Copyright AriaAustin, 1999 - 2010, all rights reserved.
Arwen's Gowns
I heavily based this standard version of Arwen's Coronation gown on the now-discontinued Museum Replicas version. MR's version is a bright lime, but I went with pale lime. The back-lacing I just love. The original zipped.
This trained gown was constructed as a one-piece using a heavier cotton, pale green velvet (a little lighter than these pictures), a blended light lemon organza (MR used white!), green silk beaded crepe for the inset and overlay on the upper sleeves, and lemon shimmery brocade for the neckline.
The sleeves are full ovals, and I used princess seams to give the gown more shape as it's not stretchy at all, as silk and panne velvets are.
This trained gown was constructed as a one-piece using a heavier cotton, pale green velvet (a little lighter than these pictures), a blended light lemon organza (MR used white!), green silk beaded crepe for the inset and overlay on the upper sleeves, and lemon shimmery brocade for the neckline.
The sleeves are full ovals, and I used princess seams to give the gown more shape as it's not stretchy at all, as silk and panne velvets are.
These two basic versions of the Blood Red/Dying gown came with a scant two weeks before the first one was needed! However, both were mailed the same day, so I had one week to do both of these gowns. Hectic!
Both gowns were constructed as two pieces using panne (crushed) velvet, a short undergown with the full overgown. The black one has a train that hooks up to a French bustle. The navy gown pieces are sewn together as the last step, and the black one has heavy snaps on the shoulders, keeping the straps in place. The gold lace was a taupe colored Venice lace that I painted gold with a paint that had 14kt gold in it. It's heavy and somewhat stiff to keep shape and not fall off the shoulders. Red and green heat-set crystals finish the gowns.
The making of this gown can be viewed here.
Both gowns were constructed as two pieces using panne (crushed) velvet, a short undergown with the full overgown. The black one has a train that hooks up to a French bustle. The navy gown pieces are sewn together as the last step, and the black one has heavy snaps on the shoulders, keeping the straps in place. The gold lace was a taupe colored Venice lace that I painted gold with a paint that had 14kt gold in it. It's heavy and somewhat stiff to keep shape and not fall off the shoulders. Red and green heat-set crystals finish the gowns.
The making of this gown can be viewed here.
I absolutely can't find the pictures of the backs of these gowns finished, only pictures of the backs of the finished overgowns.
Unfortunately all detail shots were lost of this gown.
For it I used blue jersey knit and only made the undergown to waist-length. A poly metallic dupioni-type fabric was used for the sleeves and in place of beaded trim. Silvertone gimp braid provided a bit more substance to the trim.
For it I used blue jersey knit and only made the undergown to waist-length. A poly metallic dupioni-type fabric was used for the sleeves and in place of beaded trim. Silvertone gimp braid provided a bit more substance to the trim.
This basic mourning gown is made in a one-piece as a pull-over using a slightly stretch rayon velvet and pre-made beaded and sequined trim further trimmed after application with another 1,000 gold-plated beads. Eleven golden crystal-studded buttons decorate the front with a twelfth sewn to an inside seam as a replacement should one ever come loose. The train trails about a 18 inches. The belt is a separate piece and worn low on the hips.
The making of this gown can be viewed here.
The making of this gown can be viewed here.
This costume version of the "bridge" gown was made using embroidered chiffon and dotted crinkled cotton crepe, and was lined with a fine, silky ivory knit.
Below are two costume gowns I have created several years ago, a "requiem" gown and a "bridge" gown. Unfortunately these were the best images I was able to salvage after the Great Computer Crash of 2007..
