly, Lady Georgiana Devonshire led the fashion trends through England, though with a more political agenda pushing her.
1785 has been credited with the beginnings of the French Revolution, through the theft of a diamond necklace and public trial involving the French royal family. With much instability through France, the upper classes were trying to conceal their wealth rather than display it on their clothing. More demure colours and fabrics became the norm as the century wore on.
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| Great Coat |
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| Redingote |
Originating as a ‘Great Coat’ or ‘Riding Dress’ in England, the Redingote jacket initially buttoned closed the whole way from top to bottom, and was worn when horse riding. This style was quickly adapted by the French, turning into a style either worn with a matching waistcoat/stomacher underneath an open jacket, or a double breasted jacket with a cut away skirt. Both were worn over light coloured full skirts, and traditionally would be a contrasting colour.
Popular materials of the time included muslin, cambric, velvet, wool, gauze, satin, brocade, lace, calico, lawn, and dimity, with popular patterns such as bow and arrow, garland of flowers, doves, ribbon and bow woven into or printed onto the fabrics. England and France had both lifted the ban on production, sale, or importation of cotton within the previous generation, and as such, large quantities of fabric could be purchased by all people not only the upper class, and at cheaper prices than ever before due to being manufactured locally. Ostrich feathers were still worn in the hair and on hats along with ribbons, or a small amount of flowers. Faces and hairstyles were no longer powdered white but left to a more natural colour.
“Ladies are better dressed today than they have ever been before in a style that combines lightness, freshness, and decadency... they take colours from the flowers, changing only with the season” (1783) Anonymous. Straw colours, soft pinks, white and red stripes, lavender, and apple green were frequently seen in day and evening dresses alike.
To add a personal aspect to the costume I was creating, I looked into my family history. As it turns out, Castle Howard, in Yorkshire England, was ‘nearly passed down the Newbury line’. There was a minor detail of an illegitimate child that threw things out of whack for us all. So in choosing a character and occasion for my costume, I looked into events happening in Castle Howard in the mid 1780s, and what kind of lifestyle the Howards led. This gave me a base for deciding on fabrics, colours, textures, and justification for all my decisions along the way. Who better to model a costume based on my ancestors’ lifestyle than a living descendent – my sister, Emily.
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| Castle Howard |
The costume consists of many layers. To tell you about them, I chose to adopt the persona of a maid in the Howard household, recounting what goes on underneath and behind the scenes. Please allow the artistic license taken.
Dear Diary
Saturday June 4, 1785.
Today was such a big day. My mistress, Lady Emily, hosted her garden party. The planning began for this event 8 months ago, when it was mentioned that the Great Lake would be finished in time for the summer season, and the Lady was determined to show it off in style.
After an early lunch I dressed Lady Emily. This began with a chemise of fine linen with lace edge detail, stockings to above the knee, and embroidered satin shoes with a small heel. Since walking has become a popular pastime, Lady Emily has been spending more money on shoes than ever before – insisting that the just because they are practical, doesn’t mean they can’t look beautiful.
The next layer is the usual corset pulled especially tight, giving a round bosom and tight waist, followed by a padded ‘bum roll’ behind.
For fullness in her figure, the next two layers are simply cotton petticoats, the first quilted and pleated, the second a single layer gathered. Following this is finally a garment we can appreciate for its handiwork, and it stays visible! The top layer of skirt, tightly gathered at the waist, has a beautiful hand sewn lace detail the whole way around the 9m hem. Luckily for Lady Emily, it brings a suitable weight, as otherwise the material is light enough to simply float away in the breeze and she would have to spend her entire party straightening the hem of her skirt.
At this point, we stopped dressing, to be able to style her hair accordingly. A new straw hat had been commissioned for the occasion, again following fashion leaders Marie Antoinette, and Lady Georgiana ’s example to include ostrich feathers. It is very important to make sure the hair and hat sit perfectly and securely for an outdoor party – the last thing we want is a hat being blown away; or hair falling across her face. The fashion of powdering both face and hairstyle has passed, which in my humble opinion suits Lady Emily quite well – having a strong coloured hair highlights the pale delicate nature of her skin, rather than washing it out with a paler hair colour.
The last layer of clothing to be put on is the redingote jacket, buttoning at the front and the sleeves. It is a new style of fashion, one I hear is based originally on a riding coat. No horse riding for Lady Emily in this one though – made from such a fine silk bought over 2000km away, I would protest greatly if she tried anything of the sort. It is a much more practical garment than the earlier styles of fashion – no turning sideways to get through doors, no difficulty in having a close, private conversation with a trusted friend, but unfortunately, still a difficulty in a busy room with such a long train.
Without any further delay, may I present, Lady Emily.
Finally, I would like to thank Fiona, Annette, Sheryl, Cheryl, Kerry, Rosie, Jean, Tony and Marcia for passing on many skills and encouraging words to me over the last 2 and a half years bringing me to a place where I felt I could take on a sewing project like this, with no direct brief or driving force to please other than my own limitations."
The final few photos were taken 24 hours after my presentation, and will soon be appearing in my portfolio, along with images of all my other work created while at NIDA.
