Neck Corset and Belt

11/4/2022

Neck Corset

The creation of this began with heavily editing a free neck corset pattern (originally from this website here) that had since been discontinued and the creation of a mock up. After that was finished there was the laborious task of cutting out and prepping all the patter pieces (20 total!!) for this garment which was the most structurally complex component of the enter dress.

Both the outer shell (with boning channels) and the inner lining had to then be sewn together to prep for beading. Plastic synthetic boning was added to the boning channels before it was dyed with fake blood and the process of bead work began.

Dying and beading the neck piece alone took the better part of 14 hours (about 2 days of work) on its own. After the bead work was completed the inner lining was sewn down and basis tape was added to the bottom to close the garment. Then grommet tape was sewn to the back and white ribbon lacing was added to complete the garment.

Belt

The belt was extremely easy and quick compared to the rest of this outfit. It just took some fussing with my white velvet and embellishments to complete. The most laborious portion of making this part was deciding on how to sting the pearls attached the side of the peace.

The Guillotine Dress

“The Guillotine Dress” Mixed Media (Cotton muslin, acrylic paint, glass and plastic beads, fake blood, synthetic bone, embroidery thread, synthetic lace, synthetic twill, and silk), 2022, Z. Fondanarosa

Off with their heads and let this lavish beauty belong to those who create it, you may never have immortality no matter how vast your pockets may be.
The idea behind this work was the want of lavishes and how it leads to instability and importance. The bourgeoisie want what they cannot keep and no matter what time will corrode all that they could want. They done deceiver to to much this even within its sweet irony, depicting the tools that the artists wishes to kill them with. This garment was constructed with impermanence in mind. the very nature of muslin as a drafting fabric and not a final fashion fabric was considered in this work. it is defined to deteriorate over time, the weight of itself and its embellishments (mostly that of glass bead work) will inherently destroy itself over time. Elements of folk costume were mixed with the highly contained and stuttered elects of couture fashion with the intention of mixing the peasant with the high end, showing the beauty of both lavish styles. the garment itself was made to invoke the images of the ware being decapitated, there blood falling over there shoulders, invoke with lavish and glittering bead work.