Breaunna’s Arwen-inspired Blood Red gown

Navy and rose-wine velvet, red and gold brocade, and trim so pricy I grit my teeth when cutting it. The sleeves are very long. They will cover her hands when her hands are lowered. The train has a built-in French bustle. This isn’t an easy gown to get into, and will require help. The velvet has some stretch, but is still slightly fitted through the bust. This is a tier 2 costume edition (aka upgraded costume version) that doesn’t use silk. As such, a back zipper, which the original Lord of the Rings film gown had, would have run the risk of puckering unattractively throughout the day. The sleeves have some good weight to them, and will try pulling the off-the-shoulder neckline lower. Body tape is made for this. ūüôā I loved making this gown!

More photos are in this gown’s Facebook album.

Phantom of the Opera “Think of Me” Gown

I admit I’m not a fan of the movie (Andrew Lloyd Weber called it the biggest mistake of his career), but the gowns are gorgeous! **This is the standard version of this gown. The deluxe would have more starbursts in tiny Swarovski crystals. The ultra-deluxe would be in all silk, including silk tulle, which would give the softer bustling effect in the back.**

Oodles of tulle and sparkle! Boned corset-bodice with pink tulle detailing, floofy skirt over a (client-provided) hooped petticoat. Starbursts on the skirt, and the silver-blue tails are easy to overlook… So much more work than it looks like it would be! About 2,000 rhinestones, over 50 yards of trims on those tails (since they’re layered over each other, some of the trims look like one trim), all sewn on.

More photos are in this Facebook album.

Petite Phantom of the Opera Masquerade gown (film version)

Over 25 yards of fabric went into this little gown. There are layers underneath, including a petticoat and crinoline, in addition to what’s easily viewable. The bodice of this little gown is lightly boned not for constriction, but to help it with shaping. Otherwise the basque, that point in the front, would stick out as she moves. The seams are film-correct. The top is embellished with point d’esprit, two types of Venice lace, a dozen satin ribbon rosettes with Swarovski crystals, and shimmery tulle flutter sleeves. It hooks and eyes up the back. The original film gown zipped up, but I really didn’t want to use a zipper on this gown. The original gown’s trim also went further gown the bodice, but since a pint-sized princess’s body proportions are different than an adult’s, wider lace looked too heavy.

The skirt has the same shimmery tulle over it as the sleeves. Before bustling, the train was over eight¬†feet from the waist. The bottom two rose sprays were made to match the film’s from location to color. The bottom one does have the same ribbon and lace, though I used a narrower ribbon. Again, a wider one just looked too heavy for a child’s proportions. The top spray is different from the film’s. Instead of two small tails with roses much smaller than used anywhere else on the gown, I decided to use three larger roses with a ribbon tie. I decided against the band of gathered tulle at the edge of the gown. ¬†The original used a hoop skirt, which I didn’t use. Charlotte hadn’t had much practice in one yet, so I decided to skip it. ¬†An adult version of this gown would include a hoop. Without one, you’ll get a bustle that looks later period, as this gown shows. At the front is a pink rose with ribbon on a pin. I did this, rather than sewing it directly onto the bodice, so that the front of the skirt can be hitched up, as shown in some of the photos. For a little one who wants to run, this makes it easier for her to do so without tripping.

Plus it shows off the petticoat! The bottom of the bright pink petticoat is pleated all around. It took a few yards cut into strips to make enough to go around! This petticoat has a sweep train. The crinoline only covers the sides and back to keep the front relatively smooth.

The necklace is genuine pink pearl, cultured, not freshwater, and AB Swarovski crystal with a sterling silver toggle clasp in the shape of a flower and curved stem. I made that too. Her tiara was a gift from a sweetheart named Lisa, and her gloves were from a shop here in town, though the fingers were too long and had to be altered down. She wore white pearl earring and silver glittered shoes.

These photos were taken at the Portland Art Museum. She was ridiculously excited to see the ancient Greek statues on special exhibit.

More photos are in this Facebook album.

Blue Phantom of the Opera Masquerade Gown (film version)

Years back, I made this blue version of the film version if the Masquerade gown from Phantom of the Opera.  While the original was pink, this one was changed to royal blue with poinsettias for the Dickens Festival in San Francisco.

This gown is in three pieces, not counting the purchased small hoopskirt.

The bodice is moderately boned and laces in the back.  The top is decorated with a combination of silver laces and red and metallic gold ribbons with red and clear crystals.   The tussy mussy (pictured pinned to the bodice on the right) uses the same ribbons with a poinsettia.

The skirt is a bustled cascade of satin with tulle over it.  The swags of red poinsettias seem to pop out and draw the eye.

More photos are available in this gown’s Facebook album.