Reproduction of Rose's Tea Gown from the film "Titanic"

Aboard the Queen Mary on the 100th Anniversary of the sinking of Titanic, April 14, 2012

To remember the 100th anniversary of the sinking of Titanic on April 14, 1912, I joined some fellow Edwardian enthusiasts on the Queen Mary for the day, where we strolled about and took photos, enjoyed a lovely dinner at Sir Winston's, and observed a memorial ceremony for the victims of the tragic event.

When the film "Titanic" was released in 1997, I was 17 years old, and fascinated with the story and the costumes. I had been musing over the idea of reproducing Kate Winslet's costumes for some time, and finally I had the opportunity to do it. I chose to make her stunning tea dress, green with tiers of white lace, with an orange sash and large flower at the waist.

Original costume design for Rose's tea dress in "Titanic"

Kate Winslet as Rose in "Titanic"

This was a project I was very excited about, and everything had to be done just right. The chartreuse silk for the underdress was relatively easy to find. It was the many lace components that proved to be a challenge. I love working with lace, and sculpting it to form a seamless structure is an art form.

For the long sleeves and bodice overlayer I found an embroidered net with a scalloped edge that fit the bill perfectly. The skirt took a bit more searching, but I settled on four different types of lace. The longer tiers were comprised of 45 lace appliques that I backed individually with tulle, an arduous process that took some time, but worth it. By backing them with tulle I created the correct amount of weight and flutter as I walked, to match the flutter as Rose moves in the movie. A more narrow lace connected the appliques to the skirt layer, and a wide, heavier scalloped edge lace formed the hem.

The sash was made in an iridescent silk dupioni, edged in bias strips of black taffeta, with a snap closure. The perfect large orange flower placed center front completed the look.
Of course, this gorgeous dress would not be complete without the right foundation, so I patterned and created a long line, Edwardian corset to give me the correct Director silhouette.

We each wore a reproduction of our favorite dress from the film

Dinner Awaits!

Kelly, Bridal Inspired by the Late Nineteenth Century

Kelly walked into the small bridal boutique I was working in, searching for her wedding dress. We didn't have what she was looking for, but we started chatting. She was hoping to find a late nineteenth century dress with a bustle, but knew that this was a tall order. I mentioned that I actually was the in-house seamstress, and she inquired about making a custom dress.

After another month or so of unsuccessful searching, she gave me a call, and we made a plan to go ahead with a custom bridal gown. We worked together to create a sketch. She wanted some antique elements mixed in with a contemporary flair. A large bustle in the back, small apron drape in the front. An asymmetrical cut out at the hem to show her legs and shoes. Small puffed sleeves and a standing collar made from lace.

We chose a cream silk dupioni for it's body and sheen. It created a beautiful bustle. The collar was a bit of a challenge, as she had chosen a very fine rayon lace. How to make a fine lace into a standing collar? I backed it with silk organza and ran a thin hat wire through the edges.

Another challenge came when figuring out the closure for the dress. Kelly wanted a single garment, rather than a skirt and bodice. How does one get into a gown with a center back closure of covered buttons, that opens into an attached skirt with bustle? I had fun with this. The center back bodice opened down to the skirt, which then opened along the waist via snaps to the left side skirt. The front drape also closed with snaps on the left. The perfect combination of modern and antique closures; a zipper, snaps and buttons. The unique closure added to the charm of the gown.

Snaps close the bodice along the waist to the side skirt zipper

Kelly and I both were very pleased with the finished gown. The birdcage veil she chose to wear added another touch of modernity. The fabric, design and shape of the gown worked together to create a lovely contemporary version of the Victorian bride.

Snezana, the Unconventional Bride

When I met with Snezana for our initial consultation, she handed me a sketch she had drawn out of her concept for her wedding dress. I was a bit taken aback. The dress was completely unconventional, and practically bursting at the seams with whimsy. She was to be married in the Rose Garden at Golden Gate Park in San Francisco, in a Guerrilla style wedding. Her design fit the bill.

Snezana was inspired by beetles, which was apparent in her design. The dress had two beetle wings that jutted out from the back skirt, very similar to a gentleman's evening coat tails. The front was to be comprised of wide swaths of layered pleats and ruffles.

The design was eclectic, as were her choice of materials. She had chosen an array of jewel toned, iridescent silks in basketweaves and brocades. The colors were indeed reminiscent of beetle wings. Dotted net for a sheer back, yards of tulle, and lace appliques to be used as epaulettes. She then showed me the crowning touch; a sepia toned antique photo of an Edwardian lady, screened onto a piece of muslin. This was to be placed center back, framed by loosely interwoven ties of silk.

Lace appliques to be used as epaulettes

Antique photo to be placed center back

While in fashion school, we were often asked to create garments that "got away from the body." Meaning, to create volume in unconventional places, to consider silhouette and to try something new. Snezana's wedding dress did just that. It was a study in volume, form, and play with color and texture. Though the design was Snezana's, we worked together to decide which fabric worked best here or there; what proportions of the varying design elements would create the best silhouette.  

This dress remains one of my favorite projects. It was a fun dress to create, and Snezana was a joy to work with. The finished garment was eclectic yet harmonious, truly fit for a rose garden wedding.

My Work in Corsetry

As a child and teenager, I was enthralled by all things Victorian. As a hobby I would create Victorian inspired costumes and bonnets, and naturally, I wanted a corset as well. My first few attempts at creating corsets were fairly successful, especially given the fact that I was patterning them myself, with no knowledge of pattern making. The construction was challenging, of course. But after a few attempts I was gaining an understanding of it.

An early attempt at drafting and constructing a corset
Overbust Corset, Cotton Twill with Inset Piping
Eva Garcia, 2002

In 2006 I began an internship, which later became a four year employment, with Dark Garden Unique Corsetry in San Francisco. This small, independently run business was started by Autumn Adamme in 1989. Autumn designs and creates incredibly detailed, hand made corsets and bridal gowns. She has her own celebrity following, and has worked with Dita Von Teese, Christina Aguilera, Pamela Anderson and Kelly Osbourne.

In my time there, I did have the chance to work on two corsets for Dita Von Teese. The corsets were constructed by Autumn. She designed and pinned a layout with antique lace, which I then painstakingly hand stitched, using nearly invisible stitches with very fine silk thread. It was quite a long process.

I hand stitched this antique lace using silk thread and invisible stitches.
Corset made by Autumn Adamme for Dita Von Teese, 2010.

Detail of my hand stitching of fine antique lace.
Corset made by Autumn Adamme for Dita von Teese, 2010.

My work at Dark Garden largely consisted of creating custom bridal ensembles. I would do everything from draft the garments to create a mockup, assist at the fittings, cut and sew the garments from fashion fabric, and finish the pieces.

Dark Garden's clientele is fairly eclectic, ranging from the simple blushing bride, to those who were darker and more gothic. Most ensembles were Victorian inspired, with large bustles and elaborate trimmings. Some were more fantasy inspired, with fairies and vampires being a popular theme among our creative brides.

I also had the opportunity to learn the Dark Garden method of corset construction during my employment. For a while I stitched mockups for clients. I also constructed a number of corsets for myself.

Baroque Style Corset, Silk Jacquard
Pattern and design by Dark Garden
Constructed by Eva Garcia, 2009

I left Dark Garden when I moved away in 2010. I am still creating corsets, however. I drafted and constructed this Edwardian style corset in 2012, which has a longer silhouette that extends to the hips. I modified the true Edwardian style by adding built in cups to define the bust.
 
Corsetry is a very technical skill that takes time and patience to master. I am grateful for the time I worked, and learned, at Dark Garden. Although there is always more knowledge to gain about this unique craft, I feel I have acquired a solid foundation in what is truly an art form.

Detail of lace trim and bust cups.
Edwardian Style Corset, Silk Twill, Eva Garcia, 2012

Grommet and Lace Detail
Edwardian Style Corset, Silk Twill, Eva Garcia, 2012

Bust Cup Detail
Edwardian Style Corset, Silk Twill, Eva Garcia, 2012

Hip Detail
Edwardian Style Corset, Silk Twill, Eva Garcia, 2012

Back Detail
Edwardian Style Corset, Silk Twill, Eva Garcia, 2012