AMANDA NICHOLS – 2015 Churchill Fellow the Gilbert Spottiswood

THE WINSTON CHURCHILL MEMORIAL TRUST OF AUSTRALIA

Report by – AMANDA NICHOLS – 2015 Churchill Fellow

The Gilbert Spottiswood Fellowship to develop expertise in the traditional and current practices of corsetry and couture womenswear.

I understand that the Churchill Trust may publish this report, either in hard copy or on the internet or both, and consent to such publication.

I indemnify the Churchill Trust against any loss, cost or damages it may suffer arising out of any claim or proceedings made against the trust in respect of or arising out of the publication of any report submitted to the trust and which the trust places on a website for access over the internet.

I also warrant that my final report is original and does not infringe the copyright of any person, or contain anything which is, or the incorporation of which into the final report is, actionable for defamation, a breach of any privacy law or obligation, breach of confidence, contempt of court, passing-off or contravention of any other private right or of any law.

Signed Dated

INDEX PAGE No.

Introduction 3

Executive Summary 4

Programme 5-6

Central Saint Martins Master Class 7-16

V&A Archival Research 17- 54

L’Ecole du Corset Master Class 55- 62

Atelier Caraco Skill Share 63- 66

Aamir Beading 67-68

Conclusions & Recommendations 69

INTRODUCTION:

In 2005 I graduated from the specialised Costume Bachelor degree at the National Institute of Dramatic Art. This particular degree is focused on the construction of costumes as opposed to design. The major focus of the syllabus is period costume cutting ranging from 1860-1940.

The course at NIDA is thorough and prepares the students to enter the costume industry with confidence as a costume maker.

I was fortunate enough to start my career in the industry working with Costume designer Catherine Martin on the film ‘Australia’, alongside one of my lecturers from NIDA who generously shared her skills and knowledge with me and within that year of working on Australia I perfected my practice in couture costume construction.

It was during ‘Australia’ I realised I wanted to be a costume pattern cutter for film and so focussed the following ten years on successfully achieving this goal.

However, due to the nature of the Australian film, television and theatre industry I found that over those following ten years wardrobe departments would become smaller and often only required one costume cutter and one sewer per production. Whilst this allows a wonderful opportunity for great self teaching I have concluded over those years at the beginning of ones career is an important time to have support and mentorship in order to develop the skills further.

I did investigate post-graduate study within Australia in my particular field, however it does not exist as yet, and after speaking to fellow cutters far more advanced in their careers than myself, the conclusion was that at some point they began the self teaching process I have earlier explained.

Therefore I decided a study program with three components that would be beneficial in furthering my particular area of interest of couture women’s wear and corsetry.

• Examining Couture collections within International museum collections. • Undertaking master classes with leaders in the field of pattern cutting and corsetry. • Skill sharing construction techniques within specialised couture workrooms.

The Winston Churchill Fellowship along with the Gilbert Spottiswood fellowship has provided me with an invaluable opportunity at an early and important stage in my career to examine my own practice, undertake specialised learning and research and to share and view couture collections and the trade of couture practitioners internationally.

My Project took me to the UK, France, Spain, Netherlands, Italy, India and Japan.

I am extremely grateful to the Churchill Trust for this incredibly unique experience I would not have otherwise had the opportunity to undertake.

The new colleagues I have formed professional relationships with and exchange of good will in a highly specialised industry are invaluable.

I have also had great support from a number of my colleagues in theatre, film, television and fashion industries in Australia who have encouraged me in pursuit of my career and this particular project.

EXECUTIVE SUMMARY:

Amanda Nichols. Costume Pattern Cutter & Maker for Film, TV & Theatre. 5/125 Ocean Street, Edgecliff, NSW, 2027 Tel: +61 431 826 080 www.mandynichols.com

Project Description: As a relatively young costume cutter/ maker I have gained significant experience and teachings from my more experiences colleagues who have shared their knowledge and skills with me.

However, my most recent positions have been within very small costume departments where I have found myself as the only costume cutter in a workroom. It is the relationship & conversation with more experienced colleagues I have missed on these projects and in particular the shared knowledge and techniques, which have helped me in advancing my skills and career.

Having trained in a very traditional manner I decided to focus my fellowship on a number of small projects within the time frame given, these were the Highlights and included:

• Attending master classes in pattern cutting from a less traditional perspective and a more experimental approach. • Corsetry cutting and construction master classes, as underpinnings are essential in creating silhouettes required in film & theatre as well as couture fashion. • Archival research at the V&A museum and Balenciaga Museum to view the cut and construction methods used from 1947 to present day, as these are the techniques and period most common in the projects I have been involved in. • Skill sharing in a couture atelier in Paris, working on the spring/summer couture collections. An incredibly busy and pressurized time of year. • Beading & embroidery techniques in a fifth generation beading house in India, which is now being used by the majority of large fashion houses in the world and also works on Opera, film and ballet productions internationally. • Avant-Garde pattern cutting techniques in Japanese fashion.

Major Lessons & Conclusions: • As a relatively young cutter in the film and theatre industry, I have a renewed joy for my craft, however I have also developed a great passion for couture fashion. As opportunities within film and theatre in Australia are in decline, I will retain and developing my relationships I have made during my fellowship and continuing further study and development of skills within the field of fashion both abroad and in Australia and the sharing of these skills with fellow colleagues. • Skill sharing with other passionate pattern cutters and sewers is a rich & fulfilling experience of which I have gained a deeper knowledge of my trade along with new international colleagues I will remain in contact with throughout my career and continue the dialogue I have begun abroad with colleagues in Australia. • I now have a broader framework in the way I will approach projects with regard to conventional pattern-cutting through the avant-garde techniques I investigated at Central saint Martins and continue to develop & share within my career in Australia. • I believe conventional pattern cutting is important knowledge and a starting point in producing garments, however, according to the garment to be achieved, there are a number of techniques to obtain the end result. These approaches to creating the architecture for the body can be combined, or one particular technique may be specific enough and understood by the individual cutter. • Examining garments in collections in order to gain insight and use, as reference is an invaluable tool and an enjoyable process I will adopt in the future and through my blog and conversations with colleagues I will urge others to seek out these archives as a point of reference.

4 • Despite language barriers, the art of cutting and constructing garments is an international language easily understood by skilled practitioners.

PROGRAMME:

Victoria and Albert Museum Archives, London, England- Two Weeks examining and documenting a range couture garments beginning with the Christian Dior Bar suit of 1947 through to garments from Alexander McQueen’s final 2011 Collection.

Central saint Martins College of Fashion, London, England- One week master class focused on Experimental and Avant-garde pattern cutting for couture fashion.

Cristobal Balenciaga museum, Getaria, Spain- Two days examining & documenting the largest collection of Balenciaga in Europe at the museum situated in the birthplace of the couturier.

L’ecole du Corset, Paris, France- Three weeks one on one master class focusing on pattern cutting and construction of corsets using traditional and contemporary techniques and materials with Principal Beatrice Moreau.

Atelier Caraco, Paris, France- Three weeks skill share via cutting and constructing the Couture collections for Schiaparelli and Givenchy in a typical French couture atelier.

During my stay in Paris I also connected with a number of fabric and haberdashery suppliers to the Couture industry including: • Sophie Hallette, 3 Rue Saint Fiacre, 75002. Great for fabrics especially laces and tulles. • Siegel and Stockman mannequins, 4 Rue Aleandre, Gennevilliers, 92230. • Shindo Accessories, 2 Rue d’Aboukir, 75002. Excellent ribbons, tapes and trimmings. • Socolatex, 12 Rue Boug l’Abbe, 75003. Suppliers for all materials required for corsetry.

Aamir Beading, Mumbai, India- Three days observing the work of fifth generation beader's and examining the archival collection the company has created through their work in the couture industry.

Tokyo, Japan- One week examining the current collections of avant-garde Japanese Fashion including Commes des Garcons, Junya Watanabe and Yohji Yamomoto.

During my fellowship I travelled to a number of European cities to visit Couture Fashion workrooms as well as museum collections of both Fashion and Art and Design. These included:

England- Vivienne Westwood Couture Studio, London National Portrait Gallery, London National Gallery, London Costume Museum, Bath Saatchi Contemporary Art Gallery, London Victoria & Albert Museum, London

Amsterdam, Netherlands- Museum of bags and Purses The Rijksmuseum Stedelijk Museum Van Gogh Museum

France-

5 Christian Dior Garden & Museum, Granville, Normandy, France Musee Galleria, Paris Musee De La Mode et du Textile, Paris Versailles Palaces and Gardens Foundation Louis Vuitton, Paris Musee d’Orsay, Paris Les Arts Decoratifs, Paris Musee du Louvre, Paris Musee du Petit Palace, Paris Palais de Tokyo, Paris Centre Pompidou, Paris

Italy- Salvatore Ferragamo archives & Museum, Florence Gucci Museum and Collection, Florence Uffizi Gallery, Florence Pitti Palace & Boboli Gardens, Florence Fortuny Museum, Venice

FELLOWSHIP REPORT:

I have broken the main body of the report into the key components/ projects within my fellowship. These were the master class I attended at Central saint Martins, the examination of garments undertaken at the victoria and Albert museum archives, the one on one master classes at L’ecole du Corset in Paris and skill sharing at Atelier Caraco and working on the Couture collections of Schiaparelli and Givenchy in Paris. I have also included my observations of the fifth generation beading and embroidery company, Aamir beading, based in Mumbai, India.

Master class in Avant-garde and Experimental Cutting techniques At Central Saint Martins, London, England.

The master class examined four particular cutting techniques of which I have detailed each below individually coupled with photographs of the process.

Contour and 3D experimental cutting @ Central Saint Martins.

During my study at Central Saint Martin's my eyes have been opened to new ways of making patterns and methods to solving complicated shapes in garment making.

The first method examined is relatively simple, straightforward and the results were outstanding. The method is excellent for creating a very close fitting garment, i.e.; a corset or fitted bodice as well as exploring the possibilities of adding three dimensional shapes to the garment. To start the process of the fitted bodice we wrap the dressmakers stand in tissue paper and masking tape tightly around the figure, much like a mummie.

Once the stand is wrapped in the masking tape and no tissue paper is showing through we mark our center front and center back lines. I also decided to mark the bust point, waist and hip line to help with the sense of proportion.

The design lines are then marked onto the masking tape bodice in much the same way as if you were plotting design lines on a flat pattern, obviously taking into account the bust and waist shaping where fitting occurs.

After the design lines are established and the pattern is notched the center front and center back lines are sliced through with scissors in order to remove the masking tape bodice from the stand. The form retains its shape when removed from the stand. From here pattern pieces are created in the same manner as if you were to drape the garment. Marking in balance points, making sure all measurements are accurate and refining the design lines.

To take this process one step further we investigated the option of creating three-dimensional shapes integrated into the garment. A simple way to demonstrate this is with a small cardboard box. We simple masking tape the box to the masking taped bodice and integrate the pattern making for this into the process once removed from the stand. By this I mean determining where seams should be placed for the cleanest and most simple construction of the box shape.

This method of pattern cutting is relatively fast and simple, especially if a three-dimensional shape is required. A great example of the use of this method is the image demonstrating the construction of a square cut shoulder. In order to achieve this structured shoulder we simply taped a box to the shoulder, integrating the shape into the cut of the bodice.

Details of Contour & 3D cutting at Central saint Martins.

Construction details using existing 3D shapes in contour cutting.

9 Experimental cutting with circles at Central Saint Martins & Dover Street Market.

Whilst studying at Central Saint Martin's our class was encouraged to think outside the box of conventional cutting techniques and shapes. Exciting and terrifying at the same time as the possibilities and outcomes of this thinking and process are endless. I expressed to Jill Entwistle, our wonderful tutor, that having come from a traditional cutting background I could now empathize with writers when they speak about having a writer’s block.

Thankfully Jill decided for this quick exercise we should focus on circles and in particular we studied an example of a Halston designed skirt, as it really encapsulated the idea and thinking in a very simple and easy to understand format. The skirt was constructed using two large circles sewn together around the circumference with a smaller circle, cut in one of the large circles, for the waist and a pear shape cut out, cut in the second large circle for the legs. A very simply executed but thoughtful design.

I took the concept from Halston of two circles sewn together around the circumference, however I did leave an opening (approx. 20cm) for an armhole. I found the centerline dissecting the circle in half and cut a slit starting 15cm from the circumference stitch line and cutting along the halfway line for approximately 60cm. I then bagged out the slit and this became my neckline. I decided the garment would be a one shoulder, asymmetrical dress and so this is where the one opening in the circumference is used as an armhole. There is no front or back to the dress, it can be worn with the right arm through the armhole or the left arm, and what is interesting is that although it is cut symmetrically the dress actually drapes differently when worn in the two different ways. For the hem I cut the same slit as the neckline but on the opposite side of the circle so when it is worn the drapes fall in a diagonal direction. After cutting the slit for the hem I realized more width was needed in order to walk comfortably so I cut the slit into an elliptical form, this was perfect.

This particular exercise was also accompanied by a number of timed pattern-making sketches using only circles and a water bottle as our dressmakers stand. These exercises will now become part of my practice, as I know drape shapes quickly using a half scale dressmakers stand in order to quickly develop and investigate patternmaking ideas and techniques.

During this class we started discussing designers, for example Commes des garçons and Junya Watanabe, and avant-garde designing and cutting techniques. I discovered that one of the ways that Commes des Garçons works is with a number of cutters/ designers around a table, each cutter/designer will be given a garment to cut, for example one person will have a skirt and another will have a jacket etc. et; Each cutter/designer will cut whatever the garment is they have been given and then this garment travels to the next colleague around the table and is then created into another garment completely. For example, one cutter/designer may start with a jacket and by the time it has moved through the colleagues around the table the final garment may actually become a pair of pants or a skirt. I love this concept.

So, I decided to visit the home of Commes des Garçons in London...... The Dover street Market, where there are established and very beautiful brands like Dior and Valentino, but there are also the more Avant-garde like Commes, Craig Green, Facetasm, Molly Goddard and Maison Margiela to name a few. DSM did not disappoint, this is where you will find the cutting edge, cool and beautiful clothing in London.

Pattern-cutting with circles at Central saint Martins experimental cutting masterclass.

Dover Street Market Designers.

Decoding Vionnet @ Central Saint Martins.

Madeleine Vionnet is known to be the inventor of the bias cut, or "coup en bias", and a master of draping. The way in which she worked was on a half scale mannequin, I imagine as not to waste fabric and experiment quickly and efficiently with design, drape and pattern shapes. I would have to say Vionnet was one of the star cutters/ designers of the nineteen tens, a period in which there was great modernization of women's clothing.

One of my favourite cutting reference books is a monograph about Vionnet by Betty Kirke. The publication includes great images of the couturier at work and of her designs, and the inclusion of patterns for each garment.

I arrived at Central Saint Martins and found out we would be cutting a gown of our choice from this book I was incredibly excited, especially as in the past I had looked at the patterns but not actually drafted from the book, just using the design reference and draping directly onto the stand.

After an informative demonstration by our extremely knowledgeable tutor, Jill, explaining that it is as simple as using the body as a reference point for measurements and the actual pattern reference from the book to work out at what angle each design line falls upon. Also, for most designs you need only work on a front and back quadrant to achieve the pattern in symmetry.

The approach for cutting the Vionnet pattern was to begin by determining the length of a significant design line of the particular gown being drafted by using the dressmakers stand as a reference. This measurement was then used to determine a scale to work with and allows you to begin determining the length of each line of the pattern and begins plotting these lines according to the angle on which they fall.

Details of Vionnet Pattern drafting workshop.

14 Cutting a Halston Evening Jacket with detailed collar.

Amongst the projects included in the master classes at Central Saint Martins was the reproduction of a pattern of a Halston evening Jacket.

The details I love in this garment and I consider clever cutting are the sculptural nature of the collar and the removal of the armhole seam around the sleeve head.

The approach to cutting this shape was a simple process by which we created what initially may look like quite a complicated pattern.

The first step was to make the basic block in Vilene and mark the design lines for the front and back bodice. We then took a strip of Vilene and draped our collar shape taking out segments around the neckline, using pins to fold each segment out, in much the same manner as one would on a flat pattern.

Once the pattern was marked with information including panel descriptions and notches, we then took the pattern from the stand, cut through each of our bodice design lines and lay the pieces flat on the table.

Each piece is then traced around, measured for accuracy and lines refined. The result is a clever piece of cutting and a great Centre Front pattern, which we agreed looks a lot like a bird.

Details of Halston evening Jacket with integrated collar and sleeve pattern.

Selected Garments at the Victoria & Albert Museum Archives at the Cloth Workers Centre, Blythe House, London.

In investigating both traditional and contemporary pattern cutting and construction techniques I hand selected a number of garments from the V&A archives starting with Christian Dior’s Bar suit of 1947 and Finishing with two pieces from Alexander McQueen’s final collection of 2011.

I chose this particular selection of garments due to the vast range in historical period and design. The garments ranged from quite detailed pattern cutting and construction techniques to more simple construction with minimal yet refined and elegant pattern cutting.

Christian Dior's Bar Suit; La Ligne Corolle; The New Look 1947

Christian Dior, a former architect, launched his fashion house on February 12th, 1947. Dior became an overnight success, as his collection was the antithesis of the previous wartime fashions, which had been obviously utilitarian and practical. Dior's collection celebrated the female form by pronouncing a womanly bust and tiny waist, rounding the shoulders and accentuating a full hip that was often followed by a full skirt featuring a large hem span.

At the launch of the collection Carmel Snow, the editor of American Harper's Bazaar, coined it "The New Look". The typical amount of fabric required to make a new look ensemble was 15 meters for a day dress and 25 meters for a short length evening gown. This amount of fabric caused outrage as rationing was still in place from WW2, however despite attempts by the board of trade to put a stop to this extravagance the New Look flourished.

Cecil Beaton facilitated the donation of this Bar Suit by contacting Dior on behalf of the V&A after curators had expressed their desire for a typical 'New Look' ensemble. The jacket is constructed from Plain-woven Silk Tussore, lined in fine silk. The collar and lapels are tailored and the hips of the jacket have a fine padding applied much in the same as you would apply a shoulder pad. The jacket fastens with three self-covered buttons at the center front and there are pockets on the hips. The skirt is pleated wool crepe. The pleating is attached to a shaped basque that is quilted onto canvas and designed in a way to throw the hips out from the waist. The petticoat is stiffened taffeta lined in fine silk. Between the two layers at the hip level and only over the hip area is a small amount of pleated net, designed to help hold the hip line out. The skirt is fastened at the waist with hooks and bars and snap fasteners.

The measurements of this particular suit are as follows: Skirt waist- 18 inches Skirt Length- 33.5 inches Jacket Bust-36 inches Jacket length- 25.5 inches

Christian Dior ‘Bar Suit’ 1947

18 Charles James; Evening Bodice 1937-1939

I chose to view this evening bodice as I was particularly interested in the origami style fold at center front and it did remind me of the origami collection Galliano designed for Dior, even if it is a very simplified version of a fold.

This bodice and it's center front double triangle pleat is created using a wide satin ribbon as opposed to cutting the garment using meterage from a roll. This means that the very fine seams are exposed and the pieces are sewn together with a fine top stitch, common in the 1930's.

The cups are created via a gape dart along the neckline and the waist shaping which is created through diagonal darts from the waist and forms two pleats under the bust while also creating a sculptural form that compliments the center front origami style fold.

The excess ribbon from the dart construction has been cut away and finished with a hand- overcast stitch. The neckline is created by simply folding the ribbon along the desired design line and the excess has been cut away and finished by concealing with a fine bind.

There are shoulder straps constructed using a very fine Russia braid and the center back is fastened by lacing which travels through hand worked eyelets. The bodice sits high on the waist and unfortunately the accompanying skirt is missing, however there are some thread mark remains of a waist seam where it is believed the skirt would have once been attached.

Charles James 1937-1939

20 Jacques Fath; Dress with Swag 1949

Lady Alexandra Trevor-Roper who had been the wife of the Naval attaché to Paris from 1948- 1950 gave this printed viscose rayon day dress to the V&A. Requiring an extensive wardrobe for the many state functions and formal occasions she would attend, Lady Alexandra was a loyal couture client of Jacques Fath, attending each seasons fashion collections and making orders for the garments through her vendeuse (personal saleswoman).

Lady Alexandra was dressed exclusively by Jacques Fath (1912-1954) with the design house also lending her garments each season as they were aware of the publicity and recognition this would give the house.

The dress is fitted to the body with sleeves sitting approximately two inches above the elbow including an underarm gusset for ease of movement. The skirt length sits below the knee with a slip-stitched hem measuring approximately one and a half inches. The V-neck has a tapered collar attached, with its widest point falling gently onto the shoulder.

There is a waist seam attaching the fitted bodice to the cross over skirt featuring a separate swag decorated with a posy of paper flowers. The swag is attached through the waist seam from left side front to the right side center back opening where it becomes separate and travels around to the front of the skirt, fastening on the left side with a series of hooks and eyes. The swag holds its shape with net stiffening.

The dress has a center back zip fastening and the skirt is lined using an off white silk satin, there is an internal waistband attached to the bodice side of the waist seam and there are bust pads covered in silk satin and attached lightly to the bust seams and also via a tape from the shoulder point. The label reads 'Jacques Fath Paris'.

Jacques Fath 1949

22 Cristobal Balenciaga: Evening gown 1953-1954

Throughout the 1950's Balenciaga designed a series of gowns, mainly constructed using fine taffeta, featuring immense drapes and flounces. These gowns show nostalgia for, and reference historical fashions.

The drapes of the gown in the following photographs are arranged at the back in a bustle type formation and create a large bow at the center back, whilst the front is quite simple with a V- shape neckline and a straight narrow skirt featuring a central split at the hem to allow movement.

The gown is machine sewn and hand finished, constructed of a cerise silk taffeta.

Each flounce is wired along the edge to help keep the shape.

There is an internal boned bodice the gown is mounted to. The Internal bodice is boned with a padded bust and a waist tape to hold the gown in the correct place and take the weight of the skirt. The internal bodice fastens with a metal zip at the center back.

The dress fastens over the internal bodice closure with a row of covered buttons.

The gown measurements: Bust- 83cm Waist-58cm Hem circumference- 220cm

Cristobal Balenciaga 1953-1954

24 Pierre Balmain; Evening gown 1954

This gown was such a pleasant surprise.

When I first saw it hanging on a rack in the archives at the V&A I thought the colours were pretty, but it didn't raise my excitement like the Dior's or McQueen's, until we lay it on the table and I started to inspect it thoroughly.

The gown was donated to the V&A by Austrian film star Lilli Palmer, who wore it in the 1956 film 'Teufel im Seide’, which translates to 'Devil in Silk'.

The gown is constructed from a pearl white silk brocade featuring a thistle design and shot silver threads and is hand painted in pastel shades. There are leaves appliquéd on the bodice of the gown and the bodice is trimmed with a pink satin sash, which finishes off in a bow at the small of the back where it also has a fastening.

The gown is strapless and has an internal boned corset with attached suspenders. The corset has an internal grosgrain belt that features a black and white satin "Pierre Balmain Paris" label. A straight silk slip is attached to the corset.

Pierre Balmain 1954

26 Hubert de Givenchy; 'Les Muguets' (Lilies of the Valley) 1955

This strapless evening gown is constructed using off white silk organdie. The bodice is mounted onto a fine cream silk faille, which is also used to line the skirt, and is boned along all seams and at the side front and side back points of the bodice. This boning along with the sewn in breast pads allowed the gown to be worn without a separate corset.

There is a one centimeter wide silk channel from the left side front opening seam following the under bust line and straight across the back parallel with the waist line and finishing at the same point at left side back opening. The channel contains a length of deteriorated elastic. I discussed this with the curators at the V&A, as we had not seen this technique in any of the other garments I had selected to view. My conclusion is that the concept is similar to that of the internal waistband, allowing the bodice to sit in the correct position whilst holding firm onto the torso of the wearer and probably giving a sense of security as well.

The bodice and skirt seams are finished open with a hand overcast stitch.

The gown sits high on the waist and is full length. There is a train, which starts at the side seams adding approximately three quarters of a meter in length to the center back of the skirt. The hems of both outer skirt and skirt lining are approximately three inches wide and are slip stitched.

Judging by the meter age used in the construction of the skirt and its fullness there would have been a voluminous net petticoat worn with and constructed specifically for the gown.

The gown is heavily embroidered featuring the auspicious lily of the valley created with cream and off-white silk thread and finished with plastic sequins.

All of the embroidery and application of sequins is entirely by hand and would have been sent out to one of the highly specialized and skillful embroidery ateliers in Paris.

Hubert de Givenchy 1955

Christian Dior; Black Cocktail dress 1955

This cocktail dress is a great example of the new look silhouette Dior had become known for with its nipped in waist and full skirt.

By the end of the war a large number of French fashion houses had closed, however it was said by the Times magazine that Dior was 'Holding up the entire French fashion industry.'

The bodice is quite simple with a wide, round neckline and three quarter length sleeves, which have small zips in the inner cuff.

There are darts in the front and the dress is fastened at center back with a zip and hook and eye closure at the top of the zip.

The skirt falls to mid calf and the fullness of the skirt is created not only be the cut of the silhouette but also the large loops of taffeta applied in layers to the skirt. The entire dress is mounted with organza.

There is a tulle petticoat, which also contributes to the holding out of the fullness of the skirt. There are two gathered multi-layered tiers that finish at the hem level and two single gathered layers, which fall from the waist. The skirt of the petticoat is attached to a corseted top with metal boning. The petticoat fastens at the center back with hook and eyes.

The dress measures: Length- 114cm Bust- 72 cm Waist- 62 cm The petticoat measures: Length- 93 cm Bust- 74cm Waist- 54cm

Christian Dior 1955

Christian Dior 'Bosphore' (Bosphorus); La aligned Aimant (Magnet) 1956

This short strapless midnight blue velvet cocktail dress was from Dior's Autumn/ Winter 1956 collection.

The cut is simple as to feature the heavy surface decoration.

The dress is embroidered heavily by Rebe and features velvet birds nests with clusters of pearl eggs. Embroidery is in gold thread, sequins and green and blue pastes in a design of sprays and tendrils springing from the velvet nests of pearls.

The velvet is mounted onto silk organza prior to constructing the dress.

There are two attached petticoats, one constructed from black net and one in navy blue silk.

There is an internal boned bodice constructed from cotton net with attached suspenders.

The dress fastens with a zip at the center back in the velvet layer and the internal bodice is fastened with hooks and eyes.

The dress measures: Waist- 66cm Bust- 80cm

Christian Dior 1956

32 Chanel; Evening Dress 1958

In 1958 Vogue stated Coco Chanel was 'more truly of today than many designers half her age.'

Chanel had recently made a comeback in 1954 at age 71 after a retirement of fifteen years; initially the first collections were not particularly successful. She began to once again challenge the fashion of the time, feeling that fashion had become too complex and formal.

Pat Cunningham, editor of Vogue was quoted, 'Femininity has gone too far- you need stage- coach luggage to pack your frocks and a ladies' maid to fix the trimmings and petticoats. Chanel simplified clothes to meet modern needs.'

This strapless evening dress has an internal boned bodice, waistband and connected layered petticoat constructed using stiffened netting.

The dress is constructed using a lace mounted onto a silk. The lace and silk are completely connected through the bodice and the silk lining for the skirt is only attached to the lace at the waist seam, it is completely separate and free below the waist. The silk skirt lining has an internal fastening of press-studs and the outer layer lace dress has a fine metal zipper from 20 cm below the waist to the neckline.

There are four flounces creating the trumpet shape of the skirt. These flounces are constructed using the same stiffened net of the petticoat mounted with boarder laces on each flounce to finish the hem of each with a decorative edge.

The dress was worn by 1950's fashion model Anne Gunning Parker.

Chanel 1958

34 Yves Saint Laurent; Evening Dress 1967

This heavily embellished evening dress was worn and given by Princess Stanislaus Radziwill and is a piece that forms part of The Cecil Beaton Collection in the V&A archives at Blythe House.

The dress was exhibited in the "Little Black Dress' exhibition (1983-1984). Even though it features pearl and grey pailettes which ombre through to black pailettes and ostrich feathers it is considered a 'Little Black Dress' and I agree as this was my first reaction to the dress as the dominant tone is black.

Designed in 1967 by Yves Saint Laurent for the Autumn/ Winter collection the simple sleeveless shift shape is constructed using two layers of silk organdie.

The dress has been heavily embroidered onto one layer of organdie from the shoulder and neckline to the hip, using leaf shaped pailettes applied in an ombre of tone from pearl at the neck through to grey around the torso and a deep black by the high hip.

Scattered amongst the pailettes are diamantes, crystal beads and textured silver sequins sewn with a silver gilt thread creating the three dimensionality of the embellishment. There is a single row of diamantes and clear crystal beads around the neckline and armhole. This embellishment was created by the Vermont Company in Paris.

From the hip is an attached skirt made up of nine layers of black ostrich feathers sewn one inch apart and finishing at the mid thigh.

The dress is fully lined with the second organdie layer. There is a stay tape made of the same organdie securing the neckline and armhole.

The dress is fastened, although not easily, at left side seam with a metal zip and hooks and eyes across the shoulder seam so it opens entirely through the shoulder to neck allowing the wearer to step in to the garment.

Yves Saint Laurent 1967

36 Madame Gres; Evening Gown 1968

Germaine Emilie Krebs, or Madame Gres was trained as a sculptor before turning her hand to couture in the 1930's with her label 'Alix' which was housed within the Fauborg St Honore in Paris.

In 1941 the label 'Madame Gres' was established. Many of the designs produced drew upon Gres education as a sculptor and Classical Greek dress and silhouette.

This gown was constructed in 1968 from a very fine silk jersey and is one shouldered with pleats forming over the shoulder and contouring the bust line.

The entire dress in pleated by hand and the pleats are held in place with fine hand stitches.

There is an internal boned bodice, which is important in creating the form fitting silhouette and also a layer to which the hand stitches of the pleating can be anchored.

The internal bodice features a waist tape, which serves to keep the waist sitting in the correct position and also to help hold the weight of the skirt.

The gown fastens on the left side with hook and eyes.

The hem is turned one inch and caught with a fine hemstitch.

Madame Gres 1968

38 Valentino Haute Couture Evening Gown 1992

This stunning black lace evening gown was made in Italy and anonymously donated to the Victoria and Albert Museum.

The gown is constructed of a black lace with beaded embroidery featuring a butterfly motif. The gown is fitted to below the knee and has an attached flounce where the pattern would have been cut and spread to create width in the hem, not only as a design line but also for practicality of movement.

The gown has a low scalloped neckline and silk satin spaghetti straps which are interwoven and stitched in place by hand at the back to form the basket weave design seen in the photographs to follow.

The fastening is a zipper and hook and eye on the side left bodice to twenty centimeters below the waistline. The seams are sewn with a straight machine stitch and finished using a machine zigzag.

The gown is finished with a lining of beige silk chiffon, which is attached with a hand slipstitch. There is an internal waistband designed to keep the waist sitting in the correct position and it also helps to hold the weight of the heavily beaded skirt.

Valentino 1992

40 Monsieur Pearl; Corset (Theatre Costume) 1993

This is the corset of a stage costume designed by Mr. Pearl for 'Fresh Dancers for the Late Tchaikovsky' by Matthew Hawkins, staged in 1993 at the Hackney Empire with a cast including Matthew Hawkins, Rose English, Fanella Fielding and Diana Payne Meyers.

The corset is constructed using pale peach silk velvet and trimmed with pale blush coloured silk satin piping along the seams and binding along the neck and hem lines.

There is a cup cut to create the bust shape and I could feel a fine padding attached to the interior construction at this point.

The corset is lined and so I could not see exactly where all of the bones were placed, however I could feel boning along each of the seams, and these bones along with the in seam piping help in creating the firming structure for the corset.

Lacing through ten eyelets each side of the center back opening creates the fastening and there is a simple rectangular placket of the same velvet hand sewn in to the interior of the corset to sit between the skin of the wearer and the opening of the lacing.

Along the inside waist are a number of elastic loops stitched into the seams. These would have corresponded with buttons sewn to the waist of a skirt or trousers in order to keep the costume sitting in the correct position.

Matthew Hawkins and Mr. Pearl gave the corset to the V&A.

Monsieur Pearl 1993

42 Karl Lagerfeld for Chanel; Evening Gown 1995-1996

Donated to the V&A and designed by Karl Lagerfeld for Chanel's Autumn / Winter collection and made in France, this evening gown is constructed using tulle with a silk satin ribbon embroidery and has a stretch power net corset with attached knickers.

Lagerfeld has been the designer in chief at Chanel since 1983. This gown demonstrates his respect and understanding of the history of fashion and Chanel.

The gown makes reference to Chanel's 1930's romantic period, which was characterized by the use of lace and tulle in the evening gowns produced whilst also paying homage to ladies garments from the mid to late nineteenth century.

The gown is quite simple in design, making a feature of the surface decoration, which includes the ribbon work, and three padded silk satin bows on the train and at the neckline. The fastening is at the center back and consists of satin covered buttons and hooks and eyes. An underskirt of fine tulle and a lining of fine black muslin finish the skirt.

There is an internal bra with no wire, constructed using one fine layer of tulle and the edges are finished with fine elastic to cup the breast.

The corset is a fine black power net with cups cut into the bust and knickers attached. The fastening for the corset is a metal zipper along the center back.

Dimensions include: Gown Length- 155cm Waist- 68cm Corset Length- 54cm Corset waist- 52 cm

Karl Lagerfeld for Chanel 1996/ 1996

John Galliano for Dior; Evening Ensemble 2006/2007

John Galliano designed this evening ensemble for Dior's Autumn/winter 2006/2007 Haute Couture collection. The ensemble was worn by model Katarina Ivanovska, her name is written on a cotton tape attached to the interior of the bodice.

The ensemble was the 15th design to be shown in the collection and so is referred to as 'Passage 15'.

The ensemble consists of a grey silk satin boned corset with ribbon lacing and lined in an ivory silk. The boning is not all aplomb; there are three bones that travel around the body from the top of the corset at the back to the side front at the bottom hemline of the corset. There is a bias piece of magenta fabric hand stitched with a herringbone stitch across the center front neckline of the corset to match the dress.

The dress is knee length with a pencil skirt and padded hips, almost like an armadillo housing, and is constructed using a silk crepe and silk chiffon with gold metallic thread embroidery and beading.

The silk crepe creates the exterior shape of the dress, which includes the pleats at the bust and the padded hips. The crepe helps to hold the weight of the embroidery and beading.

This crepe layer is separate from an internal chiffon and net bodice and is fastened at the center back with a fine metal zip to the waist and hooks and eyes to the mid back.

There is an interior lining/ bodice, which includes the construction of the sleeves, this is constructed using silk chiffon and net and is finished at the center back with an invisible zipper.

Stephen Jones created a feathered hat to be worn with the ensemble.

John Galliano for Dior 2006/2007

Alexander McQueen; Evening Gown 2010

This gown is very special as it is from the final collection of Alexander McQueen before his death in February 2010. The final collection consisted of sixteen pieces inspired by the art and skill involved in hand-worked garments.

Sarah Burton, the current head of design at McQueen, recalled how McQueen was interested in moving away from the world of new technologies.

Burton says "He wanted to get back to the handcraft he loved, and the things that are being lost in the making of fashion...... He was coming in everyday, draping and cutting pieces on the stand."

The gown is full length with a bodice constructed of brocade and printed with a motif of Angels.

The skirt is full and extra flare is added by inserting godets at both side front and side back and is made from lighter silk voile and printed with imagery that follows on from the design of the brocade.

The construction is quite simple, the bodice is faced with the same printed brocade as the outer layer and the bodice and skirt lining, a fine silk crepe de chine, are attached to the facing.

The seams of the skirt are stitched and finished with a fine rolled overclocking stitch.

The gown is fastened with an invisible zipper at the center back. The cut of the cap sleeve is interesting and is reminiscent of he way in which Balenciaga would cut a cap sleeve in the 1960's, creating a tuck and using a tape to hold the tuck in place.

The hem is finished by machine and is double rolled.

Alexander McQueen 2010

48 Alexander McQueen; Haute Couture Evening Gown 2011

Designed by Alexander McQueen in 2009 and produced in 2011 this full length, single shouldered, voluminous evening gown was a feature piece in the Victoria and Albert museum 'Savage Beauty' exhibition of 2015.

The gown is constructed using a red silk satin, printed in a black hounds tooth pattern, which morphs into birds in flight.

The gown is unable to be removed from the mannequin, which it is displayed on for conservation reasons, one reason being the headdress made from garbage bags that are slowly disintegrating.

I did manage to un-fasten the center back zipper a small way and discovered there are two internal bodices, both with center back zip fastenings, one I imagine is attached to the skirt and the other I think may be a boned corset with internal waistband to hold the weight of the skirt and keep the bodice sitting in the correct position.

I think the corset may also have an attached skirt lining, which is bagged out with the gathered hemline of the red silk skirt outer layer.

The skirt is extremely voluminous and is created using a number of panels which flow from the bodice and are gathered into a bauble like sculpture at the knee level and again, although quite a bit fuller, at the hem and then drawn in and attached to a black silk lining which appears to be a straight skirt.

This gown was a highlight at my visit to the V&A archives and the perfect home for McQueen's work.

Alexander McQueen 2011

50 Alexander McQueen; Evening Dress 'Angels and Demons' Autumn/Winter 2010-2011

Donated to the V&A by Net-a-porter and designed by Alexander McQueen in 2010, this evening dress was a piece that made up the designer's final Autumn/winter collection.

McQueen's final collection referenced Byzantine art, historic dress and, poignantly, eternity and angels. Sixteen unfinished looks were completed by McQueen's design team after his death, and presented to a select and intimate group of fashion editors in a grand Paris drawing room with soaring white ceilings featuring gold gilt detailing.

The duchess satin used in this dress is digitally printed featuring Jean Fouquet's 1450 painting of the Virgin and Child. The print has been engineered to fit strategically with the design and cut of the dress.

The dress is tightly waisted and moulds to the hip and bust whilst also extravagantly draping asymmetrically over the right hip and the left shoulder integrating a single unconventionally cut batwing sleeve.

There is an underskirt made from gold gilt feathers, which we are given a glimpse of at the right side skirt.

The entire dress is mounted onto cream silk organza in order to achieve the richness in the drape and give the duchess satin the extra body required and all seams are bound in the organza.

The sleeve has an invisible zip at the wrist in order to achieve the tight slim line.

There are two internal bodices, one which acts as a corset allowing the dress to be worn without any underpinnings for the bust, and the other is part of a slip, which sits between the corset and printed outer layer of the dress and has the feathered underskirt and layered net petticoat attached.

The printed outer layer of the dress is fastened at the center back with covered press-studs.

Alexander McQueen 2010-2011

Alexander McQueen: Evening Dress, Angels and Demons, A/W 2010-11

When Alexander McQueen died in February 2010, he left his collection titled 'Angels and Demons' unfinished in his studio. Sarah Burton, McQueen's chief designer for a number of years, helped in the completion and presentation of the Autumn/Winter collection.

Sarah Burton: 'It was very much inspired by handcraft and the idea that in a way in our culture there’s the loss of the artisan, the loss of people doing things with their hands and making beautiful artisanal clothing or carvings or paintings or sculpture. And he looked at all the old masters and he looked at sort of medieval arts and religious iconography. It was almost looking at the Dark Ages and finding that there was a light in the Dark Ages. There was still modernity in the way that the fabrics were developed. So, for instance, there’s a dress with a Hieronymus Bosch jacquard on it, Heaven and Hell. And what we did is we scanned the painting and digitally wove the jacquard. So in a way you’ve still got this juxtaposition of the old and the new, which I think is always important in his work'.

This Evening dress is the piece Burton makes reference to titled 'Heaven and Hell'. The dress is fitted to high hip and has a skirt that finishes above the knee and features cartridge pleating to create fullness and also as a reference to historical construction techniques.

The neckline is round and high and the sleeves are a raglan cut with a single dart over the shoulder to create the slim silhouette of the arm finishing at the wrist with an invisible zip fastening.

The waist and bust shaping are created through shaping at the side seams and through the curved seams in which the Bosch jacquard panels sit. There are also single bust darts along the curved seam which sits under the bust in the Bosch panel that also integrates the neckline and raglan seams.

The dress is lined in full and there is an internal boned bodice with a separate metal zip fastening at the center back. The outer jacquard layer is also fastened at the center back to the hip with an open ended metal zip and the cartridge-pleated skirt has a center back placket with covered press-studs for fastening.

Further embellishment of gold sequins entirely covers the sleeves and the bodice space between the Bosch panels in a beautifully organic scale shaped design.

Alexander McQueen 2010-2011

L’ECOLE DU CORSET, Paris, France.

Master classes with a second generation Corsetiere in Paris.

A thorough understanding of underwear or 'dessous' is essential when creating or altering silhouettes for the body. When looking at the evolution of fashion we can observe that fashions change, not only in terms of styling, but the actual shape of the body changes with the fashions and this is largely due to the underwear worn.

The corset is one undergarment in particular which has the ability to alter the body quite dramatically and create a fashionable silhouette. For women the aim is to reduce the waist thereby exaggerating the bust and hips. In some periods the corset was used to create a tubular straight up and down shape by minimizing the bust and hips.

Men throughout history have also worn this revered garment. The Dandy's of the regency period are a great example. In a contemporary context, the enigmatic Corsetiere to Dita Von Teese and fashion luminaries such as John Paul Gaultier and Thierry Mugler, Monsieur Pearl, wears a corset daily and reportedly has an 18 inch waist.

With this in mind alongside my passion for construction of haute couture and information gained from my study visits to the Victoria and Albert museum archives I felt it was necessary to meet and study with a master corset maker, and where better than the capital of fashion Paris.

I found second generation Corsetiere, Beatrice Moreau in a tiny atelier not far from the Moulin Rouge.

The atelier produces corsetry and underpinnings for theatre and film as well as fashion designers including Christian Lacroix, Alexander McQueen, Yohji Yamomoto and Dior.

A very lucky find and a great privilege to be able to have one on one master classes not only discussing historical and theoretical aspects of the corset but also producing two corsets creating two very different silhouettes.

Corsetiere, Beatrice Moreau

Drafting, constructing and fitting a corset in a petit Paris atelier.

Throughout the master class Beatrice would suggest to make and be involved in the fitting process of a corset for ones self is one of the best ways to learn about this iconic undergarment, it's properties and possibilities. We decided to draft and construct two separate corsets from two periods in history with quite different silhouettes to help in this understanding.

Using the reference 'Corset's and Crinolines' by Norah Waugh, a book I was familiar with from university, I studied the draft of the two separate corsets and worked out the scale according to my personal measurements. As with all garments we first make a toile and check the shape and the fit of the pattern and adjust accordingly.

In this initial fitting we also use a weighted 'plombe' to determine where each of the bones will be placed. At this point we have a discussion about the necessity of boning, and in fact I have learned that similar results in body transformation can be achieved with minimal boning strategically placed. Often corsets with many bones are not necessarily changing the silhouette much more than those with minimal boning, it is purely a choice of aesthetics.

After the first fitting and adjustments to the pattern via the toile, we use the toile as the final pattern. The traditional corset is constructed with coutil, a corsetry textile, however it is possible to use a range of fabrics to construct a corset, it is purely a matter of understanding how to work with them in order to create the desired effect.

The busk, which is the fastening mechanism, is placed at center front and in most cases should not sit below the hip bone or too far into the pelvic area due to the requirements of seating comfortably. We use a pre-made eyelet channel stitched temporarily along the center back for this fitting.

A second fitting is required to make any final adjustments and determine that each bone is in the correct positions and there is a nice even distance between the two halves of the corset down the center back line once laced. It is often likely that the bone placement and center back lines will change, even if minor, at this point.

Once this final position is set, the bones are fed into the channeling and remain in place via the functional and often very beautiful embroidery finishes. The final bust and hemline are also determined at this fitting and are finished with a fine bind. The eyelets are set, approximately three centimeters apart, depending on the center back measurements and the corset is laced, ready for the final fitting.

discussed contemporary corsets with my teacher and she emphasized that even in creating contemporary corsets for fashion designers like McQueen, Yamomoto and Lacroix, she would always start with the period patterns within the corset and crinoline reference book, and after an initial fitting may be able to eliminate a seam or change the locality of a seam line, however we talked about fabric and construction of the corset being a large contributing factor in creating a contemporary look.

Drafting, Fitting and Construction details of a corset c.1911

Drafting, Fitting and construction details of a corset c.1890’s

59 A Corset Library in a petit Paris atelier.

During my fellowship I have concluded that the most effective way in which to learn about the design, cut and construction of fashion is to examine actual garments relative to the area of interest.

At the corsetry atelier there is corset library I was lucky enough to have complete access in order to examine, touch and discuss and also to use as inspiration.

The corsets are from a range of periods and are an invaluable resource in terms of gaining information about aspects of construction including bone placement, seam finishes and stitch length and details such as cording and embroidery design.

A selection of Corsets within the Library at L’ecole du Corset, Paris.

62 ATELIER CARACO, Paris, France.

A rare experience and glimpse at the world of haute couture inside a Paris atelier.

I am still pinching myself to wake up from this particular experience. I was fortunate enough to be invited to work on Paris couture fashion week at an atelier in the heart of the city. It was not easy gaining entry into this very confidential world, especially due to the fact that I do not speak fluent French. However, fortunately, after twelve months of correspondence I was invited to join the atelier just upon my arrival to Paris.

Although quite nervous, not about the work but fitting into a new workroom, the amazingly talented and generous Men and Women I worked with in Paris and our hilarious conversations in broken French and English will remain firm in my mind forever.

During the time I worked at the atelier we produced some of the most exquisite garments I have had the privilege to work on as well as restoring an original cocktail gown designed by Christian Dior in 1956 for an upcoming exhibition.

Apart from the exquisite and incredibly detailed work we produced in this time, my take away experience is that fashion is a language, and making fashion is a particular language of its own and it is possible to create without a verbal conversation.

I am delighted to discover that the couture fashion world operates in a very similar manner to a costume workroom. The process involves the Designer presenting the cutter/maker with a design illustration, which often evolves into something entirely different.

The next step in consultation with the designer is to choose fabrics and discuss any embellishments or notions for the construction. The gowns I worked on featured a significant amount of beaded detail, which was created by the L’esage atelier.

Once the fabrics are selected we then go through a process of sampling stitches and finishes for the gowns before we start to cut and construct the garment. The chosen stitch samples and finishes are then documented and a file is created so that atelier has all of the information to re-create the garment if it is ordered after the collection is shown.

Both Givenchy and Schiaparelli have house models of which the garments are fitted to during the construction process. The particulars gowns we made had three fittings.

The first is the toile fitting in which an initial gown is cut and constructed in a fabric similar to the final selected fabric. The reason for this is not only due to the expense of the final fabric selected, but also so that the designer and cutter can make changes to the garment at this point. This may mean re-cutting the garment whilst it is on the body or drawing onto the garment to re-create and position new design lines.

The second fitting in most cases will be the garment constructed using the final fabric selection, unless there were many changes to the initial design at the first fitting and then it may be re-cut and constructed in the toile fabric. Any embellishments are also at this fitting.

The cutters who work in these couture ateliers are extremely sophisticated within their field, many of them having started their careers whilst still teenagers within the design houses as assistants and sewers, developing their practice and eventually becoming cutters themselves.

63 To be employed in a couture atelier it is expected that you are able to make the garment from start to finish. This means making the initial pattern and fitting the garment as well as constructing the garment from beginning to finish.

The third and final fitting is to make any last changes to the garment and also to view the garment alongside the other pieces in the collection to make sure it is coherent.

One of my lasting and most memorable conversations from my time at the atelier was regarding the garments. The head of the workroom was explaining to me that my work was very beautiful and I fit very well into the workroom.

I asked her what it is that makes a successful couturier and she explained to me that the garment should not look like it was sewn by human hands, it is a lightness of touch that is required, almost like the garment was sewn by an angel.

Construction of Schiaparelli Couture Gown Spring/Summer 2016

Construction of Schiaparelli Couture Spring/ Summer 2016

Construction of Givenchy Couture Spring/Summer 2016

AAMIR BEADING, Mumbai, India.

Whilst working in Paris I had many discussions with colleagues at the atelier regarding the future of the fashion industry in Europe. Much like Australia, a large majority of manufacturing has gone off shore and mainly to Eastern European and Asian countries. This is largely due to cost of manufacturing, however, other factors include quantity and time management.

A significant aspect of couture garments is embellishments including embroidery and beading. There are a number of ateliers and artisans in France specializing specifically in embroidery, beading, feathers and hand made flowers for the couture industries, however, apart from a small handful of designers with the not only the funds but the historical ties to individual ateliers, this work is mostly out sourced to more affordable workrooms.

I discovered Aamir beading and embroidery in 2015 when working on feature film ‘Gods of Egypt’. A number of costumes I created for this film were heavily embellished with both beading and embroidery, so the assistant costume designer and myself researched possible options as to where to produce this work.

During my correspondence with Aamir Beading throughout the film project I discovered that the fashion industry and in particular European fashion and couture was their main source of income. So as part of my fellowship I decided to visit Aamir at their workroom in Mumbai, India to document how this part of the couture process worked.

Aamir beading is now in its fifth generation, the company began as a workroom specialized purely in beading and embroidery, however has now grown into a business with its roots firmly remaining in beading and embroidery but has also branched out into every aspect of the fashion manufacturing process including marketing and sales.

Aamir create beading and embroidery for many well known global fashion labels. The company work in collaboration with textiles designers from the fashion houses in creating unique designs, often references the archive the company have created over the past five generations. The company has an extensive supply of beads, crystals, threads and haberdasheries on site to select from in order to create the textile designs.

A number of samples are created for each particular design request and the conversation may go back and forth with the fashion designer with a number of changes before the final design is actually achieved.

Interestingly, Aamir beading have also taken into account the ever changing and competitive nature of the fashion industry and as I have mentioned previously, have now branched out into the complete manufacture and sales process.

The company is also embracing new technologies such as laser cutting and three- dimensional printing in order to be able to create their own beads and notions.

Details of Beading & Embroidery work by craftsmen at Aamir Beading & laser cutting machine for the in house production of beads and trims.

CONCLUSIONS AND RECOMMENDATIONS:

Apart from the very rare privilege of being able to indulge in a life long passion, skill sharing and studying with world leaders in their particular field as well as examining the work of the greatest couturiers throughout history (my heroes), the Winston Churchill fellowship has provided me with time to reinvigorate my career and reconnect with my passion and my career and enabled space in which to not only reflect but to re-imagine the future.

The experiences I have had during my fellowship has affirmed my own practice and that the skills I have developed during my study and career in Australia are of a world class standard.

As stated in my introduction, I have had the good fortune of exceptional training and a successful career followed, however over the past five years I have noticed the costume industry in Australia in decline. Workrooms established to service feature films have become smaller as budgets become smaller and costumes are made offshore or are purchased from clothing stores and many theatre productions are contemporary pieces not requiring large workrooms of costume makers.

Therefore, the dialogue which once existed between experienced costume makers and new graduates within the workplace is rare. This is a culture I believe needs re-igniting in Australia. My experience at Atelier Caraco in Paris was incredibly positive, not only due to the beautiful work we created, but also due to the culture of the atelier. The more experienced couturiers who were over fifty years of age and had began their trade in their teenage years, were mentoring, skill sharing and exchanging in dialogue regarding their craft with younger colleagues in order to train them to be able to move into the more senior positions. Unfortunately, this is not the culture within the Australian costume landscape, and without this mentoring and exchange of ideas a young costume cutter is often left to take their knowledge from formal training and begin the self-teaching process.

From this experience at atelier Caraco alongside the knowledge I gained throughout my fellowship from each of the master classes and research undertaken, and now within my role as a cutter and workroom manager within the costume team as part of Director, Ridley Scott’s Alien Covenant, I am acutely aware of sharing the knowledge and skills acquired throughout my career and during my fellowship with not only the younger colleagues but with all colleagues. This exchange of skills and information can only strengthen personal skill sets and knowledge but the collective knowledge of our industry.

The process of examining garments within the Victoria & Albert museum archives was rewarding and eye opening in that the interior construction of many of the garments was entirely unexpected. I will now use this research methodology when required if I am working on a project with a particular period, designer or specific construction technique.

Whilst undergoing the examination of these great couturiers at the V&A, I began a blog, which I shared within the Sydney costume community and also internationally through linked in and tumblr networks. This blog has began many discussions whilst I was . and also on my return to Australia, it has become an invaluable library of research and ideas, igniting a deep interest and joy in collecting and sharing research and stories.

I would like to foster a relationship with fashion curators within Australian museums, galleries and fashion collections and will encourage colleagues to connect for the purpose of research and awareness of our local costume industry.

A common thread of conversation in each country and workplace I visited was regarding the trade of costume and couture fashion in decline. I found it particularly interesting when visiting Aamir beading in India, that the company who are at the forefront of couture beading in the world have started to expand their lines of business into full manufacturing, marketing and sales.

69 This conversation has led me to the conclusion that an exploration and diversification of my skill set is necessary in order to remain current, competitive and unique.

Finally, my fellowship project has provided me with a global perspective and renewed framework to evaluate in order to move forward within my own practice and also to share the information and experiences I have gained and hopefully to inspire further investigation and learning in the young graduates I work with regularly as well as more experienced colleagues in both the fashion and costume industry.