Oscars 2020: Red Carpet Gowns Sewing Review.

On February 9, 2020 the 92nd Academy Award Ceremony was held in Los Angeles.

The media is actively discussing various news and sensations associated with this event. Press say that it was arguably the worst red-carpet garments demonstration, in comparison to previous years.

There is nothing new here - every year criticism is repeated every year.

But this is the reasoning of those who do not consider dresses as a work of art. Those who do not understand the specifics of making Haute Couture outfits.

Let me remind you that any Haute Couture dress is at least 80% handmade. This is the required minimum that must be met. So, there are dresses both 90 and 100% hand-sewn.

You also need to understand that when choosing an outfit for the ceremony, the artists want to make a statement.

For example, Natalie Portman's dress (from Dior, black with gold). The cloaked black classic coat is embroidered with the names of female directors, undeservedly ignored by the academy.

Jane Fonda came out in a dress from Eli Saab, which she wore to Cannes in 2014, and the red coat is “the last article of clothing” she will ever buy. She made a statement about ecology, recycling, climate change and fashion.

Therefore, before criticizing someone’s look, you need to be aware of the reasons behind the curtain choice.

The red carpet of the Oscars is a kind of parade of the best designers in the world, an opportunity to express themselves to beginners as couturiers and, of course, a demonstration a tailor's art.

So, let's get to the analysis of the dresses of the last ceremony from this point of view.

Personally, I’m always interested in looking at these dresses with a professional look, looking for interesting design solutions and watching how great masters create masterpieces.

Salma Hayek - Greek goddess at the Oscars 2020 in a dress from Gucci.

HOLLYWOOD, CALIFORNIA - FEBRUARY 09: Salma Hayek Pinault attends the 92nd Annual Academy Awards at Hollywood and Highland on February 09, 2020 in Hollywood, California. (Photo by Amy Sussman/Getty Images)

This image has caused a lot of controversy. Some say that this is Salma’s most elegant dress of all time, others say that the dress looks cheap and does not emphasize the dignity of her figure.

In my opinion, this dress chastely concealed the magnificent breasts, perhaps visually reducing it and the light, moderate flare of the skirt hid the splendor of the hips.

But, to be honest, I'm more interested in the cut of this dress. And a closer look reveals the mastery of its creators.

Pay attention to how tucks are located on the bodice.

The left tuck is left in place, and the right is tilted so that it almost completely hides under the drapery. Its inclined arrangement opens the center of the corset, making it indivisible and integral.

You can simulate such a design on the basis of a corset pattern with two reliefs, leaving one relief in place, and the other, after closing the chest tuck, move closer to the side. To do this, you need to sew a mock up, put it on the mannequin, draw a new location of the tuck and cut it in a new line.

I want to draw your attention to what ideal shape the corset has with a minimum seams and reliefs. This can only be achieved by steam ironing on a stitched, formed lining on a mannequin.

The skirt was also shaped and ironed.

There is no waist tuck on the right side of the skirt. With such a moderate flare of the skirt, it is not possible to completely close the tuck and its remains must be carefully pressed.

In the photo from the back, I was able to see the central seam at the back, both on the bodice and on the skirt. The waist tucks on the skirt are clearly visible, but the reliefs of the bodice are hardly distinguishable. And, it seems to me, they are located in ordinary places.

Clearly visible bones indicate the presence of a linen corset worn under the dress.

The drapery is made of delicate natural chiffon, artfully laid by small chaotic folds. A sleeve is sewn into the drapery on the left. The shoulder strap supporting the sleeve and drapery is covered with a chiffon wrap.

Please note that the upper edge of the dress has a straight line, and the drapery goes over to the shoulder, having the same chiffon for its foundation. This suggests that the draped parts are sewn and formed separately. And, only when assembling the dresses, they are sewn into the side seam and sewn to the straps. Sophisticated, handmade work.

And in conclusion to all controversy about the image of Salma, I want to say that her dress looks much better in dynamics.

Charlize Theron in a dress by Dior Couture.

Her dress is a piece of art.

The corset basically has a simple design: in front there are 4 reliefs, the back is lowered, the strap is sewn separately, on one shoulder. The second strap falls from the shoulder, carrying a purely decorative function.

Brilliantly executed one-piece basque.

Of course, such a detail cannot be constructed on a table. It has to be created with a mock-up. In a similar way as the overlay was created for a skirt in the course "Wedding dress with detachable skirt."

But this task is doable if you know the right techniques of volumetric prototyping of crinolines and skirts, which I teach you in the course “Dressmaker’s Treasury. Wedding skirts and petticoats. ”

There are several options how to perform this volumetric part:

Use fusible materials to hold volume;
Use a tight corset mesh;
Apply soft rigiline for skirts;
Sew on the boning.

Any of these options should be tested, creating several mock ups from different materials.

An A-silhouette skirt with a high chic slit, on the back there is a luxurious train tailored according to the godet principle.

Penelope Cruz in a dress from Chanel.

HOLLYWOOD, CALIFORNIA - FEBRUARY 09: Penélope Cruz attends the 92nd Annual Academy Awards at Hollywood and Highland on February 09, 2020 in Hollywood, California. (Photo by Kevin Mazur/Getty Images)

This is my favorite dress from the red carpet this year.

Besides the fact that it is elegant, moderately sexy, comfortable, in it I saw several interesting nuances that I would like to take note of.

The design of the top is understandable: four reliefs that allow you to create a wonderful bodice shape. But there is something special. There is an additional tuck on the chest on the intermediate part of the front.

Why is it there?

If you take the pattern of a corset with two reliefs and make changes by increasing the size of the chest, then in 99% of 100 there will be a chest tuck.

In the course “Dressmaker’s Treasury: Wedding and Evening Dresses” I give a table of specific sizes of solutions of these darts, depending on the size of the bust.

Suppose that from this pattern you need to get a corset pattern with 4 reliefs. Draw a line of the new relief, dividing the part into two.