I’ve been adding more ribbon to the skirt so as to make it balance more with the extreme business of the appliqued hanging panels.
ANd this is what the inside looks like.
So why did I hand sew? I didn’t want to have to take the hanging panels off as they are just perfectly sewn down at the top under the two rows of ribbon. If I was to machine them I’d be either banging those about or have to take them off.
But the other reason is that hand sewing allows the two ribbons to appear to float over the fabric, creating shadows and depth of texture. It helps the green and purple to really pop over the gold.
I did machine sew all the ribbon on the pleated hem though. And that is partly the need to sew that quickly- the pleats are three times the full length so it was going to be bulky and time consuming to hand sew! The effect is now of a single fabric due to the machine stitches.
Now I can start pinning the extra appliques and jewels on the skirt 🙂
Except not because my boning poked through (so was removed) and I need to move the seams to actually work with the curves I do have and with the non curves. The boning sticks away from my waist, so I also need to knuckle down and nip in the waist again.
But I do still like my old rope skirt and I love the overall Aussie feel to the colour blocks and proportion. Also bodice is fully multifunctionsal- the bust applique snaps off too, so Carlotta style upper can be done 🙂
For an idea of why it took almost a decade from the last version? Each row of trim on the bodice took 15mins. That’s the vertical ones. So….
The scarf is the new tour version. Yes. That is what it is. Yes. Ehem. I need to remove the dye from the ends and then dip dye in green then black and see if I can also wrangle in there some glold bars (no dye areas- silk goes yellow in the dye remover) and then find somewhere in Auckland with long fringe.
I will add little forehead curls. But more old school than new school tiny ringlets. The curls of the wig are big and soft and need a more subtle hairline. But OMG! Widow’s peak lace front wigs let people see the full expanse of my giant forehead! This is new!
Wig is from Wigfashion on ebay. The same colour- lovely chestnut with deep red highlights- very subtle but it warms the whole wig.
So that red wig? Guess who has gotten her Carlotta on?
Inspired, yes, by Rachel Anne Moore’s interpretation (inspired by la Divina, Maria Callas) but also because the red dress Danielle Everette wore in Carlotta Side Story was just the most glamorous version possible (in part because she’s stunning and tall and so the lines all create this perfect vertical 188os silhouette- my legs are long so I can get a similar effect even if not as tall!)
Anyway. So I’ll be using my ruined Cleves gown velveteen for the velvet parts so as to recycle something I can’t wear now.
I also have 10m of magenta/fuchsia silk organza to turn into ribbon for the pleats.
And I’ll be making a second bodice for my Elissa gown.
And a fake head! Time to grab a male wig form and cover it with muslin! Opening cadenza at everyone!
So.. .. extra wear out of some of my projects 🙂
Hopefully I can do the bodice and wig soon and then the red dress next year.
I have bound the top and bottom with gold ribbon and the belt is actually looking good 🙂 So I’ll see if I can line all those applique pieces so they also look nice when taken off 🙂
Cold of heck is still here so I am seeing my GP tomorrow just in case.
Also, I managed three goes of Think of Me in a row with no fatigue in my upper range so I may be busting out my Mozart aria CD if I can find it and playing around with this new lightness (possibly due to the cold and how I am holding my soft palette and getting a lot of resonance in my nose proper- not nasal but I can feel the bones all around vibrate more than usual.)
The inner smile trick works, inner smile combined with breathing through a cold and yawn. Seems to be the trick 🙂
Oh also, I am now just down to a bucket of trims for the gown. Trims, not all the things to make, just the trims. It’s a 10L bucket.
Front and back views of the upper applique snapped in place and the belt and lower appliques pinned in place.
I decided I did like the twisted braid after all and I’ll probably do a mix of Aussie and US styles here too: big stones and braid on the middle three seams. The loopy braid on the side and back seams.
I had to stop singing the cadenza at one point today. Yeah, but I managed a few scales as well and some good leg stretches (also if I support both hands I can still bend really far back and see upside down, so there is that!)
Worked a bit on the Elissa and Elsa bodices (Elsa spanx thing so as to have that super flowy effect of the bodice and skirt which will not have any support- I’d cut the fabric on the bias if I could.. sigh)
Just left the Hannibal bodice like this, the applique is just laid on. The only wiggly trim I could get is my braided cord and I twisted it to make a good cover for the zip.
The bodice before gold trimming.
The inside of the bodice! Tight weave cotton mix. Herringbone twill tape (will need to install some as a waistband too) herrinbone stitched to hold the boning in. These means easy removal to alter seams. Cunning plan for a bodice supposed to be used in the theatre.
Utilispanx! Two layers of heavy stretch lingerie, bra cups denuded of every thing and covered in shaped fabric.
Just four bones in there so far but there will be a panel of them down the front or some sort of extra elastic stays. The cups are deliberately dimensional so they should fit right over to the top neckline.
I have also admitted defeat in the dyeing of the lining of the Maleficent tabbard. I’m going to just use the soft charmeuse after all. I wanted silk but it’s so horrible to dye.Unless I can get 6 packets of those tiny dylon packets which is impossible as it seems only Spotlight stocks it here and they have not been restocking the shelves- they are on sale.