eMMB,

Thank you for your compliment. I started sewing the ribbon across the cut of organza the end of April, 2011. I didn't clock how many hours total, but I spent May and into June bit-by-bit covering enough of the fabric until I had the amount needed to cut the dress. I then assembled the bodice pieces.

After returning from travel all of July, I cut and joined the skirt pieces, carefully matching the convergence at center front to get the perfect alignment between the right and left sides. I assembled and finished the dress over a couple weeks' time in August.

Hello Linda and thank you for your compliment.

I have actually worn this blouse with the short brocade skirt you see in this ensemble I posted:

http://www.threadsmagazine.com/item/15968/mixed-media-ensemble

I have also worn it with a long, black wool flannel skirt (from a 1945 Vogue pattern) that is gathered in the back to resemble a small bustle.
So, the blouse is versatile in regard to wearing it with several skirt lengths.

Kate_W, I wore this last fall to the Annual Ghost Tour at our local Citizen's Cemetery, it was something of a party!

Jackie, I did not make the headpiece. I have since worn it with a simple crescent of black velvet berries and a hairstyle à la 1887 with some black diamond veiling over my face.
I have updated the photo on this post as such.

Thank you Ellie!

Thank you goin_sewin.

Nice to see you post about a retrospective feature such as this, Threads. Thank you, Stephani

moushka,

The original gown was sewn in the same manner-ribbon stitched upon fabric first, then cut out. The difference is that a few strips of ribbon were applied after all construction stitching was complete, such as along the joining of the bodice/skirt and the strips over the shoulders. Thank you for your comments!

Too cute-love the fabric!

I like the print of the fabric very much and it makes a great effect with this double-breasted style, but is there a reason why you cut the print unevenly on the jacket fronts and back?

Thank you for the compliment eMMb, I did not 'clock' the entire project as it were, but I can tell you that placing and sewing each strip of ribbon on the organza took 10 minutes.

I used almost 250 yards of 7/8" rayon/cotton millinery petersham from JudithM.com and 5-1/2 yards of 45" net organza from ThaiSilks.com.

Thank you for your quick comment, Sewista!

Love it! The color is wonderful-just loaded with all kinds of impact. It must be not unlike wearing a tasty confection of sorts...

Learning more about tailoring Victorian menswear will help me when drafting patterns of just about any kind. Also, having the knowledge will assist me when bulding any kind of garment, be it contemporary or from any passed era for men or women!

Wow, I am with NoraBora and MMCM.

I very much like your use of the lace and color contrast for the train. Also, the restrained use of contrast in embellishment - very well done!

Apparently, common sense and taste was OUT this year in Golden Globe fashions. I have seen enough to inspire me to sew something at least TASTEFUL!!

Out of the lot, I feel Jennifer Lawrence really didn't do too badly. I rather like the gradient result due to the texture throughout her gown. Milla Jovovich was ravishing in her draped frock as well.

Anne Hathaway looked nice and I understand the demure nature of her backless gown a la 1930's, but not sure the puff sleeve style was 'today' enough to go over better.

Michelle Williams gets the most unflattering 'gown' award, indeed.

Angelina Jolie=way off in wearing that green monster.

Robyn, I will like to keep pusing those wool flannel lace studies to create a great skirt someday-just have to figure out how to gain access to the equpiment someplace...

Delightful!

Hello,

I will not wear a headpiece, but I do have the perfect masquerade mask to wear.
I am putting finishing touches on the gloves now and will have photos made in its entirey on me at this weekend's festivities!

I like the results I have gotten when staying with silk organza because it is so low-bulk, especially after being washed for use under lighter fabrics.

I have even used it to stay fabric where I sew zippers in.

While I have not used bias insets, I have long used double bias binding as my signature way of detailing the bottom edges of skirts, flounces, jackets and sleeves.
I have also used the double bias binding to make extra length in skirts and sleeves.
Thank you, Louise. Your presentation here also lends to a marvelous detailing opportunity I certainly will like to try in future.

Here is a link to my blog post on laser cutting wool flannel:

http://evadress.blogspot.com/2008/05/wool-flannel-lace-why-not.html

I don't watch the show, but I love Casanova's lace entry above...the classiest.

Happy to say I am in the throes of ONE of my projects I ahve dreamt of for YEARS-an 1887 French Bat Costume complete with silk bat wings, corset and flounced skirt over a hoop skirt and bustle pad!

Have most everything to do it (have yet to draft the fichu and skirt polonaise) but, just need more time in which to put it together (always the problem, n'est pas?!)

Wonderful print and I LOVE this print!!!

tracytammaro, I do hope to get around the U.S. to teach perhaps starting with the 2010 ASDP conference.
I also plan to attend the Artwear Symposium at the Textile Center of Minnesota this June 2-8. Perhaps I could arrange something to do for that event in 2011.

Thank you for the compliments, Katielynne.
The metal content (I believe it to be nickel) lends this organza a unique stability.
The metal was definitely a plus in combination with the crinkle texture when narrow hemming.
Also, the manufacturer of the fabric cannot guarantee any cleaning recommendations which is why I reserve this fabric for designs which are cut away from areas most likely to soil such as the underarm - a factor which lent yet another level of challenge!

I am shocked! Thank you, THREADS Magazine for inviting us all to submit projects for this challenge!

Not sure if this is allowed, but I will give it a shot: I hope these photos of my submission will earn my photographer recognition so she may embark on the photographic career she wants and deserves!

I LOVE the colors and textures of this!!

As a matter of fact, I had been thinking about Charles the two days I spent building my 'Scintillating' gown. I was hoping he might see it.

I was honored to have one of my clients bring him to my dressmaking shop here in Columbus 4 years ago and I since talked with him at The Columbus Museum of Art where he had been curating.

I meant to look him up again not long ago and now am sorry I hadn't.

The sewing world is a lesser place without him and his positive attitude. 'Good things' he would say to me on the phone at the end of our conversation.

I always felt that if I were pre-20th century, I would fit best in the Natural form catagory for the 'scandlously' close fit and somewhat 'free' form.
Your detail on these pieces is stunning for having used contemporary tools and techniques.
I love how the skirt is tied. I am inspired to get the muslin for my 1877 project out and finally make a completed garment from it, thank you!

Of course, VintageModiste is right! I just pulled my old zig-zag attachement out and it is very similar-shows how often I use that one, ha!

I love using my circa 1889 1/2" narrow hemming foot the most for the wonderful effect it produces on silk skirt hems and flounces of all kinds!

Resembles more of a ruffling attachment, to me.