The sleeves shown above are actually two layers of a continuous pattern that spirals around the arm. While the underlayer is fitted, the top layer has increasing volume toward the wrist, creating decorative rippling texture.
This fully-lined cropped infinity dress is constrcted of only two patterns, creating a figure-eight of wrapped seams. The patterns for this dress were relatively narrow, but almost 20 feet long! It can be worn straight and fluid, or with the volume pushed to the back with tiny hooks as shown below. It is a more subtle homage to Worth's gowns.
This dress was a modern take on Worth's voluminous sleeves. Panels cross over from front to back, eliminating shoulder seams and allowing for the seams to contour in and out around the body. The heavy weight of the fabric, in addition to internal backing, allows the sleeves to stand upright on their own, unsupported by any internal padding.
This infinity cape is reversible and interprets Worth's idea of curves through a functional lens. 
I designed, patterned, and constructed these garments after researching the draping and patterning techniques used by Charles Frederick Worth, known as the Father of Haute Couture. I focused on his use of curved seaming to fit and dramatize the body, and developed unusual patterns by imitating his technique of using continuous panels to cover the body. The House of Worth showed interest in the mini collection as they are undergoing a revival under Giovanni Bedin, who previously worked for Karl Lagerfeld and Thierry Mugler.

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