Evolution of a skirt

Leading up to our shoot in Cambria, I had been working on this skirt, on and off, for over a year.  And what a fantastic end result! With the right model, MUA, and photographer, a year of piecing and sewing is made well worth the effort. 

'Joyeux' set, 'Pas de Berlin' Series 2014
model Berlin * photographer Todd Powers * MUAH Ande Castaneda
scale mail Todd Powers * skirt Jen Raven * concept direction provided by Jen Raven

But long before the construction of this skirt began, the fabric itself was being weathered for me by an unsuspecting army of models; the yardage for both underskirt and over-skirt have provided background,

property, and costume elements for dozens of Todd's photo shoots over the last seven years.  This yardage has been through every kind of shoot, from studio to location; this fabric has been dragged through the dirt, drowned in the Kern River, wrapped around models, tacked against two-by-fours, and hung from the rafters. 

I often prefer that my costume fabrics be properly worn and weathered before I begin construction; I like the way they drape, and move, after they've experienced the world a bit and have developed some character of their own.  There are ways to speed up the weathering process in the shop or studio, but given how much shooting Todd does, it's easier for me to toss my yardage into his props bins, and let the Todd and the models take it from there. 

After removing areas that were a bit over-worn, or torn, and cutting out the largest pieces for the two main sections of the over skirt:  The smaller and connecting portions of the over skirt were pieced together using scraps culled from the remaining lace yardage.  Over sixty different bits of lace were pieced together, to create the entire over skirt, which also has ribbon channels sewn into the front and back, so that it may be ruched higher for a different look.  The three-tiered tail addition to the skirt, which is detachable, required an additional two dozen pieces of lace yardage for it's overlay.  All of the trim was sewn on by hand.  A black cotton underskirt, beneath the blue polyester skirt, provides stability and comfort for the entire garment --three skirts in all. 

Of course, Studio Cat had her part to play, in this costume's construction:

I set out to create an elaborate costume piece that would adjust, to fit many different sizes; the side laces can be drawn tight or let out, and the box pleats in back can easily be let out or taken in; the waist in the cotton underskirt is quilted, partly due to the piecing of the lace yardage on top; this waist is strong, and holds basting stitches easily, so there is no damage to the outer skirts.  Also, for the purposes of this shoot, the hem of the skirt was raised a full six inches --again, easily done thanks to the cotton underskirt, and no damage done to the delicate, weathered polyester.  This skirt stood up to a romp in the ocean and the climb of a massive boulder, on location:

BTS:  'Pas de Berlin' team on location in Cambria, Ca 2014
photographer Todd Powers * model Berlin * MUAH Ande Castaneda
scale mail Todd Powers * skirt and accessories Jen Raven
concept direction provided by Jen Raven

'Joyeux' set edits, 'Pas de Berlin' series 2014. photos and editing by Todd Powers

Want more?  Full collection of BTS photos from 'Pas de Berlin' here!
Read more about this year-long project here and here!

Todd creating the scale mail top for our 'Joyeux' set