FOUNDATIONS REVEALED COMPETITION ENTRY
Secunda Minutia Hora
Outline the story …
Where does our time come from? According to Michael Ende's "Momo", in a street called Never sits a house called Nowhere, and there lives an old man. The man wears elegant but outdated clothes and thin-framed all-seeing glasses, and is in charge of sending each of us our share of hours.
I am no frail old man, so to honor one of my favorite books and characters, I reinterpreted Master (Secundus Minutius) Hora into a younger and feminine version. I kept some elements of the description, silk, (magical) glasses, and a touch of blue, and let my imagination do its thing.
The design took shape around the fabric - my goal is to use as much stash material as possible. The silk taffeta (remnant from my wedding dress!) and the very 1970s printed voile (inherited from my Grandma's stash!) dictated a very structured orange corset over the flowy layers of voile and this changeable probably-viscose-but-the-burn-test-was-inconclusive that I had bought to make a bustle dress before I knew about correct fabric drape.
I focused my outfit on the idea of time (obviously), and Belle Epoque aesthetic lounge-wear - to me Master Hora has always had a very welcoming, homey vibe. This project bears the influence of loved friends who inspired me to try smocking, add braiding and beads and sparkle, each conversation sparking new ideas and pushing my design further. Special thanks to Laëtitia and Morgane and Charlie!
Outline the construction…
It all started with adapting the "Lorna" corset patent from Marion McNealy's book to fit me. The strictly historical shape quickly morphed into a fantasy overbust. I challenged myself to build real, working clocks into the corset. Hip fins were a logical placement for them... and also something I had never tried before. The silk fused to soft coutil that I used in the body of the corset wasn't strong enough for the structures that would hold the clocks - and I could not do the beading prior to interfacing. Sequins do not like heat.
To solve the issue I bonded the top layer of taffeta to a stronger coutil, beaded through that (pliers were used!), and used the thickest iron-on interfacing I could find for the silk taffeta lining. Stitching the eyelets for the clocks' axis demanded some strength - and making that one hole in the center front of the almost finished corset was mightily scary.
I thought the pendulum would prevent me from sitting (in the end it did not) and I wanted it to move (sadly it didn't either). That prompted me to make the structures removable, and add smaller hip fins to hide the fastenings under. How exactly I came to the crazy idea to have the bone casings external on the hips, and internal everywhere else, I can't recall. Two months ago I would never have thought I would floss a corset with roman numbers or sew faux leather turtle clock weights.