So, time for the finishing touches! You can see in the photo below that in the center panel there’s an arc of large silver sequins just above the floral appliqué around knee level.
I bought 10mm silver paillettes to attach to the dress– I only needed 20 paillettes for that section, but then I realized for the first time that the dress actually had more paillettes around the hem! Good thing they came in a package of 200…
So, not only are there swags of embroidered trim near the hem, but there also appears to be a row of silver paillettes following the lines of that trim with short line segments connecting the two. It’s really only obvious in this one photo, so it’s no wonder I missed it on my initial viewing:
See the little gray dots following the lines of white trim? Clearly paillettes. However, I can’t tell what the faint white lines are– it’s possible that, like the sleeve and neckline detail, they are embroidered lines of thread with clear sequin “leaves” on either side.
As I said in my earlier post, I had just finished the sequined swags on the sides of the gown (which took a few tweaks to get right), and was about to start embellishing the center panel when I realized that I had a problem. While some of the movie stills quite clearly show that the center panel is covered in sequins, other shots make it look like there are far fewer sequins, and still others imply that any sequins aren’t really that prominent at all.
Here, there are tons of sequins visible, all looking the same color silver as the side swags:
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.
As I mentioned earlier, the original gown appears to be sewn all over with beads and silver sequins– while I briefly considered doing the same, I knew it would take absolutely FOREVER and I really didn’t want to deal with the time and effort involved. Instead, I decided to use glue to attach silver sequins to the dress.
As previously noted, I purchased six thousand 4mm flat silver sequins for this dress. You can see in the photographs that the sequins are concentrated around the lines of trim on the side sections, and are basically everywhere in the center section, so I figured I’d need a lot of them.
Taking the advice in this tutorial (excellent tips, by the way), I bought Gem-Tac glue to attach my sequins and rhinestones, and made myself a big cardboard backing to use as a base for attaching things. I covered it in parchment paper and used binder clips (cushioned with paper towel to prevent snagging or creasing) to clip the edges of my fabric to it.
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…
After I attached the beaded fringe on the neckline and sleeves of the dress, I did some hand-stitching of sequins. I had not originally realized that this would be involved, but closer examination of the sleeve decoration showed that the straight lines (and by extension, the straight line segments at the neckline and hem of the dress) were not baguette sequins or beads, but were actually alternating lines of sequins and what looked like stylized vines with sequin leaves. See?
So I bought a bunch of clear 4mm sequins to go with my silver 4mm sequins, and got to work. Again, to assist in accurate placement I ran basting stitches of white thread to mark the lines. Then I used ivory embroidery thread to stitch down lines of silver sequins and to make the central vines for the clear sequins. I used a basic running stitch– since the net is see-through, the stitching looks like a solid line. I then used regular white sewing thread (finer but still visible to match the original) to stitch clear sequins along the edges of the vines.
For one of the accessories for this outfit I had to find an appropriate small tiara. It was actually harder than it sounds– while there are tiaras galore on eBay, most are much larger than the delicate piece Eliza Doolittle wears in her gigantic updo. The few smaller ones weren’t much better– they were usually too rounded and none had the tiny dangles you can see in the original. I finally came to the conclusion that I’d need to cobble one together myself. Luckily, after much searching I found this comb, which had the radiating tines decorated with rhinestones, even if it was in the wrong color. I removed the heart from the front and snipped off the extra tines so there were only seven, just like the movie version. I had to bend them into the correct position to make them look like they were radiating from a wider base, as well.