Caroline Murphy, Missouri, USA
Model: Chelsea Waters
Inspired by the symmetry of Romanesque architecture, the corset and skirt were designed to have a simple symmetry reflected in the placement of the boning and stitching contrasted with the asymmetric placement of the lace on the corset itself.
The top of the corset reflects a half arch and the keyhole represents the many windows and open arches stereotypical in this style of architecture. I was inspired by this simple type of symmetrical architecture because it is known to be influenced by the locale. I thought it would be interesting to style the design after it since it could be interpreted in so many different ways based on the location chosen as inspiration.
This is my second ever overbust corset and the first one I’ve ever drafted or fitted for someone with a different body type than my own. I decided to challenge myself by modifying a basic pattern around the busk and making a cut-out with part of it pieced together.
This corset has six panels per side that are reinforced by two bones at each seam and an additional bone in the middle of four of the six panels. All the bones used were synthetic whalebone, save for the flat steels bracketing the grommets.
I have had difficulties working with fashion fabric and decided to tackle it head on by flat-lining cotton sateen to coutil. I don’t quite have the technique down, but it’s something I will continue to work on. The skirt is the same cotton sateen flat-lined to a gold lame. Both are embellished with a gold lace.
What was it like to compete this year? What would you say to someone who is on the fence about entering next year?
It was fun. I'm not so good at the design part of making things and this really challenged me to work with my model and try some new techniques. It also provided motivation to actually finish what I was working on.