The first part of this project was replicating an original Cristobal design to practice and learn his couture techniques. I chose to create a toile from the “balloon line” in 1952. The most challenging part at this stage was trying to analyse where to start the making process. I decided to draw a layered sketch to help me understand the multiple layers that combine to build the volume of the dress. After understanding all the layers needed I moved on to choosing what fabrics would result in the best outcome. I opted to use haroform for the bustier and petticoat since it lended a certain strength and rigidity required and matched the color of the fabric I was going to use for the self. I used a tulle net for the lining, as described in the video, since it would aid to fill the skirt with air and I wanted to use poly taffeta for the self instead of muslin since it replicated the texture, weight and structure better. I chose grosgrain ribbon and fashioned a waist stay with hook & eye’s for more strength and added horsehair to the inside of the lining as well as the hem of the petticoat. The hardest part was figuring out the correct proportions for the pattern of the petticoat and lining since these stood away from the body and had to work in relation with each other as well as the circle skirt self.

Going to see some of Cristobal Balenciaga’s archive pieces at the FIT Museum really helped me answer some of the questions I had about finishing, whether that was the gathers, hems or boning. I chose to gather all parts by doing a baste stitch by hand rather than via machine since it would create a more natural looking result like in the original and as I had seen in many of the archived pieces. I also decided to leave the excess seam allowance from the gathers and tuck it under to add more volume at the waist. Additionally, this would make the dress easier to finish at the waist seam since there were 5 layers of fabrics meeting at this point -bustier, top self, bottom self, lining & petticoat.