Recreating History: Examining the Bustle Dress Presentation By: Tyler Phillips Costume Technology MFA Candidate the Project

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Recreating History: Examining the Bustle Dress Presentation by: Tyler Phillips Costume Technology MFA Candidate The Project The process for this research begins with a painting. For this project the painting is In the Greenhouse by Albert Bartholome. I have long found this painting mesmerizing and thought about how this dress would be built. For those who reconstruct historical costumes for theatre most of the real-world research we do begins with a drawing or painting of some form. From this we must research the historical methods used to craft these garments and then, for the purposes of the theatrical production, decide whether to disregard, modify, or utilize these historical methods. It is my belief that research into the construction of these historical garments is beneficial to modern makers for theater. It broadens knowledge beyond the contemporary garment industry practices and fosters not only deeper understanding of historical technique but also this research endows makers with the understanding of what goes into creating a historical garment. From under structures outward, there is more work that exist underneath the exterior layers. The Inspiration and beginning of this Project In The Greenhouse Albert Bartholome The Bustle Cage The initial layer constructed for this project. It is comprised of sprung steel hoops tipped and finished to soften the edges. Strung through drapery tape and secured into the Coutil base to hold them in tension. The Skirt The skirt layer is two rectangular layers of white and purple cotton satine. The white stripe is pleated out, and stitched down only remaining free at the hem. This creates a rippling effect when it is moved in. The Polonaise The Polonaise is cut in one from shoulder to hem and then pulled back in an arc to create the gathering and bow at the back. The Polonaise Details On the interior of the Polonais it is easy to see the ties holding the bustling together at the back, and the tie held through rings pulling up the center back of the polonais. The exterior image is of the handworked buttonholes applied as a finishing to the closure of the garment. Intentional Deviation from Historical Patterning The sleeve for our recreated version is cut in one piece. Based on research it is likely that this would historically be a two piece sleeve. The choice was made to cut it in one to preserve the line of the stripe. .

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