Susan's Plum,Tangerines, and Cherries

 

I can't wait for you to see the rest of this gown, because many of you might wonder about a combination of plum and tangerine and cerise, but there is a really good reason, and a nice cohesion to this rich, warm gown!

 

So, here is the explanation!  This tropical floral print was brought in by Susan, and it was a great starting point, providing the vibrant and unusual color palette for her new ball gown.  Susan trained as a ballet dancer and came to ballroom later in her career.  From watching her dance just a bit here in my studio in testing her costume, I image she is a beautiful, joyous, powerhouse on the competition floor.   This bold print and it's vibrant colorway seem just perfect for her.

When she arrived for her design meeting, Susan had this piece of fabric and a dark purple piece she thought might be an underskirt that would be visible from beneath the floral print.  I asked her to take the purple piece home.  I really enjoy working with prints, but experience tells me that a busy print requires careful design handling to be successful.  When the entire gown will not be the print, the colors used in conjunction need to be from the middle value range in the print.  Either end of that range (in this case, the white or the purple) is too much contrast, and the print and strong contrasting colors war with each other for focus.   This gown has several textures and details, but they all flow together to create an interesting whole, primarily because of the value choices.  I also find that it possible to use shapes with prints, but they must be similar in feeling, and since this print is very organic, a straight purple line at the hem would have been a clash in intention.  The diagonals, and flowing, color-shifting drape we used, have the same shapes as those in the print, and the dynamics compliment each other nicely.

Susan seems the sort to be a good performer as well, so we created a primary impact point at her face with the jewelry design, using the pale pinks in the Crystal AB Swarovski to exploit the power of contrast as a focusing tool.  I also image her port-de-bras is excellent, and the cuff bracelet will draw attention to beautiful arm use.

 

We also carefully kept the cutting of the fabric to a minimum with the design of the skirt shape, to allow it to be seen without interruption of line by seams any more than necessary.

 

Thank you Susan!  I really enjoyed making this gown and working with your beautiful print, and I love the great action shots Helen sent to me.  You really are a glorious dancer!

 

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.