Dressing the fuller figure.
Thursday, November 20th, 2008
Earlier this year you may have seen the retail guru Mary Portas visiting the boutique of the designer who specialises in larger-sized garments, Anna Scholtz. Amongst all the furore over the last year or so about ‘Size 0′ models it was refreshing to hear someone in the fashion industry comment that “the curvy customer is, in fact, the average British woman”. I realise that this can be a sensitive subject, but if you are a bespoke tailor it is an issue that you have to address face on.
When assessing a client with, to use the accepted euphemism, a fuller figure, it does present a different set of challenges for both maker and wearer, and I feel that the continuing trend for covering up rather than emphasizing assets takes away the opportunity for rejoicing in one’s own body shape.
Often I find it to be the case that insufficient time has been spent by a client in assessing their true anatomical structure, for example whether they are ‘big-boned’, or have a larger body mass. As each of these has a different reaction to the act of standing or sitting it can have considerable implications for the way in which a garment is cut.
Three of my clients come to mind who are completely at home with their proportions, and all have, in their different ways, to lay themselves open to public scrutiny.
The world famous dramatic soprano Jane Eaglen first came to me when she had just broken on the operatic scene and I made a concert dress for her American debut at the Hollywood Bowl. She not only had to have something with all the glamour of a first night, but also it had to be something against which she could push when her diaphragm was in full extension. In some ways it had to become a part of her performance equipment. An interesting combination of robustness and elegance for a woman who is tall with a substantial figure and a personality to match. We worked on emphasising this with an emerald raw silk gown which had beaded accents, and combined it with a long iridescent silk chiffon coat.
Clarissa Dickson Wright wanted a garment for an occasion too; The Conservancy Ball. But it also had to be one that would merge into her wardrobe in a practical way. Her links to the countryside and the National Trust led the way to a 2-piece rifle-green, wool-crepe top with a long 8-panelled skirt which broke into soft flutes at the hemline. Over this we made a sweeping shooting cape from lightweight tweed with a fine leather trimming. So…practicality with style.
One of the most interesting commisions recently was from Gieves and Hawkes who asked me to create a piece for the Lord Chamberlain of Tonga on the occasion of the coronation of the new monarch. This garment had to make less of a statement because of the contrast with the ceremonial garments. In this instance it was midnight blue silk-satin with an Empire waistline and a long exagerated A-line skirt. We were however given full permission to add any accents we thought appropriate, so to soften it we included a scalloped neckline and a hint of beading to match the sparkle of the occasion.
If I were to sum up the common elements from each of these projects I feel that there are three points to be made.
- Don’t sentence yourself to wearing dark colours all the time, and have a sense of your own unique colour palate; more of this in future posts
- Don’t squeeze into a smaller size, wear something that fits your build
- Think vertically with detail, and accents that draw the eye forward and up e.g. longer lapels, a longer jacket opening with fewer buttons, detail around the shoulder areas
The exceptional soprano Jessye Norman is once reputed to have said, when being encouraged to enter a crowded elevator by turning sideways, “Honey, with me there ain’t no sideways”. Frivolous comments aside, let’s hear it for the women with fuller figures!
Photo: Public Domain
