The inspiration for the desire to learn Dior Underpinnings came from Couture Sewing by Claire Schaeffer. Some photos from the book are below, to show what I mean by the underpinnings of couture dresses, which techniques are still used today, if you wonder how your favourite celebrities look so fab on the Red Carpet; it's all in what's going on under that marvelous gown:
The first thing to do was to Plan. I found this lovely brocade online from Joann's. I had been looking for something pretty but with gravitas, as befits an afternoon dress, suitable for weddings, christenings, tea with the Queen....
Now that I had the fabric, it was time to do a rendering. Some changes I made from the pattern include the skirt being slightly longer (a personal preference) and fuller than 1947, so using a whole width for the skirt front and back, pleating instead of gathering the heavier fabric.
And, as a final prep before any fabric was cut, measuring self and transferring the adjustments to Lucinda, my dress form:
Then, off to the fabric shop I went, in search of stuffs for the corselet and petticoat. I knew that I wanted the petticoat to have a crinoline layer (the utility fabric used for stiffening curtain pleating and for millinery) in addition to all that net, as well as a muslin under layer, so it was not scratchy (the bane of my childhood at Christmas, Easter, and Important Occasions.) The proper fabric for the corselet is English cotton net, but I got mosquito netting instead, because it was available. Am I a complete purist? No. I also got some marvelous soft fold-over elastic for the top of the corselet to snug it to the body, zips (one for the underpinning and one for the dress), and miles of twill tape and bias binding. Here is the haul:
Next up: measuring and cutting the mock up (muslin, toile, etc.) of the corselet in a similar fabric to the final item (in this case, leftover cotton knit). Join us in Part Two!
