This ensemble includes my first complete garment made at Santa Fe Opera. I worked on the vicar’s rochet from mock-up to finish. Made from many yards of white linen, construction entailed enough cartridge pleating to ensure expertise with the technique in the future. The cuffs and collar were interfaced and stitched by hand to the gathered neckline and sleeves. Later, I applied black-grosgrain by hand as trim, and finished the rochet with a machine blind-hem. I assisted in the creation of the chemire, specifically basting and pressing pleats. 

Because Santa Fe Opera’s Falstaff was a co-production with the Scottish Opera, gowns for a previous Alice had already been made. As such, my team worked to create replicas of the originals for Ms. LoBianco. All three gowns had similar skirts and bodices, with variations in the sleeves and closures. I flat-lined the gold silk skirt with organza, assembled the skirt, and completed the majority of the cartridge pleating for it. I assisted with the assembly and finishing for other skirts, as I received assistance in turn with the gold. The bodices were primarily constructed by our stitchers, though apprentices assisted with finishing, trims, and closures. Finally, I assisted our draper in assembling the fur collar for the dark blue gown, and finishing the black domino accessory. 

These peasant bodices are two examples of many alterations made to pre-existing garments for chorus members at Santa Fe Opera. For the first bodice, I took in the shoulder seam by hand and I extended the placket by unfolding the original and re-backing it with coutille. The second bodice went to dye, and, afterwards, needed to be quick-rigged: I draped the fichu, tacked it in that shape, and attached it to the bodice with snaps.