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!
 

Bonnie's "Illusion of Suspended Elevation"

I always ask my clients to bring me a word or short phrase that describes what their gown will be.  Bonnie brought me a unique phrase, compliments of her coach Paul Botes.  Paul tells Bonnie and her partner/fiance, (tall and dark Ed) that they must be floaty, lightweight, and ethereal, creating an "illusion of suspended elevation."  Thanks Paul!  That was a really fun phrase to work with!

We had to immediately dash several ideas.  Like, deep, dark sapphire blue, which was Ed's hope, but sadly will probably never be an obviously lightweight choice.  Bonnie had polled both of her coaches about what her gown might include and teacher Scott Anderson suggested she "Go Gold!" Given Bonnie's beautiful light blonde hair, we decided on a soft platinum gold, (the third gown in my golden autumn trifecta) and went hunting for fabric that was light and metallic at the same time.  Bonnie found this beautiful gold-embossed organza locally, and I approved!  I offered the metallic gold slinky for the bodice.  I was pleased that Bonnie chose asymmetrical style lines for her gown, and happy to balance and support them with the diagonal hemline of the overskirt and  the creamy french vanilla mesh of the left sleeve.  Asymmetrical gowns are visually in motion before the dancing begins, and usually a plus for the wearer.

Bonnie showed me the hemline of a beautifully detailed British gown with bits of feather and fabric floating along the topskirt hemline and I created some organza leaf shapes and vanilla spiral fringe to make our own floaty statement at Bonnie's hem, applied to a pale gold charmeuse underskirt.

This beautiful detail repeats on the opposite side of the gown on the draped mesh sleeve top, nicely in balance and the perfect justification for each other's presence.

Bonnie did her own rhinestone application, after we applied the large sew-on jewels to the edges of the bodice and skirt for her, and did a great job, while keeping the cost of her gown reasonable.   She did all the Crystal AB fill-in at the borders, as well as the guilding of the metallic gold slinky bodice and sleeve with Swarovski Light Topaz AB.

Bonnie's gown needed to serve for both  American Style Smooth and for International Standard.  Standard style dancing is done in hold so the costumes often include wings or floats for the ladie's gown.  We created detachable floats (very "floaty" floats, given the lightness of the organza!) for the gown that will be used for Standard and removed for Smooth style dancing.

A super treat for me is to be able to show you Bonnie in her new gown, (in its International Standard Configuration) dancing with Ed!   You can see their Quickstep at Minnesota Madness by clicking on the link below. They begin their heat at the far corner of the room.  Enjoy!   

http://www.youtube.com/watch?v=ItwWoyU52Mc&feature=youtu.be

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!