THE SHOULDER SHELL

The stylized drawing also reflects his researched idea that the posture chan- ges with the use of undergarments such as corsets. Turn-of-the-century posture forced the bust to be thrust forward and the derriere to be pushed backward. Late 20thcentury posture had discarded corsets, meaning that the pelvic area was thrust forward while the shoulder blades were held backwards.

The 1972 Antonio Lopez drawing of Charles James’ Grosgrain Cape shows the cut more clearly than the original Cecil Beaton photographs.

An example: In 1936 Charles James designed his iconic Grosgrain Cape in Paris as part of a series of capes, coats, and jackets constructed from 18- inch millinery grosgrain. This evening cape wasmade from 22 yards of fabric and had features that distinguished

On the back cape bodice, instead of a vertical seam that is taken in 3⁄4 of an inch as it nears the waistline (the angle this would create in ordinary jackets), this excess fabric has been “worked” into the seams joining the skirt to the cape bodice.This angle, resulting in a dart, has been switched much as the hands of a clock are turned around a center point.

The Shoulder Shell from the original Charles James pattern is adapted to the Sarah dress form. This add-on is constructed from muslin fused with a stiff interfacing. The fabric of this shell is squared in a 2-inch grid. The cavity betweenthe form and the shell is stuffed with fiberfill to expand and hold the shape. A bias binding is sewn on to the neckline and bottom edge of the shell.

The shoulder – how to start draping a silhouette: Working as a sculptor, Charles James used fabric and padding to mold extensions to his dress form that produced new and innovative tools. For his creations, the shoulder is the starting point in the development of a new silhouette. The weight and balance of a garment should sit on the shoulder, close to the neckline. The shoulder line was most often an important signature element of his creations.