FOUNDATIONS REVEALED COMPETITION ENTRY
Amanda’s Selene, Goddess of the Moon
Outline the story …
Greek mythology has been near and dear to my heart since I was a child. My fascination only grew as an adult. I chose to bring Selene, Goddess of the Moon, to life, using the book "Oh My Gods: A Modern Retelling of Greek and Roman Myths." I was inspired by the modern telling of the tales. Selene represents the moon, love, the tides, and the willingness to change. I chose to give Selene this modern touch with a lovely overbust, an exorbitant number of crystals, and a double side slit, multi-layered skirt.
The design of the neckline is echoed in my placement of the crystals, showing Selene's true power and strength is in the moon, closest to her heart. When designing the skirt, I drew on inspiration from my burlesque costume making. This art form also reminds me of beauty and power, so it's no surprise I'd draw inspiration from there as well. This led to the design of the multilayered skirt, split on the hips. The layers and seven foot length of the skirt represents the tide, and the power the moon has over the tides. I wanted sparkle and shine, the way the moon shines on all of us. My use of flat back and beading crystals came into play for this part of the design, making her sparkle and shine the way a goddess should.
Outline the construction…
-Cotton back interfacing
-Flat back crystals
-Flat steel boning
-Spiral steel boning
I started this project by drafting a simple overbust corset pattern. I wanted to check the overall fit before I went further with design. My two biggest challenges in this project presented themselves right away when I fit the first toile on my model: the crescent neckline and my model's severe scoliosis. Through tweaks in my pattern and a couple more toiles, I was able to achieve a fit and silhouette that evened out my model's beautiful figure, and create a neckline complimenting her bust and the shape of a crescent moon.
I fused interfacing to my silk, then used the roll pinning technique to join my pieces to the coutil strength layer. After a fitting, then bias binding, it was time for decoration. I placed each flat back crystal on by hand, one at a time (a process I find thoroughly enjoyable). I placed close to 400 crystals in a tight, compact crescent moon starting at the neckline, then a few inches down, fanning out all over the corset.
The skirt was cut in seven different lengths, the longest being 7 feet and the shortest at 4 and a half feet. I rolled hemmed each layer, then gathered four layers for the back and three layers for the front. They are joined on a waistband, with a side closure. Crystals were placed in a scattered design all over.