The first major step after drafting the pattern and cutting out all the pieces (6 total) was to hem all of the panels and embroider/ bead the bottom hems with a relatively simple pattern. After this 3 panels were separated out and prepped for painting.
Next step was to draft some practice sketches to warm up for freehand painting. The guillotines were painted on each panel before sewing together for the sake of ease. Each one was hand painted using acrylic paint and fake blood and then hung to dry in my bathroom (hahaha). After the panels dried the entire skirt was sewn together. The main over skirt had 2 separate drawstrings to tie the first half in the front and the second half in the back. This was mostly done because of how much fabric had to be gathered in the final skirt design.
Due to the shape and weight of the over skirt I deiced (somewhat last minute) to make an underskirt as a shaping0 garment so there would be better fullness in the skirt. I made it using my quick and dirty peasant skirt method but added lines of red twill for a pop of color and some extra volume. Midway through working on the skirt I had to give my machine a brake and some maintenance since it was running for a really long time during the duration of this project. That and it had been almost a year since it had last been oiled. Never underestimate the power of a well oiled machine!
After finishing the skirt I decided to take some test shots and see how the movement was. Despite being almost 100% muslin it was extremely heavy still. I was really surprised how close to my original vision the final skirt came out. (Shot out to my wizard shirt making an appearance)
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