by Emme Hall, Ford's Theatre Costume Manager/Design Assistant

Sabrina's Final Look

The bright and vibrant dress that Sabrina wears at the end of the show has been a favorite among the ladies on the Ford’s Theatre staff, and I’m sure it makes an impression on our audience as well.

Costume designer Wade Laboissonniere wanted to pay homage to Givenchy, who did all the clothes for Audrey Hepburn in the movie, while still staying true to the costume arc of our Sabrina.  While Givenchy made a glamerous Little Black Dress for Audrey Hepburn in the movie, the design team knew that a dark colored dress would not work in our world.  After all, Sabrina is supposed to be the splash of color that comes into these people’s otherwise pastel world … putting her in a Little Black Dress just would not do.

When Wade found the buffalo plaid (a broad checkered plaid pattern usually of two colors) at Mood Fabrics in New York, he knew it was the right fabric for our Sabrina.  However, it would mean changing Givenchy’s famous design just a bit.  The skirt on the original dress is cut in gores.  While cutting a plaid into gores can yield some interesting patterns, it was not what we ultimately wanted.  Instead, the skirt of Sabrina’s dress is actually cut as a dirndl.  That is, it is a giant rectangular piece of fabric that is pleated in at the waist.  When you look at the skirt, you can see that the rows of plaid are even all the way around.  Also, when Sabrina spins during the dance at the end, the skirt does not flare out in a circle, but rather makes more of a bell shape.  Wade kept the bodice much the same as the Givenchy dress, with a square neckline in front and a dropped waist. 

Again, to get this look, proper undergarments are a must.  We used a Malcomodes 591 petticoat.  It is two layers, five tiers of net and organza.  We then dyed it a lavender color.  These petticoats are readily available on the internet. 

Sabrina’s shoes, surprisingly, are from the Brass Plum section at Nordstroms.  Just goes to show:  you never know where that next great retro-looking find will be!

Aunt Julia

One goal of a costume designer is to figure out what a particular character would wear at a particular time in not just the script, but also in their life.  When thinking about Aunt Julia, the costume design team knew we could have a lot of fun with her clothes.  After all, she is the editor of a fashion magazine, undoubtably the Anna Wintour of the day.  Aunt Julia also talks of spending time in Paris, hobnobbing with artists and having the best time of her life.  These life experiences had to be reflected in her clothes.

While the rest of the cast is costumed in very traditional party clothes, Brooks Brothers tuxes for the men, full, formal dresses for the women, Aunt Julia gets to stand out just a bit.  Yes, her silhouette still consists of a full skirt with petticoat, but it is also very tailored.  Not severely, as one would never think of Aunt Julia as un-feminine, but she definitely does not fit the Grace Kelly silhouette of Maude or the young female party guests.

Additionally, costume designer Wade Laboissonniere wanted to play with her color palate a little, resulting in the bright green sash tied at the waist of her grey silk skirt.

This is definitely a look that is easily attainable.  Again, start with the proper undergarments.  In this case a petticoat is an absolute must.  Ours has many layers of tulle with a layer of aqua silk charmeuse over the top.  It was custom-made to get the right color and shape.  The skirt is a simple long A line, (with pockets!) made from silk.  The shirt is from Brooks Brothers.  They have wonderfully tailored items for women that can be worn as part of a more traditional outfit, or accessorized for a funky look.  The over sized jewelry we pulled from stock.  

All in all, the clean lines of Aunt Julia's party outfit reflect who she is: a smart, independent, fashionable woman who is not afraid to make a statement.

"I wanted my dresses to be constructed, molded upon the curves of the feminine body, whose sweep they would stylize, [...]." - Christian Dior

Sabrina’s first look is an example of Christian Dior’s New Look, which took the post war world by storm.  The New Look brought a return to a feminine figure, after the austere, masculine silhouettes of World War II.  The clothes emphasized a full bust and hips, small waist, and gently sloping shoulders.

These traits are seen in Sabrina’s first look with her classic Dior jacket, made from pink silk with a pastel flower print lining.  The peplum was often used to emphasize the hips, while making the waist appear smaller, which is exactly what it does to Sabrina!

In order for the peplum to stand away from the body, horsehair is sewn into the hem, and the jacket is stored on a dress form with a towel pinned to the hips of the form, supporting the peplum.  If a New Look skirt wasn’t full,  sometimes using up to 15 yards of fabrics in one skirt, then Dior designed them skin tight.  Costume designer Wade Laboissonniere decided to dress Sabrina in this sleeker silhouette so that she would stand out even more from the long, full skirts of Maude, and the well tailored trousers of Aunt Julia.

Dior’s clothing is known for standing up nearly on its own.  The originals had interlinings, linings, interfacings, boning, and stiffeners that all but supported the garments on their own.   Additionally, women wore undergarments such as corsets, petticoats, push up bras and small bustle pads.   The idea was to make the body fit the clothes and not the other way around.

To Achieve the Look

To achieve this look today, proper undergarments are a must.  This is not a comfortable look and you should not expect to be able to run a marathon.  At the very least get a decent waist cincher.  We like the Rago line for its affordability and durability that can be found at HerRoom. What Katie Did is a company that does beautiful period undergarments that just opened a US website. 

You should also look for long (12 inches from the floor) full skirts, close fitting jackets with peplums, high armscyes (armhole), and soft, rounded shoulders.  Shoes should be high, but the heel is a bit thicker.  We used dance shoes from Aris Allen on many of our actresses in Sabrina Fair.

Locally, Annie Creamcheese in Georgetown is often a good bet for vintage duds.  However, don’t expect to find a vintage Dior, or even a vintage knock off, just waiting for you.  They are highly valued and go for thousands of dollars at auction.  Your best bet?  Invest in a sewing machine, or talk to a talented costumer to get something made to measure.

Susan Heyward as Sabrina in the Ford’s Theatre production of Sabrina Fair. Photo by Mark Ramont.