small victories

Well not small victories, quite major really 🙂

I managed to repair some “work” pants to be able to still wear presentable clothing while working with the messy clay.

And then I tackled my new pants all of which have that new fabric and stitching and elastic that together make it a bit difficult to wear immediately. So I removed excess stitching and dropped the seat seams so now have two pairs of pretend denim and five pairs of various shades of pink.

I’ve also been slowly working on the Phantom of the Opera gown. The Elissa skirt and dance pieces. Still not sure how to make the velvet tubes remain tubes. The stretch velvet has better memory than velour so I may need to get some spray glue to help them stay in shape.

Replacing the narrow looped braid for this scrolling braid. I was going to machine them but it wound up possible to hand sew with lots of beeswax on the thread.

But I also have been getting all the gold beads and trimming in order.

This is one of six new rope and tassel combos for the front of the dance skirt. The World tour versions have really heavy tassels (gold and black) with a few lengths of chain beads. I’ll hand knot beads on gold cord instead as finding a perfect match is just so difficult.

I added this length of saree trimming without really thinking. I think the skirt I want to mimic actually has a length of trim that is even top and bottom. So a quick check. Yep.

Note, this is about as good as it gets for this photo. Older programs did not have high density printing and were often very small. This is though my absolute favourite version of this skirt and I suspect some of that has to do with the very heavy contrast that may be an artifact of scanning for the web.

But I think it’s easy to see how I can love this and love the similar era Australian costumes. Really dense texture, and big blocks of colour.

New braid around the edges, new saree trimming on the side pieces and I unpicked some of my own beading and oraganza to get moe accurate loopy pieces in between. This is now much more like the newer World Tour versions that were also based on the very early Melbourne production.

 

And finally I have managed to work on the Enfys helmet.

The wings are too chunky but I was aiming more to get the front curve accurate. I may need to carve that down a little further. I’ll need to get a pointy probe (ie a needle set into a wooden handle) to find the thickness over the forehead and nose. But this was a good 4kg of clay melted and put on the helmet in one session so I need a fairly big break.

The heat was fantastic for my hands. It’s very close to wax therapy really. I melt the clay in a regular crockpot so it doesn’t get too hot. And I melted the last kg or two too far so was able to pour out on a dense formica type of surface and kneeaded it into flat pieces to precut the side jaws.

The character still seems to be under a bit of a spoiler embargo so there is a decided lack of detailed resources for all the large details that help the helmet read as “bone” not a perfectly rendered 3D model. Those are what I love about it but they are hard to see.

This is dye testing. Pretty sure it’s a very easy mix of yellow and red for the coral coloured sections and straight dark brown.

What is confusing when talking about it is that it is not dye like in any other medium. This would straight up be called paint. It is thick like regular students acrylic paint and doesn’t soak through. I mean I’ve worked with it enough but it’s still counter to everything I know about paints and dyes in textiles, clay, canvas, paper, etc.

Anyway. It does let the neutral skin to show through and so I’m happy enough to just wait and see what I can find for the lengths.

And this is the actual make and model of the “beads”. So tiny. I was going to cast them as they wind up about $35 a pop.

sewing day

I wound up breaking out the overlocker all day instead of working on horns. Which was probably wise. The rain is still leaving everything damp so curing would be risky.

So I zipped around the edges of my Worth sunburst skirt (the satin is so perfectly buttery that it was just nice to do!) and used the drafted bodice pattern from the 1876 tool to trace a new pattern for my new Phantom wedding dress bodice. I did use the vintage organza after all so that leaves some of the crepe for a potential Moulin Rouge dress. If I ever find a trim that works!

So that was tracing and transferring the pattern to a layer of twill, a layer of calico, and a layer of organza then overlocking all the edges tidy.

And then finally I cut the trim for my Cleves sleeves having removed the colour from the silk. And that leaves some softer trim for the undersleeves.

 

And finally, my last cast from my Ahsoka molds finally worked!

wedding gown musings

Sierra Boggess shared this image yesterday and can you see what has made me so excited? The fabric is thin. Well fairly thin- the flash and angle allows us to see her skin across the arm while the fabric looks more opaque closer to the armscye (where the fabric turns and follows the curve of her shoulder.) The sleeves are either unlined or lined with something very fine while the bodice is flat lined in a solid white.

I tend to double line my bodices and either not line or line my sleeves in a very thin material too.

Also if you follow the lines of the fabric on her sleeve you can see how very shallow the sleeve head is. This is both era appropriate and theatre appropriate as it means you can get your arms over your head. Notice the small wrinkles between shoulder and armscye? Yep. Modern patterns try to eliminate that by using a very tall sleeve head and that is what gives us limited arm range.

The effort to make a garment look good on the stand makes for a garment that is far less practical.

Anyway, just my thought process when I look at new/different images of the same garment 🙂 It’s all about the fit.

 

Oh and there is probably a bit of ease in the top of the sleeve head, I use three rows of stitches to do this rather than two as it does makes the fine gathers almost invisible.

Happy birthday to @andrewlloydwebber!!!!! So grateful you are on this planet!!!

A post shared by Sierra Boggess (@officialsierraboggess) on

 

phantom costumes long overdue

I kept trying to find inspiration for making an Aussie version of the Rooftop dress, but I keep finding myself coming back to this:
rooftop

(full file is 6M)

And a few tiny images of the German versions where the underskirt ruffles are gradient dyed/knitted and so create a wonderful play on light. It looks like the lace is more ruffled than it is. I don’t really have any of my own scans of that though.

And the wedding dress.
wedding

These are both from the UK c2000. The wedding dress especially is so classic in shape and details but more era specific with the beading. I made my overhaul to have that kind of decoration so I am desperately trying to get my old little discs to work. I think I need  a better drive though. Even in compatibility mode the drive doesn’t read the discs. But I know there is a treasure trove on them.

phantom wedding dress

This project is super long term and matches my Elissa gown for length of time since starting!

However the skirt is finally getting the lace flounces! I decided to just go ahead and make this like the show gowns which is to not use my delicate vintage lace but a lovely net lace that I removed colour from 🙂 This has left the net ever so slightly pink and the flowers arctic white. The dress is a very creamy crepe and there will be opalescent organza (vintage- it’s not the super slick stuff now) and there will be some pearled lace appliques and ruched ribbon headings

Amazingly the lace was pretty much in the perfect lengths for full ruffles (3 times for each row)

So I started by gathering and quickly decided tiny pleats made more sense.

Not to sure how I managed to make the left side flatter, but the florist pins at the top of the skirt in the last image is where that side will be raised to before the lace is stitched down. I’d love to have used my vintage lace as it’s much wider but really I think the lace will look much better once the pins are out 🙂

So this skirt is feeling very mid 90s UK in style. Funnily enough 😉

The bodice is very much mid to late 90s UK too 😉 But you can see the organza is more subtle than more recent ones such as used in Wicked 🙂

So this has undergone many changes, a few piccies from when i first made and wore it:

 

This was the last iteration. Notice the wooden doors behind? Yeah that means this was before the fire. After the fire the bodice had a lot of soot damage so a lot of the hard work got undone.

Yes, when I was well I did a quickie trip to Europe and saw the show in Hamburg, London, And Copenhagen. And wore this frock each time. Long before it has become okay to cosplay at events btw. In fact this was just a few months before Rheumatoid Disease became part of my life.

Phantom Hannibal costume tidy up :)

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.

sm_dsc_1066 sm_dsc_1067

ANd this is what the inside looks like.

sm_dsc_1072

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 🙂

DIANA- VERY STRONG SIMILARLITIES TO THE STAR PRINCESS SO…

DIANA- VERY STRONG SIMILARLITIES TO THE STAR PRINCESS SO…

by admin, December 9, 2014

 

Raimundo de Madrazo Y Garre

Marquise d’ Hervey Saint-Denys

1888 4′ 4 3/4” x 2′ 8 3/4”(134 x 83 cm)Bequest of Mrs.d’Adelsward-Pourtales,1934

 

 

Especially the net beads on the bodice.

Anyway, this is the inspiration for my own interpretation of the Diana masquerade costume.

 

I just never di get the name of the sitter or artist so now I can at least reverse image search 🙂

 

Took this piccie in 2006, took hunting my my LJ archive to try and find her 🙂

Elissa

Elissa

I still have the corset base but nothing else. Would still kind of love to make this version 🙂

In other words I am sorting through my harddrive. I have double ups of folders here there and everywhere.

Oops, slight problem here…

Oops, slight problem here…

I knew it would be a problem to store but I really can’t do anything else with the Elissa skirt. Umm… Yeah.

  1. Sandy T. says:

    Do you have any patterns for this dress (I LOVE POTO) I really want to make this costume. (I wasn’t on planning on doing the big skirt, just the ropes and bodice.) If you have any tips or help. Please let me know! THANK YOU SOOO MUCH. You are a costume genius.

    Reply
    1. admin says:

      Thank you 🙂 I originally used an 8 panel ball gown bodice as a base for my first version, which then was adjusted to make a 10 panel bodice.
      A wedding gown pattern section is probably going to offer a good option as it will include instructions and material guides for making a self supportive bodice 🙂

      Reply

HANNIBAL DONE!

HANNIBAL DONE!

by michaela de bruce, September 27, 2014

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.