More photos are in this Facebook album.
40 yards of tulle, 40 more yards of netting, 10 yards of taffeta…for just the skirt. White Chantilly lace over cream cotton for the chemise, and white brocade lined with burgundy cotton interlined with cotton drill for the steel-boned corset. Another 5 yards for the veil. The skirt was fashioned after the “Think of Me” gown from the film, minus the starbursts and blue tails, and the top after the “Don Juan” ensemble, but in white with cream trim. The petticoat is taffeta, slightly trained, and trimmed with the same pearl-beaded lace as the bottom of the corset. I also made the veil, and the comb has the same pearl-beaded lace. I also made the bridesmaids’ gowns.
Carmen and Seth are one of my favorite bridal couples. She played a role in my wedding as the cosmetologist!
On the day of her wedding, which was at the same venue as my wedding, we found out the courthouse was closing earlier than anticipated. The wedding was in the courtyard, and suddenly we had nowhere to wait! Cue a scramble through bushes. Literally. In her gown! It was one of those snafus that was humorous even at the time. It was such a beautiful wedding.
More photos are in this Facebook album dedicated to this gown.
This silk-rayon corset is closer in color the the full-length from photo. As usual, a corset on a dress form doesn’t photograph well since the form isn’t malleable and won’t apply even pressure the way a human body would. This corset is a period-correct Edwardian style. Over-bust corsets weren’t very common, but they were found. Usually corsets ended below the bust and a camisole worn beneath the corset contained the “spillage.” This started out as a replica of Rose’s corset in Titanic, until it was decided to use this brocade and skip the lace. The lines and cut is the same, but the similarity ends there.
You can see more photos in my Facebook album for this corset.
This Edwardian corset is higher cut in the bust than most actually were, and extends down over the hips as most did. In the movie Titanic (technically set two years after the end of the Edwardian era, but which used an Edwardian corset for the scene between Rose and her mother), Rose’s corset was cut higher like this, and this is a replica of that. Most Edwardian corsets ended below the bust, and a tightly tucked chemise contained the breasts (actually much more comfortable than bras). This corset is made completely authentic to the era.
I made this corset using two layers of cotton drill with the 22 steel bones extending down to the top of the hips for comfort. Most seams are double-boned. A steel busk from Germany closes the front, and a full 24 feet of lacing close the back through 34 two-piece grommets. The top 12 on each side lace the main body, and the bottom 5 on each side close the bottom, which doesn’t need to be as tight as the rest. The set of grommets at the waist closer that the rest give more leverage and control to the waist. A delicate cotton lace in a pattern authentic to the early 20th century trims the top and bottom of the corset. This corset was photographed on a couple pillows, nowhere near the shape of a human body, giving the hip area a weird look. But a stiff dressform doesn’t mold, which also gives a weird look.