Bonnie's Black

It used to be no one wanted a black ball gown for competition.  Black is the color of almost every gentleman on the floor.  Universal belief is that the man is a frame and the woman should be a picture.  SO... a black picture in a black frame?  But when champions and winners wear something, then everyone wants it. Lots of winners have been wearing black lately, and Bonnie is a woman who looks great in black.  She has striking blonde hair, great skin and beautiful features.

When she told me she wanted a black gown, I had to agree it would be beautiful on her.  But I also know that she will wear this gown for a while and wanted her to be visible, and not instantly out of date, when this trend shifts, as they all do.  I encouraged her to add a color to her black gown, at the very least white, or lots of crystal AB sparkle.

After lengthy negotiation and multiple re-designs, we finally landed on an acceptable solution, which included the addition of both a partial white side and a red accent.

Black soft boning hem adds shape and movement.

The gown converts for International Style Ballroom by means of the skirt becoming a float.  Another scarf float attaches to the center back of the necklace, designed just for the Ballroom.  Bonnie has a simpler necklace for use in the American Smooth style.  Isn't she lovely?  I have the best clients!

Leslie in Aqua

I have made many costumes for Leslie.  Each one, different from the last, and yet uniquely hers.  I always ask my clients to provide a word of phrase that we can use to narrow the visual focus of the gown, and Leslie asked me to choose for her.  Good thing I kinda know her dancing!  I told her that for me, the best thing about her dancing was her partnership with her husband Lee.  They are really lovely to watch together, and their power for me is in how they relate to each other in their movement.  I suggested that we try to emphasize their partnership in her costume.  She brought in a crocheted sequinned shawl in a beautiful soft aqua, and told me that this was the color she was imagining for her gown, and I thought that sounded great as well.  Plus she brought me a pile of photos from magazines of things she liked that might be encorporated into a gown.

Her personal style always has a "1950's school girl" vibe for me, and so I was not surprised to see a retrospective of Princess Grace Kelly's fashions represented, (lower left corner) and, note the soft aqua satin of the gown pictured.  Just above that image, (left top) is a gown with high-contrast lace applique in black on a pale mauve.  That jumped out at me right away, as a great chance to feature the black of Lee's dancewear on Leslie's gown, drawing a neat visual parallel.  Certainly, there is an abundance of floral imagery in this pile of clippings, and lots more of the dark figure on light ground.  I particularly like gown on Lucy Liu, (tiny image in the center) as a great example of dark floral on light blue.  All these things fit neatly into Leslie's desire for pale aqua, and my goal to emphasize her partnership in her gown.

She is beautifully proportioned and fit, but not my tallest client, so we wanted a long clean look for this gown, to allow us to see nice lines without any horizontal distraction   She also wanted her embellishment to spill well onto the skirt of her dress, so we decided on a lycra gown, to accomplish both the long clean lines and lengthy detailing, without having the embellishment disappear in folds of frothy skirt.

Not every gown goes along smoothly, and some clients have a very hard time visualizing the end result from the sketch and at early fittings.  In all fairness, it is really hard to stand and look at yourself in a BIG mirror for an hour, while I poke, prod and pin.  But Leslie freaked out entirely at our first fitting.  She was convinced that we had both the wrong color and the wrong fabric.  SO... she went home to think about it, and decided she wanted to proceed with the gown as designed.  I felt really badly for her.

For prospective clients who might be reading this post, I will say add some advice here.  When we finish our design meeting, and agree to a goal, we begin a series of decisions, some I make on behalf of my client, and some we make together.  The process of buying materials, patterning, cutting, sewing, fitting, and finishing each gown is FULL of forks in the road.  And when we both understand the desired end result, we can make these choices with reasonable ease and agility.  Once the design train leaves the station, have faith in yourself and your ideas, and in me and my design and construction experience and ability.  Our process will go smoothly, and I will do a better job on your behalf, and we can work together toward our mutual goal.

We talked about using feathers as accents on this gown.  They are a recent trendy detail on many gowns, and I arranged all the large flowers in the applique lace so a few delicate feather stamen and pistils could sprout from each one.  Leslie decided against this, but was in favor of feathers at her shoulders.  I did these as removable bits, and I do not think she has ever actually worn them, but I would love to see them throughout the gown.  I like it without them as well!

Remember I said I have a harder time making decisions of my client's behalf if I am not confident about what their goal might be?  Well, I had a really hard time stoning this gown.  I think part of why I love those feathers is how very black they are. And my initial plan was to use Jet on the lace.  But Leslie also needs a gown that will "compete" with other gowns on the floor for attention and status, and I felt the Jet might be too quiet. I initially stoned most of the black lace at the gown front with Crystal AB, trying to get to "championship gown", because Lee and Leslie compete at that level.  But after a few hours, I felt I was losing the black, which was really the overall intended visual impact

So, I picked those all off, (on my own time, and deleted the hours of application as well) and switched to Jet AB, hoping to maintain championship sparkle power, without sacrificing the beautiful black-on-pale contrast that is the core of the gown design.  I also put more space between stones, to keep the black visible, and then surrounded the diagonal banners of lace with Aquamarine AB to boost the sparkle power, switching to Swarovski's new color Light Turquoise for the remainder of the gown.

Leslie had agreed to bangle bracelets, but when it came time for the necklace, I threw caution to the wind.  She had asked for a symmetrical piece, and I felt it was badly out of harmony with the asymmetrical neckline.  I created a necklace from lace scraps and decided she could buy it if she liked it and if she did not, I would keep it.  She bought it!

I thought she looked splendid at the Snow Ball, and danced beautifully with Lee.  She tells me she likes (I think her term was fully embraces) her new gown.  Personally, I hope the next project follows an easier, more joyful path.  But no matter how we get there, success in the end is worth the process.  And I am always ready to try again.  

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!

 

Terese's Hot Pink Fringe

Therese saw a fringy gown on Dancing With The Stars that she thought she might look good on her body, and visited my studio with a photo.  She had a very specific budget in mind and a wanted a vibrant, fun color, a hot pink.  

Sadly, there is very little vibrantly pink glass in the world, and I could find none of it made up into beaded fringe for purchase .  I did find a few 2" bead droppers in a somewhat bright pink, but attaching individual fringes in the density required did not fit the budget.  Also, the fringe length required was a minimum of 4" and preferably a range from 6" to 12".  Available funding also eliminated the possibility of stringing an entirely beaded fringe gown, so we decided to use rayon fringe, in beautiful, bright Electric Pink. 

One great thing about rayon fringe is that the length can be trimmed to suit the need, so it was possible to give this gown a sort of haircut to achieve nicely flowing and organicaly proportioned lines.  Applying the fringe in diagonals also helped the movement and stretch capabilites of the gown.

Therese is in excellent shape, and chose to leave her arms bare, so we connected her wrists to her body visually with lovely pave cuffs and gave her long earrings to decorate her neck without conflict with the neckline of the gown.

The color suits Therese's personality.  I have a number of clients well past retirement age, and all of them are vibrant individuals, with warm and joyful energy.  I really enjoy the idea that finding things to do that one can be passionate about lengthens and enriches lives, and Therese is living proof of that idea.

The very best thing about this gown is the movement of the fringe and I hope Therese will provide me with an action shot.  OR, maybe, with my fancy-schmancy new camera and improving photo skills, I can take one of my own at the next local event Therese attends.

 
Oh, and a final word, Therese's gown came in more than 20% under her budget limit, which is always news I love to give.  That doesn't happen often, but we do our best to be respectful of each clients cost requirements, and to hand over a final invoice that reflects the estimated cost.  She was pleased, and... she brought a lovely bouquet of bright red carnations.  SO SWEET!  Thank you.  :o)

Patty's Trendy Tango Flare

March 2012 has been "amateur couple" month at Made for Movement.  We have helped three lovely amateur ladies prepare for competition with their husbands, and we are happy to be able to feature each of them over the next week or so.

We were pleased to help Patty with a delicately beautiful ballgown in 2010.  This spring, she was ready to add a rhythm gown to her wardrobe, and we were thrilled to help!  She arrived for her design meeting with her charming husband and partner, Tom, and a pile of notes, sketches and images she wanted to share with me. 

One of the first things she was certain about was color.  She wanted a new hue, introduced just this year, called Tango Flare.  It's a vibrant neon orange, with a salmon undertone, and I feel sure it was inspired by Pantone's color of the year, Tangerine Tango.  You should be seeing alot of this color this year, in both clothing, and home decor. 

Patty also wanted a shirred, slashed bodice, with strong diagonal lines.  We looked at a multitude of images and amalgamated them all neatly into a lovely design.  She wanted bare shoulders, covered underarms, and a sassy, full and soft skirt.  She wanted to look age appropriate, tasteful, and sexy.

   
We used several layers of edge-stiffened organza in the underskirt, and the same dance crepe used in the bodice and sleeves for the top skirt.  Patty is not a tall woman, and we tried to create an illusion of height with the same color and texure over the length of the dress.  We also made sure that all of our accent points led the eye diagonally up and down the body, rather than across or around.

I really enjoyed designing the jewelry for this gown, and created a necklace, earrings and a beautiful cuff.

I especially love that this Latin look is so entirely different in character from Patty's beautiful Ballroom gown, and yet still features strong diagonals, and many of the same design elements in the new Rhythm dress!

I look forward to the opportunity to work with Patty again soon!  And congratulations to both Patty and Tom on their dancing at their Iowa Dancesport event.  Don't they make a wonderful couple?  I must say, each of my couples is a delight.  They are all supportive and respectful of each other and it shows!

Randee's Hot Magenta

I have the most amazing clients!  Take Randee for example.  Randee is a former model and makeup artist, as well as a dancer.  She was willing to spend HOURS doing her hair and makeup in preparation for picking up her new gown and allowing me to take some photos for my blog.  I'd like to think my photography skills are improving, but in this case, I suspect it's the subject that improves my images.

Randee and I are both happy with the entire gown, but there are some particular elements I'd like to show off.

First, I have to give credit to my friend Marliss Jensen of Iris Color Studio.  Together, about 10 years ago, we worked out the process we use to create the shaded ombre effect featured in the skirt.  I choose colors (in this case, just the one) and Marliss prepares a dyed swatch to test the color accuracy and allow me to plan where I want the transitions to take place. I prepare the silk by washing it, cutting and sewing the skirt panels with silk thread, so stitches will dye with the silk, and even finishing the seams with silk surging thread.   Then I create a muslin jig and sew it to the bottom of the skirt, to give Marliss a means to control the mass of fabric at the hemline, as well as something to hang onto while dipping the skirt, upside down, into the dye vat.

In this case Marliss did her swatch on a piece of silk I had in my shop, but the stuff I ordered had been "dyed" white, infused with something to whiten the natural color of the silk.  She really had to work to get the "whitener" out and the color in as we wanted it to be, but as usual, she did a fantastic job. The color is one of Chrisanne's newest for 2011, called Hot Magenta.

Take a look at the bottom of the right sleeve, a pretty idea of Randee's.

The custom jewelry was designed for Randee to work specifically with this gown.  We co-ordinated the shape of the necklace with the shape of the necklline. The earrings were carefully planned to flatter her lovely chin and neck.  We wanted a big, chunky cuff for her bare arm, to call attention to her arm and hand styling, and I think this fits the purpose nicely.

If I told you her age, I promise you, you would fall out of your chair, and never again have a working excuse for a sagging jaw or wobbly underarm.

And speaking of pretty body parts, I think her back looks fantastic as well! And I would say the hours of hair styling paid off beautifully.

A HUGE thank you to Randee for letting me share her gorgeous new gown with you right away.  She won't have a chance to wear it until Twin Cities Open in July, but was kind enough to allow me to debut it here.  I can't wait to see some action shots.  In parting, here are a couple of other projects Randee and I have done together.