The Mina

I have finally got really sewing again. Many reasons why I didn’t, but I am testing various therapy for fibro so have a few temporary options for pain. The daily stuff hasn’t really seemed to help for a full day.

Anyway. So I have been putting some of what I know works for me in other costumes to the test with The Mina and it’s working. It’s also offering a way for me to explain how my Northern Renaissance patterns work as they use the same basic engineering. The trick to shape is in specific curves.

The front of my bodice shows how the gussets are able to give a really crisp definition to under bust and hips while being very flat on the CF line.

The side view shows how the bodice basically has the straight of grain from shoulder down side and then is perpendicular to the waist. This is the same principle I use for my earlier patterns. 

Here though I have to use gussets over the bust for the idealised figure of the original. In the earlier patterns I just use the bias of the grain in the bust area to create support (not possible to mimic with a rigid mannequin though.) The key thing is that essentially the foundation is very stable vertical through the side and as far up from the waist as possible then allow ease over the bust. Some styles have that change a little further down some higher up (sort of starts very high in the lat 15thC then drops a bit and gets higher and flatter with the influence of Spanish style all over Europe.)

The back also shows some of my stabilising efforts. The V neck is prone to bagging both front and back so I’ll be using some stay tape along the edge later.

The hip gusset like the front one allows for the hip to hopefully be directed to the side rather than squished in.

This V shape of stitching follows some of the shapes seen in gusseted corsets especially. But as this is a bodice I was able to put in an angled side back seam to help smooth that out.

So speaking of smoothing out one of the dressmaking books I looked at again recently shows what I mean about how historical shaping is not just about the initial pattern being very different but the methods of fitting are also different. The post is here. Go straight to the book here (The elements of modern dressmaking for the amateur and professional dressmaker
by Davis, Jeanette E; Holahan, Cora M., ed, Publication date 1894)

1 to 1, 2 to 2, 3 to 3, Stretching for the hollows of the figure ; 5 to 5, Crossboning; 4 to 4, Extra bone in front.

I’m basically using the lines 3 and 4 to keep my fabric straight and thus most supportive. I will be using the methods of putting in vertical darts in the shell.

Here is the illustration showing where to add padding into that hollow for two variations (f for fuller, h for hollower). Also the darts at B and C are for lining fabrics only- this is likely that lining fabrics can’t be eased as easily as shell.

Amazon references

Been fighting a few updating issues with my PC so getting to my blog has been a struggle for about a week. In that time I’ve been trying to grab all the amazonian behind the scenes of Wonder Woman as the costumes really fascinate me! There is not only a clear aesthetic but there seem to be rules about what can be mixed and matched.

I just need a good connection again to be able to get all those references in one place.

In the meantime I have two places for putting the images in easy to find locations:

(I’m sorry for anyone who doesn’t have a pinterest account)

And specifically on The Replica Prop Forum
Home DC Costumes and Props > Wonder Woman= Amazons of all kinds > Wonder Woman= Amazons of all kinds

So far spotted three kinds of chestplate, three kinds of torso support, one kind of skirt, two groin plate patterns. On top of the totally different Queen’s Guard.

Now that my connection seems a little better (woo) I’ll see if I can sort them out.

Padme Progress

Taken from instagram posts 🙂

The bodice- so many gathers! It’s a mix of hand sewing and machining. Just need to add in the crossover support and then I can actually sew the hood and cape and sleeves in.

Skirt progress. Two hours for the gathers and beads, and yet I am keen to keep going today 🙂

 

can’t fit anything right now

I can’t fit as in the stage of the costume making process!

But I have all the boning channels in The Mina finally and and at least can start putting in grommets and know about how much I can take in the sides. I just can’t do so on me due to the rib. I may not be able to do anythng like it for a few weeks, maybe months depending on how long it takes to settle. I can’t even work out which rib is at issue as the whole region hurts. Oh no, found it. Just travels along the rib a fair way.

Anyway. But I did manage to transfer the marks to the leather as well. So if I have to leave The Mina on the stand for a while I do have that to work on tonight. Though honestly I hurt just too much. I do see a locum in the morning and I think it might be a little more than a case of asking how long to take to step down from the high dose of steroids and I think we may have to try for an xray. Pretty sure it’s just what I think but it may need looking into if I managed to really pop it out of place.

think things are sorted…

Only photos so far are of Ahsoka sitting nicely on my head next step it to decide if I want to make that rigid section permanent and how much shaped padding to put in. But having the support in place now means that I can actyally make that shaping 🙂

A post on different SFX techniques is needed I think..

But I found an older Mina bodice lining and I think I prefer it! Not as it is but umm.. I can put hip gores in just like with a set of stays so why wouldn’t that work???

And I also got ABS juice in my Leia molds! IT WORKS!!!! So far the back hip has been mostly cast and it is so light. A bit too light, I think the surface had enough dust that it got mixed in. That said this is definitely going to let me scan them to get them digitised 🙂 Now I just need to hunt down the missing collar piece. Very frustrating to have that missing.

 

And yes, the prednisode is making me feel freaking AMAZING right now. But it can only be temporary because of how it works. So much misinformation, I really want to do a post full of real research that shows what we actually experience.

whoops, fell into a research rabbit warren

In order to figure out history of the gown I wound up with dozens of reference notes about the production of garments and how there are multiple copies and why.

I still haven’t found the specific references I want (all secondary atm) but enough to feel confident in several statements made.

But there are some conflicting descriptions of materials, I have my suspicions about why so will also have to discuss those.

So yeah. I can now start the day and do things.

 

But I also will have my abs juice ready to go today and the latex work of yesterday will hopefully pay off today. Unless it didn’t adhere in what case I get to strip the base back and redo it. IsoPro does work but it is a PITA to time correctly. The latex needs to be clean and dry for the next layer of latex. But with a very damp climate there is a fine layer of moisture on anything outdoors- or in a room without insulation.

 

What else… Oh yes. I need to bleach my sateen panels for my 1870s gored stays. I worked out what I need vs the original pattern styles so will also see if I can make one in red sateen finally. I have tried to do this in the past and somehow wound up with stays too short.

What I need from stays is less about squish as it is about reducing stress on ribs. My current pain is a very good reminder! My ribs are very long, there is barely two fingerwidths distance at the side of my waist between ribs and pelvis. So this means if I want a wasp waist I either deal with ribs being heavily squished or I make it nip in only at that narrow point. Or I can avoid too much restriction and taper the stays to the waist then flare out over the hip.

This last one is what I find gives a shape that is both acceptable to a modern eye as well as historic. If I nip in only at the waisy it tends to make everything else seem disproportionate rather than drawing the line in.

So today will be spent cutting fabric and bleaching to have a summer and winter variation. There may even be enough silk satin left over, though that feels a bit extravagant!

 

why one must use all resources!

After removing all the dye from my Sunburst silk I had another look at the information available. I wanted to see what the silk would do as UV light worked on the last remaining colour remover molecules. before even thinking about dyeing it.

I can’t dye the skirt, it has already been fused to a cotton backing 🙂

And then promptly lost the exact quote I wanted. And just found it again. Anyway. There will be a references guide added to my site soon as a page, because I think it needs a little more formality than a blog post 🙂

I noticed also an historic homestead has started folloiwn on instagram so feel a tinybit of pressure to you know, include content they might be interested in!

And I have gone and cracked the cartilage in my ribcage. I am used to being able to sort of.. slip it- painful- but this was a little extra pressure on one point and so now it needs to repair. Luckily it is quite a sharp continuous pain- no I don’t like pain but as a warning, as a limitor it’s fine 🙂

And there is a steampunk event tomorrow. I really wanted to wear Mina, but I would have to spend all day on the bodice… hmm… but I cn’t really do any kind of corsetry until my rib heals. So no. I’ll wear something else 🙂

padme cutting

Finally got the last pieces of the bodice cut 🙂

This was exciting because yes it’s two layers even for these pieces- it looks really weird as a single layer.

But I knew there was some clever use of stretch and basically was able to show it 🙂

This is a piece from the left side.  The curve at the upper left is for the armscye, the gathers are directional to the bust point.

This is the actual shape.

This is what I love about garments like these, they require drafting and draping skills and to not just see fabric as something that is linear 🙂

 

sewing day

I wound up breaking out the overlocker all day instead of working on horns. Which was probably wise. The rain is still leaving everything damp so curing would be risky.

So I zipped around the edges of my Worth sunburst skirt (the satin is so perfectly buttery that it was just nice to do!) and used the drafted bodice pattern from the 1876 tool to trace a new pattern for my new Phantom wedding dress bodice. I did use the vintage organza after all so that leaves some of the crepe for a potential Moulin Rouge dress. If I ever find a trim that works!

So that was tracing and transferring the pattern to a layer of twill, a layer of calico, and a layer of organza then overlocking all the edges tidy.

And then finally I cut the trim for my Cleves sleeves having removed the colour from the silk. And that leaves some softer trim for the undersleeves.

 

And finally, my last cast from my Ahsoka molds finally worked!

welp I was wrong!

So after finding the short cuts to delete selections and delete inverted selection I did isolate my horns in ReMake and I did then manage to get them into Sculptris and have been smoothing and pinching and generally finding it really pleasant. Intuitive I think.

Just have to remember that there is a limited number of times you can undo!

 

 

The brush is also cool, I need to see if I can change the shape not just size but the pinching, crease, and smoothing tool have done so much already!

And yes, I am building this as a symmetric piece so it may need care when I print- but I am inflating the base so that should give enough room to put in a foam layer for comfort.