Celebrating 25 Years!

Made for Movement was born 25 years ago this month, in 1987, and a little celebrating is in order.


We have had 4 different locations, and by my estimate, created nearly 1000 costumes for Twin Cities competitive ballroom dancers in those years.  I believe I have managed to make the things I love the most; 3 dimensional design, beautiful fabrics, all things sparkly, and dance, into a perfect career.


As I finish the last of three new gowns for the Snowball this weekend, I wanted to look back a little, and look ahead as well.

First, let's look ahead.  Of greatest importance, I want you to know that we are raising our rates this year.  Each year, the cost of rhinestones, fabric and notions goes up, but Made for Movement has charged the same hourly rate for our labor since 2005!  After seven years of holding the line, it's time for an increase.  But for all of you who book with us by the 15th of January, for any project for any time this year,  we will honor our 2005 rate.  So stop by our display at the Snowball and make sure your projects for this year are on our schedule to take advantage of this offer.  To give you an example of the savings you can get by scheduling NOW,  I just finished a new gown at a cost of $2050.  At our new rate, this same gown will cost $2300, so book your costume needs for 2012 by the 15th of January, and save!

Now for a quick look back!  In 2011, we made 22 new gowns, dressed 15 men in either Latin, Smooth or Standard attire, and sold 12 Gently Used gowns, plus did several "renewal" projects, (a new skirt, a new sleeve, a new look for an older gown) working at our usual project-a-week pace.




The average new, custom-designed Latin or Rhythm Gown cost about $2000 and the average ballgown cost was $2450, which makes us a huge bargain by industry standards, and this will still be true when our new rate is in place.

For those of you looking for an exceptional price on a beautifully made gown, I just got a couple of new Gently Used listings, and they are being cleaned and readied for the rack on Friday, so, VISIT US AT THE SNOWBALL!










OH!  And here's a little sneak peek at a detail on a new gown that I am loving.  I can't wait to see it (and it's lovely and talented owner) dance!

Patty's Quest for Emerald

Sometimes, a color is all important.  Patty came to my studio in search of the perfect emerald green for a new Rhythm gown.  Ballroom fabric suppliers provide a beautiful vibrantly pure (and sometimes neon) array of colors in a variety of fabrics, but greens for the last several years have been more on the yellow side of the color wheel than on the blue.  And Patty's dream color was on the blue side.  She had seen Oscar gowns in this magical but elusive color and nothing else would work. I think she was especially interested because her red hair is a new adventure for this octogenarian(!), and she really wanted to feature and flatter her spicy auburn.  Doesn't she look fantastic?


Her friend Randee came to her design meeting and helped work out our design.  Digging through my sources and scraps, we found a piece of silk in the perfect color to order for the skirt, and a scrap of satin lycra in my studio for a sash, but the stretch lace she wanted for her bodice did not exist in that particular emerald color.

So, off to superb dyer Marliss at Iris Color Studio I went, with a sample of white lace in the pattern Patty had chosen, to see if it could be made the perfect color.  Marliss did MANY tests.  The netting and portions of the flowers were nylon and other parts of the flowers were rayon, and the two fibers require different dyes.  Marliss struggled to get a deep, rich, vibrant enough color in either fiber.

Marliss's first samples, close, but not achieving the dream.

 When she mentioned the greatest challenge was getting the green to be both blue and vibrant enough, I mentioned the lace also came in bright, pure turquoise.  She was thrilled with the turquoise sample I took her and assured me that we could go ahead with the gown and she could get the color, particularly since the colored version of the lace was all nylon.

But I had to convince Patty that Marliss would come through.  Patty mentioned that having a  gown custom-made is a scary thing for her.  Trying to calm her fears, I suggested that even buying dancing lessons was potentially scary.  Teachers can demonstrate what steps and styling go with an Associate Bronze syllabus, and you can see how the dance looks on the teachers.  But what will you look like, doing those things?  You just have to trust the professionals to do their job, with your best interest at heart.  The same is true with custom dance wear design, but the difference is, when you are finished with the process, you have a valuable, re-sellable product.  What you learn in a dance lesson program is with you for your life and beneficial in a multitude of ways, but you cannot recoup any of the money you have spent, whereas, most gowns are good for a minimum of 75% of what you paid for them when you are ready for a new one, and that is a better value than buying a new car.  Fortunately, Patty gave me the go-ahead!

The turquoise lace Marliss over-dyed, and the final, perfect result.

Marliss came through brilliantly, and we cut, basted, assembled and fit Patty's gown.  I am especially proud of the lovely cuff detail on the sleeve.

Cuff Detail

I am also proud of the beautiful pattern match I achieved at the center back of the gown.  Lace yardage motifs can be very different sizes depending on where the pattern occurs on the piece, and blocking two pieces to exactly match each other is a tricky proposition.  Adding a zipper into the mix increases the challenge, but this worked out beautifully!

I am also happy with the beautiful edge I created with the lace selvedge.  And the rhinestone pattern works nicely with the lace pattern to emphasize shapes and edges, as well as providing all-over sparkle, while still allowing the vibrant emerald color to shine through.

I'll add one final shot of Patty dancing from the Dancer's Studio Showcase event last night.  I was not able to attend, but Patty had many family members and friends there to cheer her on and kindly shared these images with me.  Congratulations, Patty on your beautiful new gown, and on your performance!  I look forward to our next collaboration.

Cathy's First Gown

Cathy is a confident and lovely young dancer at Arthur Murray St. Paul, and her teacher Nate suggested she visit me when she was ready to have her first ballgown created.  Both Nate and his wife Rachel, also an Arthur Murray instructor and counselor, offered their ideas about what the general impression of Cathy's gown should be.   Nate said, "poised, regal and elegant" and Rachel offered "demure, lighthearted, and clean."  Cathy brought me lots of mages all of which featured cool, peacock colors and most of which also had floral motifs.  We decided that purple was the right royal touch, and used jeweled floral lace to ensure the gown had a youthful and lighthearted quality.



I see what Nate meant by "poised."

Cathy did lots of rhinestone application on her gown to help keep costs reasonable.  I finished her necklace and earrings for her, to show her what I had in mind for the lace.

 Then, using the lace as a guide and doing a sort of "paint by number" process, she spent about 20 hours, over a 10 day period, adding stones to the lace on the front...

...and the back of the bodice...

... the cuffs,

... and the barette.

  Because Cathy's hair is dark, we backed the barette with black ultrasuede, so the jeweled flowers could appear to sit neatly in her hair, which I think worked out nicely!

Then Cathy returned the gown to me, after a practice session to assure that everything worked as expected and to give her time to get used to the idea of wearing the gown.  She was so sweet, telling me how hard it had been to dance in it the first time without trying to watch the dress move in the mirror instead of concentrating on her dancing, and how exhilirating it was to feel fabric swirling around her legs and seeing the cuffs sparkle as she extended  her arms.  I can remember those feelings well, and some of my professional clients intentionally get new costumes for big competitions, specifically for the added sense of excitement and discovery they provide.

 I finished the gown by placing the less-fun-to-apply, but equally important, amethyst stones on the gown bodice, and then, I installed a delightful detail.  The electric blue pearl chiffon underskirt provides flashes of color in movement and adds a great deal of depth to the layers of skirt.  I was fortunate to see her dance at her showcase event on Sunday, and take a few photos. 

And that is Made for Movement menswear on Nate as well.  Don't they look wonderful?

I love working with first-time clients and Cathy did an wonderful job of both the rhinestone application, and with trusting me and the Made for Movement process.  I look forward to working with her again!

In the mean time, as Rachel suggested to Cathy when she called after wearing the gown for the first time and was sad to have to take it off, "It would not be entirely wrong to watch TV in it some night..."

Hematite for Christine

Christine is a lovely and lyrical professional Ballroom dancer, and it was my pleasure to help her create her new competition look for Twin Cities Open.  I ask my clients to tell me how they want to present themselves on the floor in a few words, and then we use those words to check our decision making on all aspects of a gown design.  Christine has a new partner (Martin Pickering) and is doing beautifully with him.  She wanted her new look to be "fierce."  As in, a fierce competitor; strong, determined, giving 110%, and uncompromising.  So, we worked on creating an image of power and strength.  She chose Hematite satin chiffon and Swarovski embellishment in many different colors and sizes for her shirt, and the bodice is hematite stretch mesh, encrusted with Crystal AB stones, with an undecorated, softly expressive over drape, through which you can see the paved stones on the fitted bodice.

I think she looks fierce here, waiting to begin her Tango.  I'm really pleased with the jewelry I created for her.  The choker, earrings, bangles and cuff seem to support her look nicely.  She made a few bangles of her own as well, with me creating the bases, and Christine selecting and applying the stones.  She also did a great job with much of the pave on the bodice.  The hematite color is deep, rich and very "I mean business" on the floor, and I'm so glad I got to see her dance.  They did very well at Twin Cities Open, placing 2nd in the Rising Star Professional Smooth and 5th in the Open Professional Smooth.  My photography is not great in the low, theatrical lighting of the competition floor, and someday, I hope to have more and better images of this beautiful woman in her new gown.

Jane's Purple Volcano

Sometimes my clients want to change the image they present on the competition floor, and Jane was ready for a change.  Here's her first rhythm gown, which I thought looked very nice on her, and obviously had good movement as well.  It was not a Made for Movement gown, although I did adjust the fit for her.  I think it is playful and fun, and a bright, vibrant and visible color, all good things on the floor.  I also thought the bare chest and shoulders were flattering.

But Jane wanted a change.  Something more "grown-up" looking, and more understated and elegant.  So we set to work on a design that would flatter her body, and create the impression of elegance and maturity.  We started with a deeper richer color, and a more complex grouping of lines and shapes.  We softened the skirt, removed some weight, and used a more transparent fabric to feature her pretty legs, although we wanted to maintain good potential for movement in the skirt so used a similar volume of fabric. 

We also moved the focus from the center of her body to one side and  provided a vertical division.  We achieved this division in two ways.  We used opaque draped dance crepe on one side of the gown and sheer stretch mesh on the other side, as well as using different embellishment on each side.  We also found a bronze scrollwork applique we thought might provide a hint of vintage antique aesthetic to use a a base for our rhinestone decoration.

Decorating this gown was fun.  We chose a Swarovski effect crystal called Volcano for the scrollwork details and the sheer mesh portion of the gown.  Effect crystals are a different color viewed from a different angle.  Volcano viewed directly from the front is a pinky purple, but as you move to the side for an oblique view, it turns a green gold.  One stone, multiple colors.  This too added a mysterious complexity to the gown.  You can see the effect at work by looking at the bust area of the gown in this photo.  As we view the crystal headon at the bust point, the purple color blends into purple mesh, providing just sparkle.  Beneath the bust, where you view the stone at an angle, you can see the vibrant gold color of the effect, and as your eye traces the curves, you can see the transition from purple to pink to deep, bronzy gold. We used Amethyst crystals on the opposite draped crepe side, which are simply purple from all angles, providing lots of sparkle, but less color drama.  All of the scrollwork is embellished with larger Volcano crystals, and even some big sew-on jewels for added punch.  We did the embellishment work in stages, allowing Jane to decide how much sparkle she wanted to see and consequently, allowing her to choose the final cost of her gown.  Jane chose plentiful rhinestone embellishment, and was pleased with her decision.  We did not stone the skirt, wanting to keep the focus on the pretty shape of the handkerchief hem, and allow our eyes to see though the fabric to her shapely legs.  I like the assymetrical balance of this gown.

Since we were not revealing as much skin at the top of the gown, we opened one sleeve with a keyhole and embellished it with our scrollwork applique. 

We also opened a keyhole at the back of the gown.

And here is a shot of those lovely legs in their new skirt.

We do not yet have competition photos to post, but I have seen Jane's video from Wisconsin State, and both she and her new gown look wonderful. and move beautifully!  I think we achieved Jane's elegant new look successfully.

We are in the process of creating a new ballgown as well, and I am enjoying working with Jane again!  When we are finished, I look forward to sharing our work with you.

American Beauty (aka "Cruella")

My personal taste in dancewear comes bursting out when I design a gown to be placed on my rack for sale, instead of the custom design for a specific dancer that is the vast majority of my work.  I love texture and print, so I am often motivated by a piece of fabric.  When I found this dot print, I fell in love.  I was really pleased that the fabric was not specifically "polka dot," as that has a kind of sweetness that I don't find appealing.  I immediately wondered if it might be possible to emulate the dot pattern with Swarovski Jet crystals, in varying sizes. 

The gown sketch featured a skirt that dropped from the low hip, but high enough to disguise a wider thigh, and included additional fullness in the shape from the knee down. This is a year of multiple layers of skirt, so I also found some crisp, sheer organza and cut an underskirt that had a pretty mass of flounce, again, from below the knee.  

A simple white, off-the-shoulder leotard with a v-back and long flounced sleeves to emulate the shape of the skirt was cut.  Once assembled, a Jet Swarovski application sample was done and then turned over to Michele, who created a jig to help with randomizing the crystal  pattern.

As a side note, it is amazingly difficult to create randomness.  I just watched an old episode of "Num3ers,"  which is a TV show based on the usefullness of a mathematical genius in solving crimes.  In this episode, the genius asks a group of people to distribute themselves randomly around a room.  They do so.  And then he points out that they are all equidistant from each other, and (of course) proceeds to solve the crime. The same thing tends to happen with random rhinestoning.  It's very hard to accomplish, unless you intentionally plan to put some closer together and some further apart.  But, enough random rambling.

When Michele returned it to me, I asked a client to put on the gown, and immediately saw the sleeve made for too much volume overall and cut it off.  Amazing how differently things look on a person, as opposed to my dress form!  The black and white print had an mildly gray impression, so I knew it would need a bold contrasting color addition.  Being symmetrical, it was so stable as to make one wonder if it COULD move, so I also decided that my contrasting additions would need to provide a sense of potential action for the gown.

A bold red emerged as the best color option, adding a nice drama to the piece. I wanted the gown to be both dramatic and a little playful (in deference to the dots) so I experimented with bows, ruffles and flowers, and the elegance of roses was a favorite, with substance and shine being desirable characteristics.  Samples were made and tested in several different fabircs.  I loved a red silk sample, but when I washed my samples, the silk had the least color stability and ran into the white lycra, so a poly crepe back satin won out. A couple days were spent crafting red roses and buds.   Then I arranged my mountain of roses to create some action in the gown.

We have not hemmed the gown, waiting for an owner to establish the final length, but I have ordered 25 yards of red satin hem binding, so all that delicate organza flounce will eventually be red swirls of  accent at the foot, beneath the dots.  We've made a couple of simple pieces of jewelry, a satin choker and cuff, and a pair of earrings, but have other options in mind as well. Final choices will really depend entirely on the new owner, and the impression they want to create on the floor. We're calling the gown "American Beauty" for the multitude of red roses, but I can't resist giving it a sub-title, "Cruella."  It has a Cruella De Ville quality that makes me smile.  Perhaps I should have added a touch or ermine?

We seem to be in a "White House Black Market" mode over the last few weeks. We are also working on a new Latin gown with a similar color scheme, which I hope to reveal at the Minnesota Star Ball on May 15th.  Will you be there?  Please stop by and try on our new black and white beauties!

Flame and Sunglow for Zhuojing!

Zhuojing stopped in this afternoon to show me her finished gown, and I think she did a wonderful job with the rhinestone embellishment!  Many of my clients who enjoy crafts and have good motor skills save money by applying their own Swarovski crystals.  We usually design with that in mind, so that frustration is kept to a minimum and rewards are maximized. 

In this case, we used stretch lace fabric and a lace applique shoulder detail (a last minute idea of hers, which I think turned out very well) to serve as guides for the stoning, and a random sparkle pattern on the other side of the gown, with a dense edge for definition.  We used Sun AB on the lace and applique, for a vibrant accent and contrast to the Hyacinth on the other side.  I think she did an especially nice job with the bottom of the sleeve edge!

Zhuojing had rented one of my other client's gowns for a recent competition, and that gown became our design starting point.  She wanted her gown to be graceful and sensual, hence the soft georgette skirts.  We felt it was important that she wear a bright color because she is a wonderful dancer, but a very small woman.  To be seen, she needs to wear an eye-catching hue.  Super-saturated neon tones are also really lovely with her Asian skin coloring and thick black hair.

So this Latin gown is Flame Red, and the accents and lace are Sunglow and Mandarin.   I especially like the Mandarin satin binding on the edge of the skirt, which helps to tie the lower half of the gown to the Yin/Yang lace detail on the bodice.

While Zhuojing was in my studio, she let me take these photos, and then we counted the stones she was returning to me, to know how many she had applied to the gown.  When we finalized her invoice I was within $8.18 of our original estimate, which always makes me (and my clients as well, I am sure) very happy!

We also created a cuff bracelet and two armbands of the lace, which were stoned very densely to make them pop as details.  Zhuojing is still finishing the crystal application on her earrings.

Now all that is left is for Zhuojing to compete in her gown and send me a few fantastic photos to add to my gallery!  In the mean time, here's a couple shots of the big picture. 

Zhuojing is a pleasure to work with, and I am really looking forward to a new ballgown this fall!

Anne Rocks a Spanish Look!

Ok, so this is not a photo of Anne.  As I write this, she is debuting her newest Made for Movement gown at the American Classic showcase tonight.  And she came through for me with a photo from the event as requested!

When we began work on this gown, her ideas were "rock and roll" and "Spanish influence." Because she dances in formation with Karen, who owns a black gown, she wanted her dress to work with Karen's as well.  We chose the pink addition to the black because it is very important to be visible on the floor and all the men are already wearing black, so black gowns must either be super sparkly, or have a color accent.  That hot pink and black combo seems very "rocker" to me as well.  The sparkle is achieved with black sequin cloth and will be supported by jet Swarovski crystals on the lace, which Anne will do for herself, (with my guidance, but she's had lots of experience on several previous gowns and does a great job!)  keeping the cost of her look more resonable.The lace gave us a subtle Spanish feeling and Karen's black gown is primarily lace, so it's an additional tie-in for formation dancing.  Do you see her ideas reflected here?

I enjoy working with all of my clients, but Anne is a special favorite. She is very trusting and collaborative and enters into our process with gentle ideas about what she wants, while allowing me lots of space in which to work as well. I think that is part of the success we have together.   We met twice to design this gown, the first time got us close and the second meeting changed placement of components around to better serve the fabric use,  The bow and lace godet developed as we worked together through fittings.  Her relaxed trust and self confidence really allow us to stay fluid and try ideas as we go.

I am thinking she needs a pink rose for her hair!

For me, the best thing about this gown is the trendy skirt hem. I am seeing lots of beautiful, curly edge details this year in ballgown hems, and I am really pleased with this one. I kept spinning the dress form and being HUGELY pleased with the movement at the bottom. The pink organza underskirt is 4 times more full than the black satin chiffon over skirt, and the look is amazingly eye-catching. Fortunately, I think Anne uses her feet well as a dancer, so when the focus is on them, as it will be in this gown, the results will be flattering.

I'm also really pleased with Anne's necklace.  This is the first demi-choker I've done for her, and it really works beautifully on her neck, and adds a touch of elegance to the look.

According to my records, this is the 8th custom gown I have created for Anne, and I am going to decorate this post with a few shots of some of our earlier projects.

That's Tom, Anne's partner and husband, and I also made (or to be more accurate, my partner Michele made) the suit he has on.  The genesis of this gown was a shirt Anne owned and liked.  And this one (below) was a personal favorite!

And here is one last gown, a more recent collaboration, with some details I really love!

This beautiful blue gown should be for sale soon, so if you are interested, give me a call and I'll see if I can have it ready for you to try on!