I know, you’re probably curious to know what happened with the sequins, but you’ll need to wait until later because I had to get the center panel’s appliqués done first. The larger floral appliqués I ordered were some of the last components to arrive, which is why I had to leave it for so long. I bought both venise and alencon lace appliqués because I wasn’t sure which would work better– neither were quite in the same style as the other trims, but I thought they’d work out all right.
You can see in the reference images below that there are leafy floral motifs at the center front and sides of the center panel, and smallish motifs at the high points of the swags of trim around the hem.
The main accessory for the outfit is a fabulous rhinestone choker– it’s huge, it’s gorgeous, and it probably inspired my long-standing partiality for festoon-style necklaces. I’ve been drooling at the thought of getting to wear something similar, but it’s been quite a process getting to the finish line on this one…
I had a difficult time finding anything that was as elaborate as the choker in the movie– sadly, modern tastes don’t seem to trend towards festoon necklaces. Then I came across a gigantic necklace (billed as a shoulder chain) that had surprisingly familiar-looking elements…
So as I was working on the dress, I thought I’d see how it looked with the rhinestone shoulder chain that had first inspired the project– by itself it looked reasonably good, but once I tried the choker on the dress form (more on that later) it was clear that the combination of the two was just too much. Too gaudy, too garish, not so much a replica of the original as an over-the-top version you might see on stage. Plus, it wasn’t quite long enough to drape properly over the shoulders, which (while fixable) just pushed it over the edge into “nope” territory.
So despite being initially inspired by the rhinestone shoulder chain, I decided that it had to go. (Luckily for me, since it had arrived broken I got an almost complete refund from the seller, so I only ended up paying $6 for it– not a huge waste of money) But what to replace it with?
When I first started this projects I started bookmarking every applique, trim, rhinestone, or other embellishment that I thought might be useful in recreating the lavishly beaded overgown. There were so many options!
It looks as though there are a few different types of embellishment:
- Narrow trim down the center front that outlines the central panel. This appears vaguely floral in design and may or may not also be used to outline swags around the hem of the dress. It looks to be about 1/2″ wide.
- Circular embroidered motifs that are graduated in size– the largest appear to be about 1.5″ in diameter, and it looks as though the largest few sizes are pad-stitched with a bead or rhinestone in the center.
- Narrow embroidered trim around the very bottom edge of the hem. It appears scalloped on a large scale, but it’s tough to see detail.
- Filler appliques of some kind to embellish specific points on the gown– for example, the center front of the skirt and the high points of the swags I mentioned earlier.
- Clear rhinestones, sequins, and beads in various sizes.
- Baguette beads or sequins sewn in straight, short lines.
One of my favorite things about this gown is that although the top layer is loose and flowy, the very fitted underdress showing through the sheer layer keeps it from looking too tent-like. If I had to guess I would say that the movie gown’s underdress (seen clearly above) is tight-fitting satin with some extra fullness below the knee to allow for movement. Since I don’t have Audrey Hepburn’s stick-thin figure and have no intention of spending an evening in a dress so tight I can’t move freely, I’ve decided to go in a different direction and use a bias-cut underdress.
I’ve always loved the dress Audrey Hepburn wore as Eliza Doolittle in the Embassy Ball scene of My Fair Lady. It’s just beautiful– due in no small part to the wearer, but it’s objectively beautiful on its own. So elegant, so sparkly, so perfect in every way; I read that it’s actually made out of an original Edwardian piece, modified to suit the fashion sense of modern audiences. I’ve been dying to recreate it for ages– I even saved the embroidered and beaded tulle from an eBay wedding gown I bought for Halloween almost ten years ago, hoping to use it to make the overdress someday. (spoiler: I did not end up using it)
Then, while planning for what dress I would wear to an upcoming Edwardian-themed ball, I saw this rhinestone shoulder chain on eBay and was immediately struck by how similar it was to the jeweled neckline on the original dress– surely, it was Fate! It has the drapes in front, the shoulder swags, and the tiny crystal dangles all around the edges. Not perfect, of course (got to get rid of that tacky central jewel), but close enough to get me started!
Like I said, as part of our family costume my husband decided to be the Mad Hatter. Honestly, I mostly put his outfit together from pieces I bought– a velvet blazer, some plaid golf pants, a pair of argyle socks– but some items I just had to make myself.
First and foremost was the hat. You know me, I’m the queen of decorated top hats, so while I bought the base hat on Amazon I knew I’d be going to town on the embellishments.
The hat itself is huge– not just tall (which it totally is, unlike many of the dinky little so-called “top hats” you find at the lower price points), but also big in circumference. My husband has a pretty big head, and this hat literally fall down past his ears, it was that big.
My daughter recently watched the new live-action Cinderella movie and was immediately enthralled by the costumes (with good reason!). She adores the old Disney animated classic, but when I saw her eyes widen and her jaw drop upon seeing the new version of Cinderella’s ballgown I knew I’d be making one very shortly.
To be fair, I’d already planned out (just for fun) how I’d make one for myself if I ever had occasion to, but making something for a 3-year-old to wear is different. It needs to be comfortable, or she’ll never wear it. It needs to be washable (at least for spot-cleaning), or she’ll ruin it. And it needs to be reasonably cheap, or I’ll never make it. 😉 A tutu dress seemed to fit the bill admirably. It’s easy to make, inexpensive, very comfortable, stretchy so it’s practically one-size-fits-all, and simple to clean or repair if anything happens to it. And since the kidlet’s favorite color is purple I changed the color scheme to ensure she’d actually wear the dress.
I was trying to figure out fun poses for pictures in the Ursula/Vanessa dress, and decided to make an extra prop to use– the butterfly sphere.
Okay, so maybe you don’t instantly recognize the reference, but in the movie, when Ursula decides to “take matters into her own tentacles” and transform into Vanessa, one of the things she puts into her transformation potion is a bubble with a live butterfly in it.
I remembered that I already had some clear glass Christmas ornaments, and thought they’d be perfect for this application. At first I tried to use a 3″ feather butterfly that I had in my craft closet, but the wings were too rigid and it fell apart as I tried to cram it into the top opening. Instead, I decided to use some gold paper to make one. I cut two butterfly shapes and sandwiched some thin wire between them, first taping it down and then gluing the butterflies together, right sides out. Then I took some gold and brown paint and did a little texturing on the paper to make the butterfly look slightly more realistic. It still looks a little clunky, but it’s close enough.
I rolled the wings up and inserted the wired butterfly into the glass ornament, then used my fingers and a chopstick to unroll the wings. I ran the wire through the holes in the top of the ornament cap and twisted it to keep things securely in place. I also piped on some hot glue as extra insurance..
I turned the whole thing upside down and presto– instant butterfly bubble!
Stay tuned for photos from the convention!