| Marie Antoinette: The Blue Dupioni Gown with Red Velvet Belt |
This is a Costume Study for the blue dupioni gown with red velvet belt shown during the
"daydream", and ending sequences in the film Marie Antoinette, a film from Sophia Coppola. Marie
is portrayed by the actress Kirsten Dunst.
Costume Designer: Milena Canonero *WON Academy Award for BEST COSTUMES*
Books To Read:
I have heard grumbles in general about the book that goes with the film. That it is not worth paying full price
for, if you are looking for excellent info/photos of all the costumes in the film. I have not seen this book, so I
do not know.
Visuals/Photos:
My 1/4 scale doll sized version of this gown This image of the real Marie always makes me think of this gown.
The colors must have inspired the design somewhat!
The Costumer's Guide to Movie Costumes
IMDB Page
Yahoo Movies Photos
Marie Antoinette Photos from CostumeSpy1
The Costumes of Marie Antoinette
Kirsten Dunst.Org
French Marie Antoinette Film Site (official)
Official Marie Antoinette Site (English version)
There is an Excellent photo booklet out there from Japan. Look on eBay for Marie Antoinette Movie Program.
The text is all in Japanese, but the photos are excellent. Do a search using terms "Marie Antoinette French
Lobby Cards" or "Marie Antoinette LC". I have seen a few other items called "CHIRASHI". The Seller on eBay
called "KobeSamurai" located in In Japan says, "These fliers are known as chirashi, and they are distributed by
Japanese film companies, usually in cinemas but also in other locations sometimes, to promote forthcoming
films. Often, especially for a film that is expected to be popular, there are two different chirashi created for
each film. The earlier version, sometimes released literally months in advance of the opening of the film, is
designed to raise awareness. This is often followed by a second version, distributed closer to the film's actual
Japanese release date. In rare cases there are more than two types, but it is quite unusual. Some of these
fliers are VERY limited, others readily available in many locations, but all are the same - when it comes to the
release date of the film, all chirashi are returned to the film companies, or destroyed. All chirashi measure
approximately 19cm x 26cm, and often feature unique graphics and, almost ALWAYS, great Japanese text
unseen by American audiences." This is most Interesting! Most of these items can be found under
Entertainment Memorabilia on eBay.
Search for: "French Magazine STUDIO". There is a Marie Antoinette Cover from this French Entertainment
Magazine called "Studio", but I do not have the date- Cannes Film Festival is held in May 2006. I found a whole
slew of these mags in eBay stores from the seller: "Movie Planet Collector" located in France.
Vogue Magazine September 2006: The magazine has a full length shot of the back of this gown, plus many
other wonderful shots.
When you are searching on the Internet, do a search in the IMAGES section of a search engine for Kirsten
Dunst. Allot of times I find that the "fan" sites for a particular actress or actor have the best supply of movie
stills to browse and or the most complete amount of available images. So in addition to doing an online image
search for "Marie Antoinette" use "Kirsten Dunst" as well.
And, of course, STUDY THE DVD! Sometimes there are clues that can only be picked up on by repetitive
watching in slow forward mode. Play your DVD, then press pause when you get to a shot you're interested in.
Then press forward (NOT NEXT CHAPTER) a few times, and you can watch the costumes as they move but
very slowly. You can wear out a DVD doing this, so I suggest only doing this occasionally, or once. There
appears to be a dvd box set available over seas. I found it on eBay for $80 with $20 shipping and it includes
the book by Antonia Fraser but in FRENCH text, some collectibles, a double DVD, etc. I did not find it under
Amazon.com, so your best bet is to grab one off eBay. But ouch! Pricey. I don't know if the extras are worth
it at this point.
Clues About Costume Fabrics From The Production Notes:
1.)..."Importing yards of tulle, taffeta, organza, and silk from Italy and England."
That's all I can find so far. Those words are from the official web site for the film, words are from Milena.
~NOTE: When you are done looking at an image that is thumb nailed below, click your browser's
BACK button, don't close the window. Some of this information will be repeated in my other MA
costume study pages.
Costume Elements Breakdown:
The Hair, or Wig and accessories in the hair:
Note: The hair/wig in the Vogue Magazine is not the same as worn in the film.
It's my opinion that her hair is not a full-cap wig, but a 3/4 wig or "fall" hairpiece has been added in back for
fullness. Her hair is her own in th front only, with the back and length being false. Front swept into the
hairpiece to blend the seam. It does not appear to be powdered too much either. In the back of her head she
wears a large hair adornment of blue silk rose(s), blue velvet or silk leaves. The leaves are probably wired in
back. I also spot some fine soft grey feathers. I spy three leaves, three feathers and two roses. I'd go with a
curly fall hairpiece and trim it into a ball almost, leaving some length to create the neck curls.
The Earrings and Rings:
The earrings she wears with this costume are also worn with the "Piano Gown" and a couple other gowns
during the film. They are French wire drop earrings. Most likely antique, they have a nice patina on them. They
are probably white gold or silver. First on the drop is a round diamond or crystal about 3mm in size. After
that two more round diamonds/crystals but they are smaller about 2mm in size. Finally, a large 4-8mm
slightly oval diamond or crystal. All stones are backed with or set in metal. Two rings; one on the right hand
index finger and one on the left hand middle finger.
The Makeup:
If you want to recreate this look:
1.) Take a good look at your skin color in the mirror. Decide just how ghastly you want to be. =0) There are
pure white pancake makeups, yes but you might like the look better on yourself if you test out a liquid or
other type of foundation in a shade two or three times lighter than you normally wear. Try that first, before
you reach for the pure white.
2.)Cheek rouge. Find a blusher in a red COOL tone. Remember, don't just look in blush, allot of today's blush
shades are very pale. We are not into bold makeup, not since the 80's anyway..so go look in eyeshadow and
in the "all over, or anywhere" blushers.
3.)Clear mascara is available now, you can use this to separate your lashes, to fix your eyebrows in place too.
She has something on her eyelids. It's a color. Some soft sable or tan color. Very neutral meant to look not
there, but not naked either. Her eyebrows look penciled in to me.
4.).Get out your clear lip gloss. Check out Rosebud Salve available at drugstore.com or Sephora. You could
put down some lip stain first, then gloss on top to make darker lips. Her lips have a nice pale red on in these
scenes.
That's it. All Pretty? LOL, compared to the hair I'd say recreating 18th Century makeup should be pretty easy.
If you want to look at a photo collage of color and product ideas for this costume click here. Head over to
your local drugstore or beauty counter in the mall and browse for colors with the photo of Kirsten in hand.
You should be able to find something rather easily.
I have found a few articles on 18th Century makeup online:
18th Century Makeup from The Makeup Gallery
There is a great article about 18th c. makeup at La Couturière Parisienne, even testimonials from trying
authentic recipes! THAT'S BRAVE! 80O
There is a discussion group thread on Marie Antoinette Online Forum about hair and makeup for MA.
The Gown:
The gown is in the style of a robe a' L'anglaise. It is not pulled up or gathered in the back (polonaise style).
Those who got to see this gown in person have color matched it using the Pantone color system. To find out
the colors of this gown see the above link the Costumer's Guide to Movie Costumes. She also has some
sketches of the seams there as well! ;0)
The bodice and over gown are one. The bodice center back is cut "en fourreau" or as one from neckline to
hem, and pleated to fit in back. The bodice opens in the center front. It most likely has hooks and eyes on
one side and a modesty panel to make sure you do not see the undergarments inside. The trim on the bodice
is ruched, with two rows of stitches used to gather up the trim, I have read that the trim has some of the
stripes as seen on the sleeves..so they probably used more of that fabric to make the trim. Since this might
be very hard to come by, you might want to try either ivory or white organza, or a pale blue (to match your
dupioni) organza. The swatch photos above are some samples I came up with before I created my own
version of this gown, I'm posting them so you can see them too.
The main fabric on this gown is a slubby silk dupioni in medium weight. The bodice is probably lined with
something lighter..and most likely boned near certain seams, for example on either side of the front opening.
This is a very complicated gown to recreate if you are not familiar with 18th c. clothing construction. You will
really want to study up with books and make muslins before cutting into your silk! The sleeves are a two-part
sleeve. This means, they have a seam in front and in back. Here is an example of a two-part sleeve that I
found very helpful! Link. The sleeve ends with a complicated little folded back cuff and button placket. It's
possible since the sleeves are so narrow that the buttons are just for decoration and that they stay closed
with snaps or hooks and eyes. The trim on the neckline of the bodice is gathered organza, and if you look
very closely on the inside of the neckline edge, you will also see a white lace with an eyelash edge to it. The
front has a ruched trim which runs diagonally from the opening and parallel with the opening on either side.
The diagonal pieces meet up with the over skirt trim. The over skirt trim actually starts at the "v" points on
the bodice and runs over the hips and down both sides on the outside of the over skirt. The belt is made of a
red velvet. The buckle on the belt is supposedly about 3" or so in size, on the costumer's guide web page she
has purchased one very similar to the original off of eBay. The buckle is silver in metal color and has an oval
shape with round crystals embedded. The velvet is slightly wider than the buckle opening.
When I made my version of this gown, I cut the bodice center front cut on grain, the side front, side back
both cut on grain. The center back was cut on fold. I created a pleat or tuck down the center back to bring in
the excess. I am not sure if the center back is really cut on grain or on fold for the original. I liked the look of
it cut on fold better though. When I cut the lining pieces, I chose to just line the bodice pieces so I made a
center back which only covered to the point in back rather than lining the entire over gown skirts. I am not
sure if the original is lined or not. The over gown skirt pieces I cut on grain and pleated them towards the
center back. The point where the center back edge meets up with the side skirts pieces can make or break the
fit of this gown. Seriously. It has to be done just right.
The Undergarments:
To me, the support pieces and undergarments are the most important items to get the right period look.
They can also be the mos difficult to place, especially if you are not permitted to SEE them. But if you have
spent any time at all even just browsing through some costume history books, you will know there are some
things for sure here:
1.)Chemise, 2.)Stockings, 3.)Stays, 4.)Skirt Support, 5.)Petticoat.
These items most likely would always be used to create a correct period look for an 18th century gown.
If you look at the time line created for MA's life (her real life, not the movie): you will note that MA meets Axel
Von Fersen in 1774. The masquerade scene is where she meets him for the first time in the film. So you could
assume that they were creating something with 1774 in mind. I say that rather loosely, because I know that
the number one goal of any said period film director and costume staff is not complete and total historical
accuracy..I mean at one point in this film if you are watching closely, you will see a pair of modern day purple
Chuck Taylor High Top Sneakers in clear view-- so I get the feeling that historical accuracy here in this film
was not #1 priority. It was very important, but they played with it as many films tend to do. So anyway--back
to the point I am attempting to make, if you assume it's 1774: then you would assume she would be wearing
a certain style of stays, and support system for her gown.
To get more technical about it, here are some points to ponder I gathered from several books:
1.)The History of Underclothes from Willett & Cunnington (my go-to book for instances of "what's under all
that?) states that the chemise is called chemise in France. It is called Shift in England. Same item, different
name. Call it what you like. The chemise would be just below the knees, barely on the shoulders and would
have a drawstring up front to close it. Very full sleeves, gathered with drawstrings until the year 1740. After
1740 the chemise sleeves stopped showing. That they were usually made of linen. The tight fit of this bodice
tells me that the chemise is very thin and fine and that it most likely has short sleeves because of the tight
fitting sleeves.
2.)Stockings are shown in a scene later between MA and Fersen, you could assume she wears something just
like those under this. However since we do not get a look at her legs, who knows what color they are. You
could assume white. If you want a great article on knitting authentic 18th c. stockings, go here. And I found
some more information about 18th c. Stockings by La Couturière Parisienne here.
3.)You get an idea of what type of stays MA wears in the scene where she is doing some shopping/having a
dress fitted. You could go with that, or study up on what style of stays would be in use during 1770's. I
noted that in my book, it says "eyelets were sewn over with silk, because metal eyelets were not invented
yet"..Interesting point, and this point is used to date specimens. I'm not suggesting you sit down and sew all
your eyelets over, and stop using metal ones. 80O Just pointing the fact out. If you'd like to see how I made
some hand sewn eyelets, click here. And if you'd like to see how to lace up your stays in the traditional
diagonal way, click here.
4.)Here's where for me, it gets confusing. The skirt support system. My books all state these time lines:
1710-1718: a cone shaped hoop skirt, 1720-1730's: a dome shaped hoop skirt, 1739-1740 a very wide
dome shaped, but flat in front and back hoop skirt, 1750: pocket hoops (panniers), 1760: back to the dome
shaped hoop skirt, and 1775-1780: A Bustle or false rump pad. The exception to this rule seems to apply to
Court Dress. Always full panniers worn with Court Dress. This bustle was tubular shaped, tapered on the
ends and filled with stuffing or most likely cork. There are some GREAT illustrations of these "bustles" in
Nancy Bradfield's Costume in Detail", pg. 43. With all these different styles, shapes, and types out there it is
mentally confusing. Fellow MA Costume Enthusiast Maggie (Padawan's Guide/Costumer's Guide) says all the
costumes at the display at FIDM had panniers. Pocket hoops would be my best guess here, go with the idea
that between 1750-1775 you are looking at panniers, domed hoop skirt, or bustle, you could probably get
away with any of them.
5.)The petticoat is only seen in one scene in MA, I think. When she is getting dressed in Austria before she is
handed over to France. You could go with something like that. My books tell me that: They were almost to the
small of the leg (?), usually made of cambric, dimity, flannel or calico- sometimes they were quilted for
warmth, you'd need it in the dead of winter in France with no knickers on!! LOL.."Is there a draft in here?".
Sometimes they are very decorated with embroidery, especially for evening wear. So if you made one up for
this costume- just make it a little less plain. But go with the standard under petticoat..whatever you choose
make sure it fits over whatever you choose as support (mentioned above)..The petticoat is worn OVER the
hoop/bustle/panniers. Sometimes, especially if the bodice is very tight fitting like this one, you want to put
the stays over the waistband of the petticoat.
One thing you have to understand is that when you are creating clothing like this, whether from the
18th century or before or beyond- BUILD YOUR COSTUME FROM THE INSIDE OUT. Work from the
inner most layers FIRST..outwards..so don't go cutting your bodice patterns/fabric based on your
normal measurements as you would for regular clothing, measuring yourself over what you would
wear underneath it all (modern day undergarments like bra, slip or panties). Unless you really truly
plan on wearing those under a costume like this. I can't imagine that. So what you need to know is
that you need to start by making your chemise taking note of how the sleeves need to be to
correlate to your outer bodice sleeves. Then your stays, then your hoop skirt/panniers, then your
petticoat, THEN the bodice and skirts. If you try to wear the finished costume without the proper
undergarments it would look a little deflated I'd guess. And without them, it just doesn't give the
right look at all.
If you are like me and really need the visuals to fully understand just HOW an 18th century woman is dressed
from the inside out- check out these two sites.
1.)Duran Textiles has an image gallery of historical clothing. It is a Swedish site, and if you want to see the
images I am directing you to, please do this: Go here. Once you get there, click on the top tab that reads,
"BILDER" aka "photo". Once that smaller window pops up, click forward arrow to get to page 5 of 8 or "Sida 5
av 8"..click on image number s4.jpg. That image is the beginning of a progression of images that shows you
from the inside out. Technically, it's images 67-73. But their site uses a pop up separate window so I can't
send you directly there I do not think.
2.)Will of a Sparrow web site has a wonderful animated deconstruction where you move your mouse cursor
over the numbers of layers in order to see them peeled back or put on one by one. This happens to be a
deconstruction of POTC I Elizabeth's Gold Gown. EXCELLENT! Go here.
The Shoes:
Another instance where I have no clue. You could assume a pointed mule, a square toed heel, or anything in
between! I'd go with a heel for height so that your gown doesn't drag on the ground. Cover a shoe with
matching silk or dye it to match your gown. You can find dyeable shoes at the Payless Shoe Source.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Sources for Buying:
3/4 wigs at WOW wigs
AA Feather Co.
Lamplight Feather
See link above to Drugstore.com for makeup purchases or use this one to go to Sephora
Found Construction Hints, Patterns & Tips:
(These will be added as I stumble upon them)
Make your own Wig
Making your own Wig #2
Wigs and Makeup for tv, theatre and film
1700's How To: by La Couturiere Parisienne
The Costume Classroom from The Costume Gallery has classes for making stays, robes, etc. You can buy a
subscription to their online Costume Library to do some heavy duty research. $25 for three months.
Check the current and the back issues of Threads for tips on pretty much ANYTHING! LOVE MINE.
NOTE: I'M NOT TELLING YOU THESE PATTERNS ARE EASY/PERFECT FOR THIS/GREAT. NEVER
TRIED ANY OF THEM! JUST SHOWING YOU WHAT IS OUT THERE..ALL PATTERNS MENTIONED
SHOULD BE INVESTIGATED FIRST. MANY OF THESE PATTERNS GO UP TO A SIZE 20-22 US.
JP Ryan (has 18th c. Robe a' L'anglaise pattern for sale!) You'd need to alter the sleeves.
Butterick 4484 18th c. underpinnings pattern set with stays, pocket hoops, pockets, petticoat.
Butterick 4254 Stays and corsets pattern
Butterick 3737 petticoat pattern
Butterick 3675 a camisole pattern that might work for this on eBay now
Butterick 6884 a petticoat and camisole pattern on eBay now
McCall's 4109 petticoat patterns
McCall's 4861 If you're thinking about making strapless stays
McCall's 4863 really basic 18th c. clothing patterns for chemise/skirt/bodice/stays
McCall's 4090 your basic full skirt pattern with tied waist
McCall's 4091 Chemise pattern
Kannik's Korner Women's Stockings, Pockets & Mitts Pattern
Kannik's Korner Women's Shift Pattern 1750-1800
Folkwear #223 A Lady's Chemise (may not be period correct, however it would work really well with the
sleeves of this costume!)
Mantua Maker (has 18th c. patterns for sale)
Farthingales carries other maker's patterns for 18th c. costuming
YOU CAN ALWAYS MAKE IT YOURSELF!
If you are Full Figured like me, and have a hard time finding authentic 18th c. patterns in your size to make
your costume, do not be disheartened! Learn how to make your own patterns for yourself, or learn draping.
Check out these books:
How to Make Sewing Patterns by Don McCunn
Pattern making for Fashion Design (4th edition) by Helen J Armstrong
Draping for Fashion Design (4th edition) by Hilde Jaffe & Nurie Relis
Each pattern company might have a fitting sloper pattern you can buy, like Butterick 6092 if you're having
trouble finding something in your size! You CAN do it! It just takes patience, practice and time.
Taunton Press Threads Magazine #79 Using a Basic Fitting Pattern
-Books that will be helpful to you when attempting to re-create 18th c. clothing:
The History of Underclothes: Willett & Cunnington
The Cut of Women's Clothes: Nora Waugh
Corsets and Crinolines: Norah Waugh
Costume in Detail: Nancy Bradfield
If you want some good advice about sewing with Organza, Taffeta, and other fine or sheer fabrics Shaeffer's
Fabric Sewing Guide by Claire Shaeffer is my Go-To book whenever I begin a new project with a fabric that's
new to me. I always consult it first, and then go with it plus what my gut says to do. Gives me ideas on how
to treat the fabrics, what difficulty they might be to work with, what needles to use, etc. VERY HELPFUL.
Historical Fashion in Detail by Hart, North & Davis
REAL historical specimens to examine. Get a big mug of hot chocolate, a blankie and curl up with this
one..lovely..
And Don't Forget to Visit My Library To Browse For More Books To Learn From.
"daydream", and ending sequences in the film Marie Antoinette, a film from Sophia Coppola. Marie
is portrayed by the actress Kirsten Dunst.
Costume Designer: Milena Canonero *WON Academy Award for BEST COSTUMES*
Books To Read:
I have heard grumbles in general about the book that goes with the film. That it is not worth paying full price
for, if you are looking for excellent info/photos of all the costumes in the film. I have not seen this book, so I
do not know.
Visuals/Photos:
My 1/4 scale doll sized version of this gown This image of the real Marie always makes me think of this gown.
The colors must have inspired the design somewhat!
The Costumer's Guide to Movie Costumes
IMDB Page
Yahoo Movies Photos
Marie Antoinette Photos from CostumeSpy1
The Costumes of Marie Antoinette
Kirsten Dunst.Org
French Marie Antoinette Film Site (official)
Official Marie Antoinette Site (English version)
There is an Excellent photo booklet out there from Japan. Look on eBay for Marie Antoinette Movie Program.
The text is all in Japanese, but the photos are excellent. Do a search using terms "Marie Antoinette French
Lobby Cards" or "Marie Antoinette LC". I have seen a few other items called "CHIRASHI". The Seller on eBay
called "KobeSamurai" located in In Japan says, "These fliers are known as chirashi, and they are distributed by
Japanese film companies, usually in cinemas but also in other locations sometimes, to promote forthcoming
films. Often, especially for a film that is expected to be popular, there are two different chirashi created for
each film. The earlier version, sometimes released literally months in advance of the opening of the film, is
designed to raise awareness. This is often followed by a second version, distributed closer to the film's actual
Japanese release date. In rare cases there are more than two types, but it is quite unusual. Some of these
fliers are VERY limited, others readily available in many locations, but all are the same - when it comes to the
release date of the film, all chirashi are returned to the film companies, or destroyed. All chirashi measure
approximately 19cm x 26cm, and often feature unique graphics and, almost ALWAYS, great Japanese text
unseen by American audiences." This is most Interesting! Most of these items can be found under
Entertainment Memorabilia on eBay.
Search for: "French Magazine STUDIO". There is a Marie Antoinette Cover from this French Entertainment
Magazine called "Studio", but I do not have the date- Cannes Film Festival is held in May 2006. I found a whole
slew of these mags in eBay stores from the seller: "Movie Planet Collector" located in France.
Vogue Magazine September 2006: The magazine has a full length shot of the back of this gown, plus many
other wonderful shots.
When you are searching on the Internet, do a search in the IMAGES section of a search engine for Kirsten
Dunst. Allot of times I find that the "fan" sites for a particular actress or actor have the best supply of movie
stills to browse and or the most complete amount of available images. So in addition to doing an online image
search for "Marie Antoinette" use "Kirsten Dunst" as well.
And, of course, STUDY THE DVD! Sometimes there are clues that can only be picked up on by repetitive
watching in slow forward mode. Play your DVD, then press pause when you get to a shot you're interested in.
Then press forward (NOT NEXT CHAPTER) a few times, and you can watch the costumes as they move but
very slowly. You can wear out a DVD doing this, so I suggest only doing this occasionally, or once. There
appears to be a dvd box set available over seas. I found it on eBay for $80 with $20 shipping and it includes
the book by Antonia Fraser but in FRENCH text, some collectibles, a double DVD, etc. I did not find it under
Amazon.com, so your best bet is to grab one off eBay. But ouch! Pricey. I don't know if the extras are worth
it at this point.
Clues About Costume Fabrics From The Production Notes:
1.)..."Importing yards of tulle, taffeta, organza, and silk from Italy and England."
That's all I can find so far. Those words are from the official web site for the film, words are from Milena.
~NOTE: When you are done looking at an image that is thumb nailed below, click your browser's
BACK button, don't close the window. Some of this information will be repeated in my other MA
costume study pages.
Costume Elements Breakdown:
The Hair, or Wig and accessories in the hair:
Note: The hair/wig in the Vogue Magazine is not the same as worn in the film.
It's my opinion that her hair is not a full-cap wig, but a 3/4 wig or "fall" hairpiece has been added in back for
fullness. Her hair is her own in th front only, with the back and length being false. Front swept into the
hairpiece to blend the seam. It does not appear to be powdered too much either. In the back of her head she
wears a large hair adornment of blue silk rose(s), blue velvet or silk leaves. The leaves are probably wired in
back. I also spot some fine soft grey feathers. I spy three leaves, three feathers and two roses. I'd go with a
curly fall hairpiece and trim it into a ball almost, leaving some length to create the neck curls.
The Earrings and Rings:
The earrings she wears with this costume are also worn with the "Piano Gown" and a couple other gowns
during the film. They are French wire drop earrings. Most likely antique, they have a nice patina on them. They
are probably white gold or silver. First on the drop is a round diamond or crystal about 3mm in size. After
that two more round diamonds/crystals but they are smaller about 2mm in size. Finally, a large 4-8mm
slightly oval diamond or crystal. All stones are backed with or set in metal. Two rings; one on the right hand
index finger and one on the left hand middle finger.
The Makeup:
If you want to recreate this look:
1.) Take a good look at your skin color in the mirror. Decide just how ghastly you want to be. =0) There are
pure white pancake makeups, yes but you might like the look better on yourself if you test out a liquid or
other type of foundation in a shade two or three times lighter than you normally wear. Try that first, before
you reach for the pure white.
2.)Cheek rouge. Find a blusher in a red COOL tone. Remember, don't just look in blush, allot of today's blush
shades are very pale. We are not into bold makeup, not since the 80's anyway..so go look in eyeshadow and
in the "all over, or anywhere" blushers.
3.)Clear mascara is available now, you can use this to separate your lashes, to fix your eyebrows in place too.
She has something on her eyelids. It's a color. Some soft sable or tan color. Very neutral meant to look not
there, but not naked either. Her eyebrows look penciled in to me.
4.).Get out your clear lip gloss. Check out Rosebud Salve available at drugstore.com or Sephora. You could
put down some lip stain first, then gloss on top to make darker lips. Her lips have a nice pale red on in these
scenes.
That's it. All Pretty? LOL, compared to the hair I'd say recreating 18th Century makeup should be pretty easy.
If you want to look at a photo collage of color and product ideas for this costume click here. Head over to
your local drugstore or beauty counter in the mall and browse for colors with the photo of Kirsten in hand.
You should be able to find something rather easily.
I have found a few articles on 18th Century makeup online:
18th Century Makeup from The Makeup Gallery
There is a great article about 18th c. makeup at La Couturière Parisienne, even testimonials from trying
authentic recipes! THAT'S BRAVE! 80O
There is a discussion group thread on Marie Antoinette Online Forum about hair and makeup for MA.
The Gown:
The gown is in the style of a robe a' L'anglaise. It is not pulled up or gathered in the back (polonaise style).
Those who got to see this gown in person have color matched it using the Pantone color system. To find out
the colors of this gown see the above link the Costumer's Guide to Movie Costumes. She also has some
sketches of the seams there as well! ;0)
The bodice and over gown are one. The bodice center back is cut "en fourreau" or as one from neckline to
hem, and pleated to fit in back. The bodice opens in the center front. It most likely has hooks and eyes on
one side and a modesty panel to make sure you do not see the undergarments inside. The trim on the bodice
is ruched, with two rows of stitches used to gather up the trim, I have read that the trim has some of the
stripes as seen on the sleeves..so they probably used more of that fabric to make the trim. Since this might
be very hard to come by, you might want to try either ivory or white organza, or a pale blue (to match your
dupioni) organza. The swatch photos above are some samples I came up with before I created my own
version of this gown, I'm posting them so you can see them too.
The main fabric on this gown is a slubby silk dupioni in medium weight. The bodice is probably lined with
something lighter..and most likely boned near certain seams, for example on either side of the front opening.
This is a very complicated gown to recreate if you are not familiar with 18th c. clothing construction. You will
really want to study up with books and make muslins before cutting into your silk! The sleeves are a two-part
sleeve. This means, they have a seam in front and in back. Here is an example of a two-part sleeve that I
found very helpful! Link. The sleeve ends with a complicated little folded back cuff and button placket. It's
possible since the sleeves are so narrow that the buttons are just for decoration and that they stay closed
with snaps or hooks and eyes. The trim on the neckline of the bodice is gathered organza, and if you look
very closely on the inside of the neckline edge, you will also see a white lace with an eyelash edge to it. The
front has a ruched trim which runs diagonally from the opening and parallel with the opening on either side.
The diagonal pieces meet up with the over skirt trim. The over skirt trim actually starts at the "v" points on
the bodice and runs over the hips and down both sides on the outside of the over skirt. The belt is made of a
red velvet. The buckle on the belt is supposedly about 3" or so in size, on the costumer's guide web page she
has purchased one very similar to the original off of eBay. The buckle is silver in metal color and has an oval
shape with round crystals embedded. The velvet is slightly wider than the buckle opening.
When I made my version of this gown, I cut the bodice center front cut on grain, the side front, side back
both cut on grain. The center back was cut on fold. I created a pleat or tuck down the center back to bring in
the excess. I am not sure if the center back is really cut on grain or on fold for the original. I liked the look of
it cut on fold better though. When I cut the lining pieces, I chose to just line the bodice pieces so I made a
center back which only covered to the point in back rather than lining the entire over gown skirts. I am not
sure if the original is lined or not. The over gown skirt pieces I cut on grain and pleated them towards the
center back. The point where the center back edge meets up with the side skirts pieces can make or break the
fit of this gown. Seriously. It has to be done just right.
The Undergarments:
To me, the support pieces and undergarments are the most important items to get the right period look.
They can also be the mos difficult to place, especially if you are not permitted to SEE them. But if you have
spent any time at all even just browsing through some costume history books, you will know there are some
things for sure here:
1.)Chemise, 2.)Stockings, 3.)Stays, 4.)Skirt Support, 5.)Petticoat.
These items most likely would always be used to create a correct period look for an 18th century gown.
If you look at the time line created for MA's life (her real life, not the movie): you will note that MA meets Axel
Von Fersen in 1774. The masquerade scene is where she meets him for the first time in the film. So you could
assume that they were creating something with 1774 in mind. I say that rather loosely, because I know that
the number one goal of any said period film director and costume staff is not complete and total historical
accuracy..I mean at one point in this film if you are watching closely, you will see a pair of modern day purple
Chuck Taylor High Top Sneakers in clear view-- so I get the feeling that historical accuracy here in this film
was not #1 priority. It was very important, but they played with it as many films tend to do. So anyway--back
to the point I am attempting to make, if you assume it's 1774: then you would assume she would be wearing
a certain style of stays, and support system for her gown.
To get more technical about it, here are some points to ponder I gathered from several books:
1.)The History of Underclothes from Willett & Cunnington (my go-to book for instances of "what's under all
that?) states that the chemise is called chemise in France. It is called Shift in England. Same item, different
name. Call it what you like. The chemise would be just below the knees, barely on the shoulders and would
have a drawstring up front to close it. Very full sleeves, gathered with drawstrings until the year 1740. After
1740 the chemise sleeves stopped showing. That they were usually made of linen. The tight fit of this bodice
tells me that the chemise is very thin and fine and that it most likely has short sleeves because of the tight
fitting sleeves.
2.)Stockings are shown in a scene later between MA and Fersen, you could assume she wears something just
like those under this. However since we do not get a look at her legs, who knows what color they are. You
could assume white. If you want a great article on knitting authentic 18th c. stockings, go here. And I found
some more information about 18th c. Stockings by La Couturière Parisienne here.
3.)You get an idea of what type of stays MA wears in the scene where she is doing some shopping/having a
dress fitted. You could go with that, or study up on what style of stays would be in use during 1770's. I
noted that in my book, it says "eyelets were sewn over with silk, because metal eyelets were not invented
yet"..Interesting point, and this point is used to date specimens. I'm not suggesting you sit down and sew all
your eyelets over, and stop using metal ones. 80O Just pointing the fact out. If you'd like to see how I made
some hand sewn eyelets, click here. And if you'd like to see how to lace up your stays in the traditional
diagonal way, click here.
4.)Here's where for me, it gets confusing. The skirt support system. My books all state these time lines:
1710-1718: a cone shaped hoop skirt, 1720-1730's: a dome shaped hoop skirt, 1739-1740 a very wide
dome shaped, but flat in front and back hoop skirt, 1750: pocket hoops (panniers), 1760: back to the dome
shaped hoop skirt, and 1775-1780: A Bustle or false rump pad. The exception to this rule seems to apply to
Court Dress. Always full panniers worn with Court Dress. This bustle was tubular shaped, tapered on the
ends and filled with stuffing or most likely cork. There are some GREAT illustrations of these "bustles" in
Nancy Bradfield's Costume in Detail", pg. 43. With all these different styles, shapes, and types out there it is
mentally confusing. Fellow MA Costume Enthusiast Maggie (Padawan's Guide/Costumer's Guide) says all the
costumes at the display at FIDM had panniers. Pocket hoops would be my best guess here, go with the idea
that between 1750-1775 you are looking at panniers, domed hoop skirt, or bustle, you could probably get
away with any of them.
5.)The petticoat is only seen in one scene in MA, I think. When she is getting dressed in Austria before she is
handed over to France. You could go with something like that. My books tell me that: They were almost to the
small of the leg (?), usually made of cambric, dimity, flannel or calico- sometimes they were quilted for
warmth, you'd need it in the dead of winter in France with no knickers on!! LOL.."Is there a draft in here?".
Sometimes they are very decorated with embroidery, especially for evening wear. So if you made one up for
this costume- just make it a little less plain. But go with the standard under petticoat..whatever you choose
make sure it fits over whatever you choose as support (mentioned above)..The petticoat is worn OVER the
hoop/bustle/panniers. Sometimes, especially if the bodice is very tight fitting like this one, you want to put
the stays over the waistband of the petticoat.
One thing you have to understand is that when you are creating clothing like this, whether from the
18th century or before or beyond- BUILD YOUR COSTUME FROM THE INSIDE OUT. Work from the
inner most layers FIRST..outwards..so don't go cutting your bodice patterns/fabric based on your
normal measurements as you would for regular clothing, measuring yourself over what you would
wear underneath it all (modern day undergarments like bra, slip or panties). Unless you really truly
plan on wearing those under a costume like this. I can't imagine that. So what you need to know is
that you need to start by making your chemise taking note of how the sleeves need to be to
correlate to your outer bodice sleeves. Then your stays, then your hoop skirt/panniers, then your
petticoat, THEN the bodice and skirts. If you try to wear the finished costume without the proper
undergarments it would look a little deflated I'd guess. And without them, it just doesn't give the
right look at all.
If you are like me and really need the visuals to fully understand just HOW an 18th century woman is dressed
from the inside out- check out these two sites.
1.)Duran Textiles has an image gallery of historical clothing. It is a Swedish site, and if you want to see the
images I am directing you to, please do this: Go here. Once you get there, click on the top tab that reads,
"BILDER" aka "photo". Once that smaller window pops up, click forward arrow to get to page 5 of 8 or "Sida 5
av 8"..click on image number s4.jpg. That image is the beginning of a progression of images that shows you
from the inside out. Technically, it's images 67-73. But their site uses a pop up separate window so I can't
send you directly there I do not think.
2.)Will of a Sparrow web site has a wonderful animated deconstruction where you move your mouse cursor
over the numbers of layers in order to see them peeled back or put on one by one. This happens to be a
deconstruction of POTC I Elizabeth's Gold Gown. EXCELLENT! Go here.
The Shoes:
Another instance where I have no clue. You could assume a pointed mule, a square toed heel, or anything in
between! I'd go with a heel for height so that your gown doesn't drag on the ground. Cover a shoe with
matching silk or dye it to match your gown. You can find dyeable shoes at the Payless Shoe Source.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Sources for Buying:
3/4 wigs at WOW wigs
AA Feather Co.
Lamplight Feather
See link above to Drugstore.com for makeup purchases or use this one to go to Sephora
Found Construction Hints, Patterns & Tips:
(These will be added as I stumble upon them)
Make your own Wig
Making your own Wig #2
Wigs and Makeup for tv, theatre and film
1700's How To: by La Couturiere Parisienne
The Costume Classroom from The Costume Gallery has classes for making stays, robes, etc. You can buy a
subscription to their online Costume Library to do some heavy duty research. $25 for three months.
Check the current and the back issues of Threads for tips on pretty much ANYTHING! LOVE MINE.
NOTE: I'M NOT TELLING YOU THESE PATTERNS ARE EASY/PERFECT FOR THIS/GREAT. NEVER
TRIED ANY OF THEM! JUST SHOWING YOU WHAT IS OUT THERE..ALL PATTERNS MENTIONED
SHOULD BE INVESTIGATED FIRST. MANY OF THESE PATTERNS GO UP TO A SIZE 20-22 US.
JP Ryan (has 18th c. Robe a' L'anglaise pattern for sale!) You'd need to alter the sleeves.
Butterick 4484 18th c. underpinnings pattern set with stays, pocket hoops, pockets, petticoat.
Butterick 4254 Stays and corsets pattern
Butterick 3737 petticoat pattern
Butterick 3675 a camisole pattern that might work for this on eBay now
Butterick 6884 a petticoat and camisole pattern on eBay now
McCall's 4109 petticoat patterns
McCall's 4861 If you're thinking about making strapless stays
McCall's 4863 really basic 18th c. clothing patterns for chemise/skirt/bodice/stays
McCall's 4090 your basic full skirt pattern with tied waist
McCall's 4091 Chemise pattern
Kannik's Korner Women's Stockings, Pockets & Mitts Pattern
Kannik's Korner Women's Shift Pattern 1750-1800
Folkwear #223 A Lady's Chemise (may not be period correct, however it would work really well with the
sleeves of this costume!)
Mantua Maker (has 18th c. patterns for sale)
Farthingales carries other maker's patterns for 18th c. costuming
YOU CAN ALWAYS MAKE IT YOURSELF!
If you are Full Figured like me, and have a hard time finding authentic 18th c. patterns in your size to make
your costume, do not be disheartened! Learn how to make your own patterns for yourself, or learn draping.
Check out these books:
How to Make Sewing Patterns by Don McCunn
Pattern making for Fashion Design (4th edition) by Helen J Armstrong
Draping for Fashion Design (4th edition) by Hilde Jaffe & Nurie Relis
Each pattern company might have a fitting sloper pattern you can buy, like Butterick 6092 if you're having
trouble finding something in your size! You CAN do it! It just takes patience, practice and time.
Taunton Press Threads Magazine #79 Using a Basic Fitting Pattern
-Books that will be helpful to you when attempting to re-create 18th c. clothing:
The History of Underclothes: Willett & Cunnington
The Cut of Women's Clothes: Nora Waugh
Corsets and Crinolines: Norah Waugh
Costume in Detail: Nancy Bradfield
If you want some good advice about sewing with Organza, Taffeta, and other fine or sheer fabrics Shaeffer's
Fabric Sewing Guide by Claire Shaeffer is my Go-To book whenever I begin a new project with a fabric that's
new to me. I always consult it first, and then go with it plus what my gut says to do. Gives me ideas on how
to treat the fabrics, what difficulty they might be to work with, what needles to use, etc. VERY HELPFUL.
Historical Fashion in Detail by Hart, North & Davis
REAL historical specimens to examine. Get a big mug of hot chocolate, a blankie and curl up with this
one..lovely..
And Don't Forget to Visit My Library To Browse For More Books To Learn From.
| *NOTE: THIS WEB SITE IS A COSTUME STUDY. NOT A CELEBRITY FAN SITE. NOTHING IS FOR SALE HERE. PLEASE DO NOT EMAIL ME ASKING ME TO MAKE YOU THIS COSTUME. THIS WEB SITE IS RESEARCH ONLY. I PUT THIS ON THE WEB TO HELP YOU MAKE IT FOR YOURSELF. MY WEB SITE IS NOT AFFILIATED WITH ANY FILM, AND NO AFFILIATION IS IMPLIED. PHOTOS ARE FOR RESEARCH/EDUCATION PURPOSES AND NO COPYRIGHT INFRINGEMENT IS INTENDED. IF YOU FEEL I HAVE STEPPED ON YOUR TOES, PLEASE EMAIL ME, AND I WILL CORRECT IT. ALL ORIGINAL DRAWINGS AND WRITTEN TEXT THAT HAVE BEEN AUTHORED BY THE OWNER OF THIS WEB SITE ARE (C)2007-Present, PLEASE DO NOT TAKE THE CONTENT OF THIS WEB SITE, BUT PLEASE FEEL FREE TO PRINT IT OUT FOR YOUR STUDY AND FEEL FREE TO LINK TO MY SITE. |
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