A Cure for the Blues for Cathy

I made this rhythm gown just over a year ago, but never got around to writing about it.  I thought I would wait until I saw Cathy wear it, so I could include photos of her dancing, but somehow, I never made it to an event of hers, and did not get the photos I had imagined.

There is another opportunity coming up, (which I would have missed again, given I will be at the MN Star Ball on that day) but Cathy broke her foot and is not able to dance in the Arthur Murray Showcase on the 19th, and I know she is SAD about that.  So hopefully, this little post will lift her couch-bound spirits!

 

We began with words from her teachers, and each had the word "precise" in their lists.  Also, we considered "legs" "fast" "light" and "sassy."  We also wanted a little tummy disguise, and amplification for that precise, fast movement.  We got "light" from our airy fabric choice of mesh in the kimono style top and the skirt.  We kept the skirt short, to show off those great "legs" and repeated the mesh in the skirt to allow us to see lots of leg without question of good taste.  The movement of the mesh around her leotard and compact skirt provides the amplification we were seeking, offering great light, "fast" action with her movement.  We actually added speed to the skirt with the weight of the row of stones at the base of the mesh. And the "sassy"?  Well I hope that is in all the action and swish this little gown has!  Plus, Cathy has that herself in spades!

 

All the lines and shapes in the gown are clean and angular, (in the interest of her "precise" dancing)from the v-shaped neckline and upper back, to the pointed open oval details we made good use of both as a collection point for the ruched skirt top, and frame for the tail of dance crepe we used.

One of my favorite parts of this costume is the jewelry!  We had originally designed something quite different, and at the final fitting, we re-designed to make better use of the angular design accent lines.  Yum!  I love the peek-a-boo necklace, and wish I had a shot of it on the form.

As she did on her last gown, Cathy did an excellent job of the rhinestone application, both as a means to stay involved with her design, and to ensure the lowest possible cost for a great result.

Cathy, I am so sorry you can't dance this weekend, but I hope this gives you a smile and some great memories.  I hope your will be up and animating this gown SOON!
 

A Bouquet of Roses for Tracy

This gown was actually begun in 2011, when our client Tracy was headed for the Ohio Star Ball.  Unfortunately, life intervened, and Tracy put the gown on hold for several months while finding a new job.  When she phoned to let us know we could begin again, we were thrilled, both for Tracy, and because this was a gown we were excited to make!

Tracy is a super-organized woman, and when she brings me her inspiration images, they are always in page protectors and  she usually has clear ideas about what she wants.  See???

When I look a this array, I see, shades of pink, floral imagery, and prints, but my eye keeps returning to the upper left image of the cut-metal bowl.  I loved how the graphic repeated and how it referenced "rose" without being specifically detailed.  I also really liked the visual importance of the negative space in recognizing the image.  Tracy is is feminine woman, and although she liked the floral imagery, she did not want silk flowers or anything three-dimensional, or even a print.  She was also interested in clean lines, simple shapes and lots of sparkle  I think there was also a buckled leather cuff with chain that she brought in.  So all these ideas poured into the creative hopper, and out came rhinestoned belts and buckles and a figure-ground reversal floral pattern imagery, to be created in rhinestones on the gown bodice.

I experimented with the graphic in the bowl, but didn't like how it expanded and contracted, so I found another using Google images from Sweet Clip Art that I thought was perfect.  I got permission from the artist who created it, who was very charming and wanted to see what I did with her image when I was finished.

I  blew it up.  I contracted it.  And then I designed vines to go with it, and a rose bud.  The darn bud reminded me of the Hallmark logo a bit, but I found, turned sideways, it was less offensive and so used it careful only on angles.

I find the back very pleasing with it's pretty drape to balance the gentleman's hand on the dancer's left side and provide a bit of softness and movement.  I also like the placement of buckles, two at the front opposite sides, and the one center back.

We also had lots of fun creating the bangle bracelets for this gown, using many different patterns and ideas.

I'm pleased with the end result and I hope Tracy will be too.  She wore it at Minnesota Madness last weekend and I was thrilled to see it (and Tracy!) in action.  It's sophisticated and beautiful, as is she!

Ember's Icy Skyline

Ember is an accomplished woman, with a busy life as the Chief Advancement Officer with Lutheran Social Service of Minnesota. Known for her work as a broadcast political analyst, she is also an attorney, former Minnesota state senator, former radio personality, and enjoys acting in local community theatre productions. 

After some years away from competitive ballroom dance, she visited my studio last fall to ask my professional opinion of several gently used gowns she was considering buying for use in a local "Dancing with the Celebrities" charitable event. I gave her my thoughts and we artfully adjusted her choice (a Made for Movement gown) to fit. She looked great in the gown. and dazzled the crowd at her event with her winning performance.  Here you see her with her Dancer's Studio teacher Chris Kempainen, (also wearing a Made for Movement ballroom suit) holding their trophies.

She must also have been having a good time, because she decided to return to competitive dance and asked me to design a custom rhythm gown for her for the Snow Ball, which I was glad to do. 

As her career would suggest, Ember is a conservative woman, at home in tailored suits and not really interested in ruffles or overly-feminine details on her clothing.  As a dancer, she has both good performance skills, and long, attractive lines to display.  Ember wanted a gown that would be reflective of her stately elegance, and also her joyfulness at her return to dancing.

We wanted her gown to have simple, sleek lines, and be all one color.  Ember chose fuchsia, (a very popular choice in the last year) and it certainly is a joyful color.  We wanted her rhythm look to flatter her body and be tasteful and appropriate to her age.  We chose a longer, soft skirt with nice movement, but not fussy frills or ruffles, and sleeves to connect her slim arms to her body and emphasize her long lines. 

Ember is dancing here with her dance professional and teacher, the wonderful Scott Anderson, who is also the organizer of the Twin Cites Open. Ever an aware guy on the floor, he noticed me with my camera, and moved closer, so my photos are a little better than usual here!  Ember has a lovely hourglass figure with a very small waist and we planned to reveal her waist while de-emphasizing her bust and hip with diagonal design lines, meticulously placed in fittings to flatter and define.

Although her skirt is long, we used a diagonal hemline to allow us to see her legs and knees in action.

When it came to embellishment, in keeping with Ember's dislike of the overdone and fussy, I let her look through a collection of prom dresses. She found one with details she liked, and I used those details as inspiration for the rhinestone application, as you can see here.

I applied the stoning to the top of the bodice, and my partner Michele did the hip line.  I thought (perhaps influenced maybe by working on this gown in January) that the detail looked like icicles on a roof.  Like the story of the blind men and the elephant, Michele thought it was a lovely representation of a winter night time city skyline.  I'm fond of the cuff detail as well.

Ember was a joy to work with, and we look forward to seeing her again, when she is ready for her next custom gown.

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!

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..."

Cindi's Golden Ribbon Lace

This is the first of my THREE golden gowns this fall.  I swear, sometimes the craving for a color gets in the water!  When Cindi came in for her design meeting, she fell in love with ribbon lace, and we designed a gorgeous gown to put it to good use.  I had so much fun with this design!

This gown was a real patterning puzzle, with loads of twists and turns and confusing bits.  When bespoke clothing is patterned, we do so without seam allowances, to allow us to think clearly and see style lines easily.  This pattern has lots going on!

First the leotard, (the basis for all dancewear) sleeves, and collar are patterned, and style lines are drawn in place.  Then, the pattern is cut apart on the style lines, and each individual fabric is patterned separately and cut out. 

Then a fitting confirms that all the lines are in beautiful places on my client's body and the real work begins.

The upper leotard and sleeves of this gown looked like this assembled.  I imagined that Cindi's left sleeve and side (on your right) might look as though she were naked and sprayed with a light dusting of gold.  Bra cups provide her with ample cover, but the impression was pretty successful, as you can see here.

The lower portion of the leotard looked like this, before the skirt and lining were applied.  The empty space on the garment left side (your right) is waiting to be filled by the white mesh above, which is both leotard and the beginning of the white section of the skirt.

And below are the first of the seven skirt panels, laid out on the ribbon lace for cutting.

Because all of the patterns are applied to the wrong side of the fabric for cutting, they are created upside down, which requires a good bit of thinking and puzzle ability with asymmetrical style lines like this.

Cindi's left side and sleeve are glimmering with Aurum crystals, the most expensive rhinestone money can buy, because they have a fine real gold coating on their surface.    The white center section is drenched in Crystal AB sew-on Rivolis and many sizes of flat backs.  The gold ribbon lace was so splendid on its own that we chose not to apply rhinestones to it at all. 

Now, no laughing!  I was sad when it came time to create jewelry for this gown, because it didn't really need much, but I did get to make a pair of earrings!

The competition at which Cindi will debut her new gown is in HAWAII! next week, and sadly, I cannot be there to take pictures, but I am hoping she brings me back a shot or two to share with you.   Maybe something with a palm tree in the background, or a sandy beach???   

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.