I created this piece in collaboration with designer Laruel Yau and the client as a project for the advanced costume construction course at UNC Chapel Hill. The educational goal was to learn the process of creating a strapless dress with a classical-style, interior, rigid structure. In addition, the client had a skeletal feature that caused torso asymmetry starting at the hip level. She desired a custom gown that would deemphasize this asymmetry.
I began production by flat-patterning the boned foundation. The initial pattern was based on the higher-hipped side of the client. During the first fitting, I altered the other side to fit the asymmetrically lower hip. Using this information, I was able to flat-pattern the dress onto muslin taking into account the asymmetry. I then draped these pieces over the foundation to create the flange and adjust style lines. I used this two-step patterning process as the dress form could not be padded to also account for the client’s anterior pelvic tilt. From this stage, I was able to use classical dressmaking techniques: I flat-lined the fashion fabric with silk organza, I created the hip flanges by quilting two layers of gazar over a curve, I bound the edges in French elastic and mulled the entire structure in ice wool, then I flat-lined the hip flanges with silk organza to create seam allowances. I assembled the body of the gown separately from the foundation then married them along the top edge the back closure, and at the hip flange attachment points. Finally, I dropped in the skirt lining. Overall, this production process taught me important tools for fitting a garment to unique bodies. I value this skill highly as I do not have to compromise the designer’s ideas for the comfort of the client.