| A Costume Study: The Masquerade Ball Marie Antoinette |
This is a Costume Study for the black gown shown during the "Masquerade Ball" sequence in the film
Marie Antoinette, a film from Sophia Coppola. Marie is portrayed by the actress Kirsten Dunst.
This costume stands out to me as one of the most unique costumes worn during the film, it's bodice is cut
in the period way, but the sleeves and fluffy layers of outer skirt make it almost a modern prom dress or
formal! It is quite unique to me, and that is why I chose to study it. They really went to town stylizing this
one costume.
Costume Designer: Milena Canonero *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.
If you want to know more about the real Marie Antoinette, check out the book by Antonia Fraser,
"Marie Antoinette: The Journey". This book is also on a 17 cd audio version UNABRIDGED, so you can listen and sew
at the same time.
If you are interested in what it would have been like to attend a Masquerade Ball go to:
The World Upside-Down: 18th Century Masquerades (A Student Project U Michigan)
WHAT A GREAT SITE!
Visuals/Photos:
My 1/4 scale doll sized version of this gown
Marie Antoinette Photos at The Costumer's Guide
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 that holds the carriage shot shown above with the black gown
worn 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. Here's a photo of it. 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.
~~~~~~~~~~My Study:~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
As always, and I will repeat this to you frequently: If you disagree on a study point strongly, please email
me. I want this information to be as accurate as possible, and I am always open to other's opinions on a
costume study. That doesn't mean I will agree with you. ;0P Sometimes I think things are allot more
complicated then they really are. 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.
Costume Elements Breakdown:
The Hair/Wig:
The Hair is worn very high in the front, and tightly curled to the head at the back, but at the same time the curls are
piled very high. There are several loose long curls that fall around the neck. I don't see this hairstyle worn as being
as extreme as the hairstyle known to us as "La Belle Poule", where the higher the hair, the better- the more fruit,
feather, hats, ribbons, ships, birds you could stuff into it, the better. I see it more tamed than that. In the
production notes it is said that they wanted to let Kirsten's natural color shine through allot of times, that rather
than reaching for the extreme white powdered look, they chose to keep it more natural, and I think this one step
really helps to keep the look more- human. Less comedic or theatrical. It is written in one article that (quoting
Milena) "I hardly used wigs because they weren't right for her [Kirsten]". Nuff' said. I don't think that the back is her
hair, there's too much of it to be her hair. Too "fat". That's got to be a wig/hair combo, possibly padded or wired.
Here are some Interesting articles online about 18th c. hairdo's:
1.)18th Century Hair and Wigs from Costumer's Manifesto
2.)Wigs, Hats, and Hairdresses: Keeping in HIGH style (A Student Project from U Michigan)
3.)Frisur "La Belle Poule" from La Couturière Parisienne (not in English, but you get the idea from the pics)
What I notice is that the costume wigs available for us look rather comical, and are usually all white to represent the
powder on the wigs. Finding a wig that is in the powdered blond color of MA's might be rather difficult. Especially if
you are trying to create this style, and not go with the humorous styles they all seem to come in. Here are
alternative ideas for you:
I created a similar MA Masquerade Ball hairstyle in mini form for a doll. I bought a doll wig which looked just like this
when I started out. I cut the rubber band that held back the longer hair, and turned the wig backwards on the doll
head, so that the short curly side which were the bangs became the back. Then I sprayed the dickens out of the
long section up front with hairspray. I thought I might need to use some support to hold up the hair in the front,
perhaps with a self made mini "rat", or wire, or cotton balls or something.. but it did not seem to need one at all so I
went without any support just lots of hairspray and a couple bobby pins on either side. I am SURE that you would
not be able to get away with that little support on human scale. The doll only moves when I make her~ LOL~ and
she's only going to move when I need to take the photos of her. The wig at WOW wigs linked above only comes in
red, brown and white. If you want to try my idea, first determine (by trying the wig on) if the wig can be comfortably
worn backwards. What you want to look for is a wig which has some hair that's been pulled back, that you can use
as height in the front once the wig is turned around. And hopefully some short thick curls as bangs which become
the back curls. Most wigs have directional wig caps I think, so this might not work, but I felt it was worth mentioning
to you. You never know, it worked for me. Thanks to Marcia for pointing me in the right direction! Here is a pic of my
doll with her wig.
And another alternative you could go with a standard MA style wig such as the Wow Wigs Marie Antoinette in Honey
Blond.
The Feathers:
There appear to be three different feathers atop MA's Wig. There are several colors that they might be, depending
on the color that her dress turns out to be. We may never know! It could be: two black, and one that appears to be
grey or white. Or it could be that (if her dress is really navy/black) the feathers are navy plus silver grey. That to me
looks like the most likely combo. A color chart made from colors at Ostrich.com, for this costume can be seen here.
And here is some more information from Ostrich.com: "note that not all products are available in all colours and on
line colours are approximate only. If you want a colour not shown here, ask about custom dyeing - contact us by
telephone or email." I do not see any Ostrich feathers available in the navy blue, but they offer to custom dye for
you if you contact them.
The best images for trying to determine the third feather color would be this one, or this one. The feathers are
ostrich feathers. Probably the FEMINA or MALE wing feathers. There are male and female ostrich feathers out there.
There are also imperfect feathers out there called "DRABS". They are not as beautiful as the male or female wing
feathers. If I had to guess, I would say MA's feathers are in the 12-20" size. They are just stashed into her wig in
the back. They might be tied to each other first, to keep them from taking on a life of their own when she moves. To
learn how to trim them, steam them, curl them and care for them, then you need to look to Millinery. Hat making.
Millinery techniques in books will teach you how to do these things. I have yet to find a book just about working with
feathers. However milliners use feathers all the time so it's natural that to learn feathers- you look to millinery. One
of those things you don't know until someone tells you. What I want- if anyone knows of a book like I am describing
here please contact me- is a feather ID book, if there is such a thing. Because allot of times I get stumped on
feathers. Keep in mind that milliners do things to feathers to make them look much different than the original form.
Things like dyeing, steaming, trimming, curling, bleaching. So you can look at a bunch of feathers an totally not be
able to ID them, but if you learn the techniques on how to change feathers and what the end results look like, you
then learn how to spot those unusual feathers. You learn they are not rare or unusual, just changed.
When I made a tiny bunch of feathers for my project, I began with three ostrich feathers and to tie them together I
used white florist's tape called FLORATAPE. This tape is also waterproof. I have made many a corsage in my day, so
the first thing I thought about using was florists tape. It is 1/2" wide. You can find it in dark or light green, brown,
olive, and white. It's a paper tape which is stretchy to a point then it breaks off, both sides are coated with a sticky
residue which sticks to itself as you wrap it tightly around an object. Tiny stems of flowers work well with this tape
so I figured feathers in the tiny scale I was using them in would do just as well. It worked out just fine. To make
sure that the tape would not unravel I also wrapped tiny black ribbon around it and stitched it into place through all
layers. The tape dries out of it's sticky-ness over time..so you should reinforce it with ribbon like I did if you use it.
You could also just use ribbon alone. Just make sure that whatever you use, that it won't make the feathers fall out
of your hair/wig. You might need a few bobby pins. Working with FloraTape takes practice, you need proper
stretching tension which creates the best adhesion to itself, you need to learn how to begin and end a wrap. I
suggest if you use this and have never tried it on anything before that you try to wrap a few flower stems first,
before touching your expensive feathers. If you don't have a tight enough wrap, it will unravel and won't stick to
itself, if your pull is too tight, it will constantly break on you and drive you mad. So practice. I am lucky in that I have
many years of experience using it.
Some tips from Tony Hill about feather care:"expand and fluff your feathers back into their natural shape by waving
them over steam, when steaming ostrich blow dry them in the direction that you want them to go. You can brush
feather fibers with a toothbrush! Dyed feathers can run onto other feathers or fabrics if they get wet." Good to
know, and I second the notion of fluffing feathers with steam. Fattened mine up and puffed them up very well. I
used a tea kettle's steam.
The Earrings:
The earrings worn during this scene are also worn several other times during the film. They are antique from the
18th c. and were bought by a private collector from the dealer Fred Leighton after shooting concluded. They are
described there as being a "pair of 18th c. old mine-cut diamond earrings in silver on gold". I do not know the
measurements of the earrings, but if I had to guess I would say between 2 1/2" to 3" in length by 2" wide at the
bottom. They look quite heavy to wear, and I assume there are posts behind the top star, not worn with French
hooks because they would drag down the ear. The motif is of the moon, and stars, and the six pointed star is here
which I seem to catch in several outfits of hers, such as a brooch or some kind of decoration on her blue tricorn hat.
They reportedly carry 25 carats of diamonds. This is all we really know about them.
Jewelry: From Antiquity to the Present by Clare Phillips is a great book to study 18th c. and other period jewelry
from, and the book Creating Your Own Jewelry: Taking Inspiration from Museum Masterpieces by Cris Dupouy you
get ideas on how to use polymer clay to make truly exquisite period jewelry pieces based on gems from paintings
and historical pictures. She normally begins with black polymer clay and covers over it with silver or bronze or gold
making each piece look so antique! I love it. You might be hard pressed to find someone as exquisite as these
babies are for your costume, to be honest. Depending on your budget, I have a few suggestions as to where to
look for a proper substitute.
$ If you have very little to spend: Claire's Boutiques and The Icing, are stores in the US which specialize in low
cost trendy jewelry. They do allot of business during prom time. I would not be surprised to see a knock off there
soon. Allot of times a popular costume film will influence what the young girls going to prom decide on wearing. In
fact, while walking through JC Penney's I found several VERY MA influenced formals, all pink puffy and candy like. I
laughed out loud because they were all pretty ridiculous! You can also head to Wall-mart. After a weekend of
browsing the mall, I discovered that Claire's has truly turned into a pre-teen haven for Hello-Kitty and such. It used
to be THE SPOT for prom gems. Back in my day. Now you will find it all At Icing at least locally here it's that way.
Average cost of gems at the Icing $20.00.
$$ If you have a moderate amount to spend: Target, Mervyn's, and JC Penney's have a good selection of
moderately prices fashion and fine jewelry. One weekend I went to the mall with the family and as usual did research
while shopping. I found exactly what I expected to find. At Macy's. At JC Penney's. Average price for these
moderate priced gems $22.00-35.00 possibly on sale at the time for less.
$$$ If you have $80 or more to spend: The first name I think of when I look at these earrings, to match the
quality and style is NADRI. Nadri collection is sold through Nordstrom & QVC. Beautiful stuff, and at a (relatively
compared to the real thing) low cost to you. Go to either of those web sites and search for Nadri under jewelry.
Check these out OMG! And these too..now you see what I mean. I LOVE Nadri because it's so affordable and looks
so rich at the same time. They use rhodium plated settings and rhinestones, crystals, or Cubic Zirconium stones.
And lastly, never forget to check out your local second hand store and scrounge at garage sales/estate sales/eBay
for vintage and new costume jewelry. A little clean up is sometimes all an old piece needs to look brand new.
Bottom line: Look for a post back, chandelier or drop style, in silver with lots of sparkly rhinestones or crystals. A
moon/stars motif a total find. Send me pics or email me if you find a good substitute for these please. I'd love to
post it here. I am always on the lookout for comparable items, so you know if I find one I will post it here.
The Mask:
IMHO: MA's mask is nothing more than a piece of black silk organza folded in half, with eyes cut out of it. On either
end, it is gathered and sewn onto a ribbon or string most likely, this is not seen, but hidden into her wig. At some
points during the scene you can tell there are two layers because they separate just enough to cause the eye holes
to mis-align. It could be silk chiffon. But my best guess is organza, it would take the cut out holes better than
chiffon would. And it doesn't look like they used any kind of fray liquid on the holes either..no grayish residue there.
Patterns for Costume Accessories by Arnold S. Levine & Robin L. McGee Has a pattern for a "Domino" mask, but I
really think you can come up with this all on your own free-hand. If you don't want to make it yourself, head to
your local Jo-Ann's Fabrics and Crafts, or Michael's Crafts store to find plastic masks that you can customize. You
can also find masks online using the search term: Domino mask, Bandit mask, Zorro Mask, Masquerade Mask.
The Makeup:
During the 18th century makeup was pretty ghastly if you ask me. Not just looking, but considering some of the
ingredients like LEAD in powder form; it's a wonder anyone survived at all. Thank GOODNESS Sophia and crew
decided NOT to go that route! During Marie's time, women (and men) took white powders made of talc and other
heinous ingredients and mixed them into creams to put on the face, and dry powder was used on wigs. Deep rose
or red blush was used on the cheeks. They did use lip rouges or glosses as well. I don't know about the eyes. I do
know that they also were into beauty marks and "Mouches": the little heart, spade, clover and other shapes that
they then stuck to various spots on the bust and face. I find it Interesting how the ancient Egyptians had used
various colors made from powders of all sorts on their skin and eyes..but fast forward to 18th century France and
you have your choice of red or white only. Obviously no one was surfing the internet looking for ancient mascara
recipes! ;0P If you study any portraits of the real MA, you will notice how natural her makeup was. I think that
Sophia and crew stuck to that.
After saying all this, here is something Interesting to chew on:
"Dunst's makeup, while extreme, was very much in keeping with 18th c. Fascination with heavy rouge. 'If anything,
the real look of the times was even more bold', explains Canonero."
??? LOL. Isn't that exactly opposite of what I was saying, and I think Ms. Canonero was actually stating the "real
look" wasn't what they were shooting for. A more natural approach. Just like the comments I posted from the
production notes about her hair. Those comments above are from the productions notes off the official web site. I'm
not sure what to make of it if anything. I don't recall at any one point seeing MA made up with heavy rouge. I do
recall some light rouge spots on her cheeks while she was wearing the masquerade gown as well as some white
powder makeup. But nothing to the extreme.
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 white
clown powders, 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. Then go for the clown powder.
2.)Same thing goes for cheek rouge. There is clown powder makeup in red. But try out a blush in a shade two to
three times darker than you normally wear, 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.)Let go of the idea of mascara, eyeliner, and eyeshadow. Just forget about them. Clear mascara is available now,
you can use this to separate your lashes, to fix your eyebrows in place too. I have to state for the record though-
this image (probably one of the BEST out there to determine makeup for this costume) shows you that 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. Soo..if they can do it, so can you I guess.
4.)Try your hand at darkening your eyebrows. It takes practice to make a cool looking eyebrow, not a ridiculous
looking one. I have brown lashes and brows. So I use a brown pencil. I might try for a darker brown pencil or a
darker brown powder if I were attempting this look. Go with what you normally use, and practice at making it darker
not comical.
5.)Get out your clear, reddish lip gloss. No, sorry no glitter. =0( Probably the closest to a lip gloss of that time
would be the Rosebud Salve available at drugstore.com or Sephora. You could put down some rouge first, then
gloss on top to make darker lips. I think that might work best since allot of the translucent glosses do not provide
the same amount of color you see on her in this scene.
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've got an idea for making "Mouche's". Supposedly they were shapes punched out of taffeta in either red or black.
Why not take a scrap of the black taffeta from your gown (you know you have scraps) and go to the scrapbook
section in the craft store. They have die cut punches for paper in hearts and lots of other shapes. See if this will
punch out a small piece of taffeta, then use some gum adhesive like you'd use to GLUE ON YOUR ELF EARS..yeyey I
snuck in a LOTR reference..haha..and voilà! "Mouche!". Let me know if you try this how it worked out.
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:
A Color Confusion
Is it Black? Is it Midnight/Navy blue? We may never know! I have two color ideas about this gown. Upon first glance
the entire gown would appear to be made of black fabrics. Upon closer inspection, and the finding of this image you
might start to look at it differently and believe it to be navy/black or very dark navy blue like midnight blue. Until the
gown makes an appearance at a gallery or is sold, if they decide to sell it off. That's when we will find out. To see
images that explore the navy blue idea, go here. Use the slide show feature on slow, and you will get the general
jest. I think, IMHO that it looks tastier with the navy/black taffeta and just a bit of black let's say for the stockings,
shoes, mask, sheer sleeves and perhaps cap sleeve. The combo of all that together looks really nice, especially when
paired with the pink of the carriage cloak hood lining and the raspberry trim on the cloak. It looks more blah or flat
for lack of better words with all black. Less *pop!*. But we do not know right now. It's all speculation at this point.
Again, IMHO I think you could make it either way and it will look awesome. Whatever fabrics you can find/afford! But
take a look at the two options FIRST and decide what would look best on YOU. All black? Or navy/black. I think
Kirsten looks awesome in blue. Because of her eyes, and it is said in one article (quoting Milena) that, "I started by
throwing pieces of material over Kirsten to see what colours suited her best"..Nuf' said. Doesn't mean it's really blue.
The Skirt & The Bodice: (where ever you see a *, this indication is for the color confusion mentioned
above)
I believe that the bodice is separate from the skirt. Not one piece. But, it's possible that the under skirt is separate
and the outer skirt layer of tulle is attached to the bodice..not sure.
The Skirt:
An under skirt and outer skirt probably layered one on top of the other, sew together with a waistband and ties
either at both sides, or perhaps in back. It might even be just hook and eye closure in back. The Underskirt portion
is probably black* silk taffeta. Perhaps another type of silk. It appears that the skirt is slightly trained in the back,
longer in back than the front. The front stops just above the toe of the shoes. Without heeled shoes on, it would
touch the floor in the front. From what I have understood, looking at several books about the average skirt of this
period..there would normally be slits on either side which you could reach through the petticoat slits, and the slits of
the panniers or pocket hoops and grab at your stash of items! =0) Well, to be honest here..I don't see any
evidence of this. Perhaps it is VERY well hidden.I do not see any ties, And normally what I see is that type of skirt
coincides with a over layer or bodice with long sides, aka an open robe, or a sack back gown or SOMETHING so that
you do not see the slits and ties at all. This costume does not offer any hiding. So, I honestly think it does not have
the side slits. If we ever get to see it in an exhibition, we will find out! The outer skirt layer is probably two to three
layers of black* tulle. At first, I thought it was organza, but looking at the fabric more closely, especially the Vogue
photo shown above, I'd say it's tulle. The way it lays. And moves. When I was creating this costume in small scale, I
noticed how one single gathered layer of tulle just did not give it enough puff. I would suggest buying enough tulle
to make at LEAST two layers on the outer skirt. I do not know if the under skirt is lined or not. I do not have much
evidence to support that it is lined. I can tell that the skirt is NOT gathered, that would create too much bulk at the
waist. I think it is most pleated at the waist, and then sewn onto a waistband. Looking at a photo of the back side of
the skirt, I can count at least 6 pleats. I can tell you that in order to get such a tight fit with such a full skirt, it's a
challenge. Pleat the under skirt layer first of all. Then the outer skirt layers of tulle can be gathered, tulle compresses
pretty flat against the under skirt layer, even with 3 or more full layers of tulle in place. Tulle is pretty easy to sew,
but a nightmare to cut evenly. Once you get the tulle tamed, and cut to the specification you need, you'll find sewing
it to be actually pretty simple. I used a microtex SHARP needle when I sewed on it. I used a dry iron on the low
synthetic setting, so I would not melt it. I did French Seams on both the inner skirt of silk taffeta, and the outer
skirt layers of tulle. The great thing about tulle is although it can be unruly to tame, you don't have to worry about
the ends, hemming them because it stays put. It's not going to fray on you. The waistband I made was a strip of
hand made double fold bias cut silk taffeta, and I inserted a tiny black satin ribbon when I closed it over to the inside
so that not only could I keep the bottom of the opening in back closed, I could also slightly gather the waist even
tighter to accommodate the bodice slim fit. The skirt is really full, and to get all that tucked under the bodice you're
going to need to do something like this. See, the waist is tight but the skirt needs to be able to either slip over the
head and shoulders, or slip up over the panniers. I found that it's easier to slip a skirt OVER the head and shoulders
and pull it down onto the panniers, rather than trying to pull a skirt up over the panniers from below. So you need
enough opening to do this, but still you need to make it tight to go under the bodice. So that's how I achieved it.
Leaving a slightly longer than necessary opening in back, a hook and eye half way down it, and inserting a ribbon tie
in the waistband (free moving, not sew down at all) to pull it even tighter. I hope that helps.
The Bodice:
The bodice is made of black* silk taffeta probably. The bodice has at least 7-8 pieces. 7 if the front center is cut on
the fold not two pieces sewn together. A center front, side front with strap which goes up and over the shoulder
and attaches to the side back diagonally. It has a center back left and right which laces closed with black* metal
eyelets and black* laces or ribbon. The laces are drawn inward, not laced crossed like a shoe. The laces begin at the
top and go downward, probably stashed in the skirts or tucked into the bottom of the bodice. The edges of the
center back meet, no gap is left. The bodice is quite tight fitting. Because of the tightness I wonder if she is wearing
strapless stays under it and sleeveless chemise. The bodice has two sleeves an inner sheer sleeve of silk chiffon in
black*, and an outer cap sleeve. I think it is chiffon because it does that wierd squiggly thing when the fabric shifts,
you can see it here in this photo, and here is my example of some black chiffon making the squiggle. The longer I
stare at this picture, the more I think that the outer sleeve fabric might be different than the bodice fabric. The cap
sleeve is decorated with the same detail as the center front panel. The inner sleeve hem has a tiny frilly edge and
small dots which flares outwards. It's possible they sewed lace to the hem. On top of the lace or edging is a black*
band of ribbon possibly, with tiny clear rhinestones. The inner sleeve is 3/4 length. The sheer sleeves most likely
have french seams or another fine seam finish. The neckline is cut on a pretty wide curve. It stops right above the
bust cleavage. The back is cut higher than the front is.
This is a complicated bodice to re-create, in my opinion. First of all, you need to either figure out how to make your
own pattern to match the same period style bodice she wears, or find one which matches it. Many of the costume
patterns available today do not recreate period clothing completely when it comes to fine details because they still
want the average weekend sewer to be able to complete it. They simplify things for you. Your best bet, if you have
enough sewing skills that you feel confident to tackle this one would be to start with a sloper or fitting bodice
pattern like B6092 mentioned below. Begin by making a muslin mock up of a bodice, then create a dartless bodice
from that. That's what I did. I made a paper version of the sloper, cut out the darts, taped them together. Then
traced around the outline of the bodice pieces as they were. I made a whole front and whole back pattern. Then I
trued it up. After that, I began to divide the back and front up into a center back, side back, side front, and center
front. This bodice has at least that many pieces in it. I can spot a center front panel with the decoration of bows. On
the left and right of it I can spot seams there. I cannot tell if the front is cut on the fold, and opened up or if it is
two pieces sewn together, I cannot see if there is a seam running down the center or not. My guess is the center
front is cut on the fold. I can spot a side front seam, a side back seam, a center back seam and the opening is down
the back with eyelets. I can tell that they are black metal. Laces are begun at the top, laced down. The laces weave
inwards not across like a shoe. The tied end is probably buried in the skirts or tucked up in the bottom of the
bodice. The most complicated thing for me to figure out was how to create the back are near the shoulders. The
bodice in this costume has a center back left and right, and a side back left and right which meets at the back of the
shoulder in a diagonal seam with the side front piece. Yeah. LOL. I had a hard time with this when I was drafting. I
ended up with a side front with a long strap that goes up and over the shoulder to end right past it, the end part is
wide to match the side back at that diagonal angle easing in the side back to the strap. You can see the various
angles and meeting places of the back seams in this one shot. If you have never made a bodice like this before, you
might want to stick to a more simple design. I do not know the name of this style of bodice, or if it even has one.
I'm not saying that this is the RIGHT way to create this bodice but it's the ONLY way I could figure out how to finish
it! I sewed up the fronts to the side fronts, side backs to the center backs. Fronts to backs at the side seams.
Laying it all out flat, laying the lining on top, sewed from the bottom of the right center back, across the bottom of
the bodice, up the left center back, across the side backs until I hit the arm hole. Then I skipped over the entire arm
opening just sewing the top of the shoulder strap on the side front closed then down and around the neckline.
Don't forget that between the layers of lining and facing fabric you have to insert gathered trim of either organza or
tulle in black. This trim begins at the shoulder and wraps around the front to the other side. It is not present in the
back sections.
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. However, there are some things that I find Interesting about
this gown, and some things that make me wonder what's she really wearing under it all. I always want to see it
unfolded layer by layer!
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. What I wonder is what type of chemise is she wearing
because the sleeves are see through, and the cap sleeve is very tight fitting and small. It must be either sleeveless,
or have very small sleeves that stash just under the cap sleeve.
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 great look at her legs--just a peek-- you can tell that she is
wearing black. In the Vogue photo, she looks like she is wearing a pair of pinkish or black hose! Note: drawers were
not worn by women until the 19th century. I don't think I like the idea of that..going "commando" and all..as I have
heard it said. 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. When I compare her
silhouette next to the other two women in the same scene, it is obvious to me that the other two are wearing
different panniers than MA herself..Fellow MA Costume Enthusiast Maggie says all the costumes at the display at
FIDM had panniers. Dome shaped hoops, or dome shaped pocket hoops would be my best guess here. But her skirt
does not look like it has any hoop under it when she lifts it up, unless I am missing it. If you keep to the idea that
it's 1774, then go with the idea that between 1750-1775 you are looking at panniers, domed hoop skirt, or bustle.
Like I said, sometimes I make things more complicate than they need to be, 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.
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
"photos". 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.
We do not get any idea from the film other than they are black. Assume a period correct shoe if you want, BUT if
you note the shopping scene when the song, "I want candy" plays..you will see all the GORGEOUS shoes designed
by famous designer Manolo Blahnik for the film. These shoes are NOT totally period. They are modern, with a period
flare. Totally cute shoes. I want all of them. Now. LOL. If you also examine the Vogue shoot, you will see a shoe
which is a high heel, it is black leather, with some ribbon trim across the toe. Who knows if those shoes are the
same worn during the film. Notes from the Production state: "Canonero utilized one of today's hottest designers
(for shoes) Manolo Blahnik, to create STYLIZED versions of 18th c. shoes..They're not 100% period, but they have
that kind of feeling". Nuf' said. =0) If you want to study authentic 18th c. shoe specimens check out this book.
I went on eBay and searched for M B shoes. I found a handful of his shoes in black suede, which I watched until they
ended. Average price for a pair of M B black shoes on eBay was $50-100, plus shipping. So you CAN get them lower
priced on eBay, but sometimes I wonder if they are REAL M B shoes, or knock-offs which supposedly you're not
supposed to be able to sell on eBay..but you know how that goes. If you don't report it, it goes unnoticed. I also
found some interestingly named shoes there. A company called "Irregular Choice" has some shoes named "Marie
Antoinette". There are a black pair and a pair of brocade/tapestry in green and cream. Both are HIGH heels. Both
styles sell on eBay for between $13-40 plus shipping. Go to eBay and see what you can find. But just remember: If
people are busy looking at your shoes while you're in costume: either they are the focal point, or your costume
stinks. LOL! So I honestly feel that you could get away with darn near any black shoe here. If it's really true that this
costume is midnight blue, black will still work.
Shoes and Slippers: From Snowshill Collection by Althea Mackenzie
The Cloak:
This cloak has been named the carriage cloak. It's worn over the ball gown when MA leaves the ball. This is very hard
to dissect as it is not seen fully. The best information I have about this costume is from one single photo available
from Japan. It really looks like the cloak is navy/black taffeta with a pink/white taffeta lining in the hood. It does not
look black to me. The photo doesn't look color retouched. It's possible that it's shot silk taffeta, like a navy with red.
I just cannot tell if it color changes unless we see her move in it. Sometimes I see a little bit of a violet cast on it. It
has a wide hood. There appears to be a raspberry colored trim all along the front edge. It's wavy, but it's not a
rick-rack type trim. I can tell it's attached TO the cloak not embroidered onto the cloak because it stands off the
edge of the fabric. There also appears to be a wide pleated edging along the front, bottom, and hood.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Sources for Buying:
Masquerade Queen from the "Evil Court" Collection at Buy Costumes $44.99
Marie Antoinette Wig
See the wig shop mentioned above, WOW Wigs
Ostrich.Com
AA Feather Co.
Lamplight Feather
Marie Antoinette Style Fan Earrings
See jewelry links mentioned above
Masquerade Masks at Buy Costumes
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)
Sew Much More Episode SMM-201F Savory Seams and Bindings
(French Seam visual tutorial, flat fell, narrow hem)
Make your own Wig
Making your own Wig #2
Wigs and Makeup for tv, theatre and film
How to curl an ostrich feather
From the Neck Up
Torb and Reiner All About Feathers Millinery Workshop
Worldwide Millinery Info
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.
Butterick 4485 18th c. costume pattern that would need modifications
Butterick 4484 18th c. underpinnings pattern set with stays, pocket hoops, pockets, petticoat. I'm not so sure the
pocket hoops would give off the right shape for this though you'd probably need to fuss with it.
Butterick 4254 Stays and corsets pattern
Butterick 6867 18th c. costume pattern would need modifications on eBay now
Butterick 3071 18th c. costume pattern would need modifications
Butterick 3737 petticoat pattern
Butterick 3640 costume pattern view B could be used w/modified skirts
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 3676 formal gown pattern on ebay now
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 4698 Full hooded cloak
McCall's 4090 your basic full skirt pattern with tied waist
McCall's 4091 Chemise pattern
McCall's 2253 18th c. costume pattern on eBay now
Simplicity 4092
Simplicity 3635
Simplicity 4092
When you get there, type in each design number in the design search box to see them.
Kannik's Korner Women's Stockings, Pockets & Mitts Pattern
Kannik's Korner Women's Shift Pattern 1750-1800
Mill Farm Long or Short Cloak Pattern
Vogue 7969 the same pattern I used for my pirate lass blouse. Can be used for a chemise.
Folkwear #207 Kinsale Cloak
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)
JP Ryan (has 18th c. costume 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..
The Beader's Companion by Judith Durant
Bead & Sequin Embroidery Stitches by Stanley Levy
Mary Thomas's Dictionary of Embroidery Stitches by Mary Thomas
Beadwork
These Books Are Out There, But I Don't Reference Them Often:
Costume 1066-1990's by John Peacock Has very small sketches of clothing, no undergarments or specifics, if you
want to try to date a piece of clothing you MIGHT be able to use this one..but..eh..
Textiles for Colonial Clothing in America: (Spiral-bound) A Workbook of Swatches by Sally A Queen
This book, is hard to get a hold of, AND you are ONLY going to learn about COLONIAL AMERICAN textiles during the
18th c. Nothing in here about Europe, specifically France or England. Just wanted to state that so that you are not
fooled into buying it if you're interested in 18th c. textiles from Europe.
The Little Corset Book: A Workbook on Period Underwear by Bonnie Holt Ambrose
Has a chapter on 18th c. stays, very short cut/ "cliff notes" type book.
Patterns of Fashion: English women's Dresses and Their Construction C.1660-1860 by Janet Arnold This book
focuses on dress in England, so it's limited in scope.
And Don't Forget to Visit My Library To Browse For More Books To Learn From.
Marie Antoinette, a film from Sophia Coppola. Marie is portrayed by the actress Kirsten Dunst.
This costume stands out to me as one of the most unique costumes worn during the film, it's bodice is cut
in the period way, but the sleeves and fluffy layers of outer skirt make it almost a modern prom dress or
formal! It is quite unique to me, and that is why I chose to study it. They really went to town stylizing this
one costume.
Costume Designer: Milena Canonero *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.
If you want to know more about the real Marie Antoinette, check out the book by Antonia Fraser,
"Marie Antoinette: The Journey". This book is also on a 17 cd audio version UNABRIDGED, so you can listen and sew
at the same time.
If you are interested in what it would have been like to attend a Masquerade Ball go to:
The World Upside-Down: 18th Century Masquerades (A Student Project U Michigan)
WHAT A GREAT SITE!
Visuals/Photos:
My 1/4 scale doll sized version of this gown
Marie Antoinette Photos at The Costumer's Guide
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 that holds the carriage shot shown above with the black gown
worn 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. Here's a photo of it. 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.
~~~~~~~~~~My Study:~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
As always, and I will repeat this to you frequently: If you disagree on a study point strongly, please email
me. I want this information to be as accurate as possible, and I am always open to other's opinions on a
costume study. That doesn't mean I will agree with you. ;0P Sometimes I think things are allot more
complicated then they really are. 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.
Costume Elements Breakdown:
The Hair/Wig:
The Hair is worn very high in the front, and tightly curled to the head at the back, but at the same time the curls are
piled very high. There are several loose long curls that fall around the neck. I don't see this hairstyle worn as being
as extreme as the hairstyle known to us as "La Belle Poule", where the higher the hair, the better- the more fruit,
feather, hats, ribbons, ships, birds you could stuff into it, the better. I see it more tamed than that. In the
production notes it is said that they wanted to let Kirsten's natural color shine through allot of times, that rather
than reaching for the extreme white powdered look, they chose to keep it more natural, and I think this one step
really helps to keep the look more- human. Less comedic or theatrical. It is written in one article that (quoting
Milena) "I hardly used wigs because they weren't right for her [Kirsten]". Nuff' said. I don't think that the back is her
hair, there's too much of it to be her hair. Too "fat". That's got to be a wig/hair combo, possibly padded or wired.
Here are some Interesting articles online about 18th c. hairdo's:
1.)18th Century Hair and Wigs from Costumer's Manifesto
2.)Wigs, Hats, and Hairdresses: Keeping in HIGH style (A Student Project from U Michigan)
3.)Frisur "La Belle Poule" from La Couturière Parisienne (not in English, but you get the idea from the pics)
What I notice is that the costume wigs available for us look rather comical, and are usually all white to represent the
powder on the wigs. Finding a wig that is in the powdered blond color of MA's might be rather difficult. Especially if
you are trying to create this style, and not go with the humorous styles they all seem to come in. Here are
alternative ideas for you:
I created a similar MA Masquerade Ball hairstyle in mini form for a doll. I bought a doll wig which looked just like this
when I started out. I cut the rubber band that held back the longer hair, and turned the wig backwards on the doll
head, so that the short curly side which were the bangs became the back. Then I sprayed the dickens out of the
long section up front with hairspray. I thought I might need to use some support to hold up the hair in the front,
perhaps with a self made mini "rat", or wire, or cotton balls or something.. but it did not seem to need one at all so I
went without any support just lots of hairspray and a couple bobby pins on either side. I am SURE that you would
not be able to get away with that little support on human scale. The doll only moves when I make her~ LOL~ and
she's only going to move when I need to take the photos of her. The wig at WOW wigs linked above only comes in
red, brown and white. If you want to try my idea, first determine (by trying the wig on) if the wig can be comfortably
worn backwards. What you want to look for is a wig which has some hair that's been pulled back, that you can use
as height in the front once the wig is turned around. And hopefully some short thick curls as bangs which become
the back curls. Most wigs have directional wig caps I think, so this might not work, but I felt it was worth mentioning
to you. You never know, it worked for me. Thanks to Marcia for pointing me in the right direction! Here is a pic of my
doll with her wig.
And another alternative you could go with a standard MA style wig such as the Wow Wigs Marie Antoinette in Honey
Blond.
The Feathers:
There appear to be three different feathers atop MA's Wig. There are several colors that they might be, depending
on the color that her dress turns out to be. We may never know! It could be: two black, and one that appears to be
grey or white. Or it could be that (if her dress is really navy/black) the feathers are navy plus silver grey. That to me
looks like the most likely combo. A color chart made from colors at Ostrich.com, for this costume can be seen here.
And here is some more information from Ostrich.com: "note that not all products are available in all colours and on
line colours are approximate only. If you want a colour not shown here, ask about custom dyeing - contact us by
telephone or email." I do not see any Ostrich feathers available in the navy blue, but they offer to custom dye for
you if you contact them.
The best images for trying to determine the third feather color would be this one, or this one. The feathers are
ostrich feathers. Probably the FEMINA or MALE wing feathers. There are male and female ostrich feathers out there.
There are also imperfect feathers out there called "DRABS". They are not as beautiful as the male or female wing
feathers. If I had to guess, I would say MA's feathers are in the 12-20" size. They are just stashed into her wig in
the back. They might be tied to each other first, to keep them from taking on a life of their own when she moves. To
learn how to trim them, steam them, curl them and care for them, then you need to look to Millinery. Hat making.
Millinery techniques in books will teach you how to do these things. I have yet to find a book just about working with
feathers. However milliners use feathers all the time so it's natural that to learn feathers- you look to millinery. One
of those things you don't know until someone tells you. What I want- if anyone knows of a book like I am describing
here please contact me- is a feather ID book, if there is such a thing. Because allot of times I get stumped on
feathers. Keep in mind that milliners do things to feathers to make them look much different than the original form.
Things like dyeing, steaming, trimming, curling, bleaching. So you can look at a bunch of feathers an totally not be
able to ID them, but if you learn the techniques on how to change feathers and what the end results look like, you
then learn how to spot those unusual feathers. You learn they are not rare or unusual, just changed.
When I made a tiny bunch of feathers for my project, I began with three ostrich feathers and to tie them together I
used white florist's tape called FLORATAPE. This tape is also waterproof. I have made many a corsage in my day, so
the first thing I thought about using was florists tape. It is 1/2" wide. You can find it in dark or light green, brown,
olive, and white. It's a paper tape which is stretchy to a point then it breaks off, both sides are coated with a sticky
residue which sticks to itself as you wrap it tightly around an object. Tiny stems of flowers work well with this tape
so I figured feathers in the tiny scale I was using them in would do just as well. It worked out just fine. To make
sure that the tape would not unravel I also wrapped tiny black ribbon around it and stitched it into place through all
layers. The tape dries out of it's sticky-ness over time..so you should reinforce it with ribbon like I did if you use it.
You could also just use ribbon alone. Just make sure that whatever you use, that it won't make the feathers fall out
of your hair/wig. You might need a few bobby pins. Working with FloraTape takes practice, you need proper
stretching tension which creates the best adhesion to itself, you need to learn how to begin and end a wrap. I
suggest if you use this and have never tried it on anything before that you try to wrap a few flower stems first,
before touching your expensive feathers. If you don't have a tight enough wrap, it will unravel and won't stick to
itself, if your pull is too tight, it will constantly break on you and drive you mad. So practice. I am lucky in that I have
many years of experience using it.
Some tips from Tony Hill about feather care:"expand and fluff your feathers back into their natural shape by waving
them over steam, when steaming ostrich blow dry them in the direction that you want them to go. You can brush
feather fibers with a toothbrush! Dyed feathers can run onto other feathers or fabrics if they get wet." Good to
know, and I second the notion of fluffing feathers with steam. Fattened mine up and puffed them up very well. I
used a tea kettle's steam.
The Earrings:
The earrings worn during this scene are also worn several other times during the film. They are antique from the
18th c. and were bought by a private collector from the dealer Fred Leighton after shooting concluded. They are
described there as being a "pair of 18th c. old mine-cut diamond earrings in silver on gold". I do not know the
measurements of the earrings, but if I had to guess I would say between 2 1/2" to 3" in length by 2" wide at the
bottom. They look quite heavy to wear, and I assume there are posts behind the top star, not worn with French
hooks because they would drag down the ear. The motif is of the moon, and stars, and the six pointed star is here
which I seem to catch in several outfits of hers, such as a brooch or some kind of decoration on her blue tricorn hat.
They reportedly carry 25 carats of diamonds. This is all we really know about them.
Jewelry: From Antiquity to the Present by Clare Phillips is a great book to study 18th c. and other period jewelry
from, and the book Creating Your Own Jewelry: Taking Inspiration from Museum Masterpieces by Cris Dupouy you
get ideas on how to use polymer clay to make truly exquisite period jewelry pieces based on gems from paintings
and historical pictures. She normally begins with black polymer clay and covers over it with silver or bronze or gold
making each piece look so antique! I love it. You might be hard pressed to find someone as exquisite as these
babies are for your costume, to be honest. Depending on your budget, I have a few suggestions as to where to
look for a proper substitute.
$ If you have very little to spend: Claire's Boutiques and The Icing, are stores in the US which specialize in low
cost trendy jewelry. They do allot of business during prom time. I would not be surprised to see a knock off there
soon. Allot of times a popular costume film will influence what the young girls going to prom decide on wearing. In
fact, while walking through JC Penney's I found several VERY MA influenced formals, all pink puffy and candy like. I
laughed out loud because they were all pretty ridiculous! You can also head to Wall-mart. After a weekend of
browsing the mall, I discovered that Claire's has truly turned into a pre-teen haven for Hello-Kitty and such. It used
to be THE SPOT for prom gems. Back in my day. Now you will find it all At Icing at least locally here it's that way.
Average cost of gems at the Icing $20.00.
$$ If you have a moderate amount to spend: Target, Mervyn's, and JC Penney's have a good selection of
moderately prices fashion and fine jewelry. One weekend I went to the mall with the family and as usual did research
while shopping. I found exactly what I expected to find. At Macy's. At JC Penney's. Average price for these
moderate priced gems $22.00-35.00 possibly on sale at the time for less.
$$$ If you have $80 or more to spend: The first name I think of when I look at these earrings, to match the
quality and style is NADRI. Nadri collection is sold through Nordstrom & QVC. Beautiful stuff, and at a (relatively
compared to the real thing) low cost to you. Go to either of those web sites and search for Nadri under jewelry.
Check these out OMG! And these too..now you see what I mean. I LOVE Nadri because it's so affordable and looks
so rich at the same time. They use rhodium plated settings and rhinestones, crystals, or Cubic Zirconium stones.
And lastly, never forget to check out your local second hand store and scrounge at garage sales/estate sales/eBay
for vintage and new costume jewelry. A little clean up is sometimes all an old piece needs to look brand new.
Bottom line: Look for a post back, chandelier or drop style, in silver with lots of sparkly rhinestones or crystals. A
moon/stars motif a total find. Send me pics or email me if you find a good substitute for these please. I'd love to
post it here. I am always on the lookout for comparable items, so you know if I find one I will post it here.
The Mask:
IMHO: MA's mask is nothing more than a piece of black silk organza folded in half, with eyes cut out of it. On either
end, it is gathered and sewn onto a ribbon or string most likely, this is not seen, but hidden into her wig. At some
points during the scene you can tell there are two layers because they separate just enough to cause the eye holes
to mis-align. It could be silk chiffon. But my best guess is organza, it would take the cut out holes better than
chiffon would. And it doesn't look like they used any kind of fray liquid on the holes either..no grayish residue there.
Patterns for Costume Accessories by Arnold S. Levine & Robin L. McGee Has a pattern for a "Domino" mask, but I
really think you can come up with this all on your own free-hand. If you don't want to make it yourself, head to
your local Jo-Ann's Fabrics and Crafts, or Michael's Crafts store to find plastic masks that you can customize. You
can also find masks online using the search term: Domino mask, Bandit mask, Zorro Mask, Masquerade Mask.
The Makeup:
During the 18th century makeup was pretty ghastly if you ask me. Not just looking, but considering some of the
ingredients like LEAD in powder form; it's a wonder anyone survived at all. Thank GOODNESS Sophia and crew
decided NOT to go that route! During Marie's time, women (and men) took white powders made of talc and other
heinous ingredients and mixed them into creams to put on the face, and dry powder was used on wigs. Deep rose
or red blush was used on the cheeks. They did use lip rouges or glosses as well. I don't know about the eyes. I do
know that they also were into beauty marks and "Mouches": the little heart, spade, clover and other shapes that
they then stuck to various spots on the bust and face. I find it Interesting how the ancient Egyptians had used
various colors made from powders of all sorts on their skin and eyes..but fast forward to 18th century France and
you have your choice of red or white only. Obviously no one was surfing the internet looking for ancient mascara
recipes! ;0P If you study any portraits of the real MA, you will notice how natural her makeup was. I think that
Sophia and crew stuck to that.
After saying all this, here is something Interesting to chew on:
"Dunst's makeup, while extreme, was very much in keeping with 18th c. Fascination with heavy rouge. 'If anything,
the real look of the times was even more bold', explains Canonero."
??? LOL. Isn't that exactly opposite of what I was saying, and I think Ms. Canonero was actually stating the "real
look" wasn't what they were shooting for. A more natural approach. Just like the comments I posted from the
production notes about her hair. Those comments above are from the productions notes off the official web site. I'm
not sure what to make of it if anything. I don't recall at any one point seeing MA made up with heavy rouge. I do
recall some light rouge spots on her cheeks while she was wearing the masquerade gown as well as some white
powder makeup. But nothing to the extreme.
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 white
clown powders, 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. Then go for the clown powder.
2.)Same thing goes for cheek rouge. There is clown powder makeup in red. But try out a blush in a shade two to
three times darker than you normally wear, 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.)Let go of the idea of mascara, eyeliner, and eyeshadow. Just forget about them. Clear mascara is available now,
you can use this to separate your lashes, to fix your eyebrows in place too. I have to state for the record though-
this image (probably one of the BEST out there to determine makeup for this costume) shows you that 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. Soo..if they can do it, so can you I guess.
4.)Try your hand at darkening your eyebrows. It takes practice to make a cool looking eyebrow, not a ridiculous
looking one. I have brown lashes and brows. So I use a brown pencil. I might try for a darker brown pencil or a
darker brown powder if I were attempting this look. Go with what you normally use, and practice at making it darker
not comical.
5.)Get out your clear, reddish lip gloss. No, sorry no glitter. =0( Probably the closest to a lip gloss of that time
would be the Rosebud Salve available at drugstore.com or Sephora. You could put down some rouge first, then
gloss on top to make darker lips. I think that might work best since allot of the translucent glosses do not provide
the same amount of color you see on her in this scene.
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've got an idea for making "Mouche's". Supposedly they were shapes punched out of taffeta in either red or black.
Why not take a scrap of the black taffeta from your gown (you know you have scraps) and go to the scrapbook
section in the craft store. They have die cut punches for paper in hearts and lots of other shapes. See if this will
punch out a small piece of taffeta, then use some gum adhesive like you'd use to GLUE ON YOUR ELF EARS..yeyey I
snuck in a LOTR reference..haha..and voilà! "Mouche!". Let me know if you try this how it worked out.
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:
A Color Confusion
Is it Black? Is it Midnight/Navy blue? We may never know! I have two color ideas about this gown. Upon first glance
the entire gown would appear to be made of black fabrics. Upon closer inspection, and the finding of this image you
might start to look at it differently and believe it to be navy/black or very dark navy blue like midnight blue. Until the
gown makes an appearance at a gallery or is sold, if they decide to sell it off. That's when we will find out. To see
images that explore the navy blue idea, go here. Use the slide show feature on slow, and you will get the general
jest. I think, IMHO that it looks tastier with the navy/black taffeta and just a bit of black let's say for the stockings,
shoes, mask, sheer sleeves and perhaps cap sleeve. The combo of all that together looks really nice, especially when
paired with the pink of the carriage cloak hood lining and the raspberry trim on the cloak. It looks more blah or flat
for lack of better words with all black. Less *pop!*. But we do not know right now. It's all speculation at this point.
Again, IMHO I think you could make it either way and it will look awesome. Whatever fabrics you can find/afford! But
take a look at the two options FIRST and decide what would look best on YOU. All black? Or navy/black. I think
Kirsten looks awesome in blue. Because of her eyes, and it is said in one article (quoting Milena) that, "I started by
throwing pieces of material over Kirsten to see what colours suited her best"..Nuf' said. Doesn't mean it's really blue.
The Skirt & The Bodice: (where ever you see a *, this indication is for the color confusion mentioned
above)
I believe that the bodice is separate from the skirt. Not one piece. But, it's possible that the under skirt is separate
and the outer skirt layer of tulle is attached to the bodice..not sure.
The Skirt:
An under skirt and outer skirt probably layered one on top of the other, sew together with a waistband and ties
either at both sides, or perhaps in back. It might even be just hook and eye closure in back. The Underskirt portion
is probably black* silk taffeta. Perhaps another type of silk. It appears that the skirt is slightly trained in the back,
longer in back than the front. The front stops just above the toe of the shoes. Without heeled shoes on, it would
touch the floor in the front. From what I have understood, looking at several books about the average skirt of this
period..there would normally be slits on either side which you could reach through the petticoat slits, and the slits of
the panniers or pocket hoops and grab at your stash of items! =0) Well, to be honest here..I don't see any
evidence of this. Perhaps it is VERY well hidden.I do not see any ties, And normally what I see is that type of skirt
coincides with a over layer or bodice with long sides, aka an open robe, or a sack back gown or SOMETHING so that
you do not see the slits and ties at all. This costume does not offer any hiding. So, I honestly think it does not have
the side slits. If we ever get to see it in an exhibition, we will find out! The outer skirt layer is probably two to three
layers of black* tulle. At first, I thought it was organza, but looking at the fabric more closely, especially the Vogue
photo shown above, I'd say it's tulle. The way it lays. And moves. When I was creating this costume in small scale, I
noticed how one single gathered layer of tulle just did not give it enough puff. I would suggest buying enough tulle
to make at LEAST two layers on the outer skirt. I do not know if the under skirt is lined or not. I do not have much
evidence to support that it is lined. I can tell that the skirt is NOT gathered, that would create too much bulk at the
waist. I think it is most pleated at the waist, and then sewn onto a waistband. Looking at a photo of the back side of
the skirt, I can count at least 6 pleats. I can tell you that in order to get such a tight fit with such a full skirt, it's a
challenge. Pleat the under skirt layer first of all. Then the outer skirt layers of tulle can be gathered, tulle compresses
pretty flat against the under skirt layer, even with 3 or more full layers of tulle in place. Tulle is pretty easy to sew,
but a nightmare to cut evenly. Once you get the tulle tamed, and cut to the specification you need, you'll find sewing
it to be actually pretty simple. I used a microtex SHARP needle when I sewed on it. I used a dry iron on the low
synthetic setting, so I would not melt it. I did French Seams on both the inner skirt of silk taffeta, and the outer
skirt layers of tulle. The great thing about tulle is although it can be unruly to tame, you don't have to worry about
the ends, hemming them because it stays put. It's not going to fray on you. The waistband I made was a strip of
hand made double fold bias cut silk taffeta, and I inserted a tiny black satin ribbon when I closed it over to the inside
so that not only could I keep the bottom of the opening in back closed, I could also slightly gather the waist even
tighter to accommodate the bodice slim fit. The skirt is really full, and to get all that tucked under the bodice you're
going to need to do something like this. See, the waist is tight but the skirt needs to be able to either slip over the
head and shoulders, or slip up over the panniers. I found that it's easier to slip a skirt OVER the head and shoulders
and pull it down onto the panniers, rather than trying to pull a skirt up over the panniers from below. So you need
enough opening to do this, but still you need to make it tight to go under the bodice. So that's how I achieved it.
Leaving a slightly longer than necessary opening in back, a hook and eye half way down it, and inserting a ribbon tie
in the waistband (free moving, not sew down at all) to pull it even tighter. I hope that helps.
The Bodice:
The bodice is made of black* silk taffeta probably. The bodice has at least 7-8 pieces. 7 if the front center is cut on
the fold not two pieces sewn together. A center front, side front with strap which goes up and over the shoulder
and attaches to the side back diagonally. It has a center back left and right which laces closed with black* metal
eyelets and black* laces or ribbon. The laces are drawn inward, not laced crossed like a shoe. The laces begin at the
top and go downward, probably stashed in the skirts or tucked into the bottom of the bodice. The edges of the
center back meet, no gap is left. The bodice is quite tight fitting. Because of the tightness I wonder if she is wearing
strapless stays under it and sleeveless chemise. The bodice has two sleeves an inner sheer sleeve of silk chiffon in
black*, and an outer cap sleeve. I think it is chiffon because it does that wierd squiggly thing when the fabric shifts,
you can see it here in this photo, and here is my example of some black chiffon making the squiggle. The longer I
stare at this picture, the more I think that the outer sleeve fabric might be different than the bodice fabric. The cap
sleeve is decorated with the same detail as the center front panel. The inner sleeve hem has a tiny frilly edge and
small dots which flares outwards. It's possible they sewed lace to the hem. On top of the lace or edging is a black*
band of ribbon possibly, with tiny clear rhinestones. The inner sleeve is 3/4 length. The sheer sleeves most likely
have french seams or another fine seam finish. The neckline is cut on a pretty wide curve. It stops right above the
bust cleavage. The back is cut higher than the front is.
This is a complicated bodice to re-create, in my opinion. First of all, you need to either figure out how to make your
own pattern to match the same period style bodice she wears, or find one which matches it. Many of the costume
patterns available today do not recreate period clothing completely when it comes to fine details because they still
want the average weekend sewer to be able to complete it. They simplify things for you. Your best bet, if you have
enough sewing skills that you feel confident to tackle this one would be to start with a sloper or fitting bodice
pattern like B6092 mentioned below. Begin by making a muslin mock up of a bodice, then create a dartless bodice
from that. That's what I did. I made a paper version of the sloper, cut out the darts, taped them together. Then
traced around the outline of the bodice pieces as they were. I made a whole front and whole back pattern. Then I
trued it up. After that, I began to divide the back and front up into a center back, side back, side front, and center
front. This bodice has at least that many pieces in it. I can spot a center front panel with the decoration of bows. On
the left and right of it I can spot seams there. I cannot tell if the front is cut on the fold, and opened up or if it is
two pieces sewn together, I cannot see if there is a seam running down the center or not. My guess is the center
front is cut on the fold. I can spot a side front seam, a side back seam, a center back seam and the opening is down
the back with eyelets. I can tell that they are black metal. Laces are begun at the top, laced down. The laces weave
inwards not across like a shoe. The tied end is probably buried in the skirts or tucked up in the bottom of the
bodice. The most complicated thing for me to figure out was how to create the back are near the shoulders. The
bodice in this costume has a center back left and right, and a side back left and right which meets at the back of the
shoulder in a diagonal seam with the side front piece. Yeah. LOL. I had a hard time with this when I was drafting. I
ended up with a side front with a long strap that goes up and over the shoulder to end right past it, the end part is
wide to match the side back at that diagonal angle easing in the side back to the strap. You can see the various
angles and meeting places of the back seams in this one shot. If you have never made a bodice like this before, you
might want to stick to a more simple design. I do not know the name of this style of bodice, or if it even has one.
I'm not saying that this is the RIGHT way to create this bodice but it's the ONLY way I could figure out how to finish
it! I sewed up the fronts to the side fronts, side backs to the center backs. Fronts to backs at the side seams.
Laying it all out flat, laying the lining on top, sewed from the bottom of the right center back, across the bottom of
the bodice, up the left center back, across the side backs until I hit the arm hole. Then I skipped over the entire arm
opening just sewing the top of the shoulder strap on the side front closed then down and around the neckline.
Don't forget that between the layers of lining and facing fabric you have to insert gathered trim of either organza or
tulle in black. This trim begins at the shoulder and wraps around the front to the other side. It is not present in the
back sections.
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. However, there are some things that I find Interesting about
this gown, and some things that make me wonder what's she really wearing under it all. I always want to see it
unfolded layer by layer!
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. What I wonder is what type of chemise is she wearing
because the sleeves are see through, and the cap sleeve is very tight fitting and small. It must be either sleeveless,
or have very small sleeves that stash just under the cap sleeve.
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 great look at her legs--just a peek-- you can tell that she is
wearing black. In the Vogue photo, she looks like she is wearing a pair of pinkish or black hose! Note: drawers were
not worn by women until the 19th century. I don't think I like the idea of that..going "commando" and all..as I have
heard it said. 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. When I compare her
silhouette next to the other two women in the same scene, it is obvious to me that the other two are wearing
different panniers than MA herself..Fellow MA Costume Enthusiast Maggie says all the costumes at the display at
FIDM had panniers. Dome shaped hoops, or dome shaped pocket hoops would be my best guess here. But her skirt
does not look like it has any hoop under it when she lifts it up, unless I am missing it. If you keep to the idea that
it's 1774, then go with the idea that between 1750-1775 you are looking at panniers, domed hoop skirt, or bustle.
Like I said, sometimes I make things more complicate than they need to be, 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.
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
"photos". 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.
We do not get any idea from the film other than they are black. Assume a period correct shoe if you want, BUT if
you note the shopping scene when the song, "I want candy" plays..you will see all the GORGEOUS shoes designed
by famous designer Manolo Blahnik for the film. These shoes are NOT totally period. They are modern, with a period
flare. Totally cute shoes. I want all of them. Now. LOL. If you also examine the Vogue shoot, you will see a shoe
which is a high heel, it is black leather, with some ribbon trim across the toe. Who knows if those shoes are the
same worn during the film. Notes from the Production state: "Canonero utilized one of today's hottest designers
(for shoes) Manolo Blahnik, to create STYLIZED versions of 18th c. shoes..They're not 100% period, but they have
that kind of feeling". Nuf' said. =0) If you want to study authentic 18th c. shoe specimens check out this book.
I went on eBay and searched for M B shoes. I found a handful of his shoes in black suede, which I watched until they
ended. Average price for a pair of M B black shoes on eBay was $50-100, plus shipping. So you CAN get them lower
priced on eBay, but sometimes I wonder if they are REAL M B shoes, or knock-offs which supposedly you're not
supposed to be able to sell on eBay..but you know how that goes. If you don't report it, it goes unnoticed. I also
found some interestingly named shoes there. A company called "Irregular Choice" has some shoes named "Marie
Antoinette". There are a black pair and a pair of brocade/tapestry in green and cream. Both are HIGH heels. Both
styles sell on eBay for between $13-40 plus shipping. Go to eBay and see what you can find. But just remember: If
people are busy looking at your shoes while you're in costume: either they are the focal point, or your costume
stinks. LOL! So I honestly feel that you could get away with darn near any black shoe here. If it's really true that this
costume is midnight blue, black will still work.
Shoes and Slippers: From Snowshill Collection by Althea Mackenzie
The Cloak:
This cloak has been named the carriage cloak. It's worn over the ball gown when MA leaves the ball. This is very hard
to dissect as it is not seen fully. The best information I have about this costume is from one single photo available
from Japan. It really looks like the cloak is navy/black taffeta with a pink/white taffeta lining in the hood. It does not
look black to me. The photo doesn't look color retouched. It's possible that it's shot silk taffeta, like a navy with red.
I just cannot tell if it color changes unless we see her move in it. Sometimes I see a little bit of a violet cast on it. It
has a wide hood. There appears to be a raspberry colored trim all along the front edge. It's wavy, but it's not a
rick-rack type trim. I can tell it's attached TO the cloak not embroidered onto the cloak because it stands off the
edge of the fabric. There also appears to be a wide pleated edging along the front, bottom, and hood.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Sources for Buying:
Masquerade Queen from the "Evil Court" Collection at Buy Costumes $44.99
Marie Antoinette Wig
See the wig shop mentioned above, WOW Wigs
Ostrich.Com
AA Feather Co.
Lamplight Feather
Marie Antoinette Style Fan Earrings
See jewelry links mentioned above
Masquerade Masks at Buy Costumes
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)
Sew Much More Episode SMM-201F Savory Seams and Bindings
(French Seam visual tutorial, flat fell, narrow hem)
Make your own Wig
Making your own Wig #2
Wigs and Makeup for tv, theatre and film
How to curl an ostrich feather
From the Neck Up
Torb and Reiner All About Feathers Millinery Workshop
Worldwide Millinery Info
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.
Butterick 4485 18th c. costume pattern that would need modifications
Butterick 4484 18th c. underpinnings pattern set with stays, pocket hoops, pockets, petticoat. I'm not so sure the
pocket hoops would give off the right shape for this though you'd probably need to fuss with it.
Butterick 4254 Stays and corsets pattern
Butterick 6867 18th c. costume pattern would need modifications on eBay now
Butterick 3071 18th c. costume pattern would need modifications
Butterick 3737 petticoat pattern
Butterick 3640 costume pattern view B could be used w/modified skirts
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 3676 formal gown pattern on ebay now
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 4698 Full hooded cloak
McCall's 4090 your basic full skirt pattern with tied waist
McCall's 4091 Chemise pattern
McCall's 2253 18th c. costume pattern on eBay now
Simplicity 4092
Simplicity 3635
Simplicity 4092
When you get there, type in each design number in the design search box to see them.
Kannik's Korner Women's Stockings, Pockets & Mitts Pattern
Kannik's Korner Women's Shift Pattern 1750-1800
Mill Farm Long or Short Cloak Pattern
Vogue 7969 the same pattern I used for my pirate lass blouse. Can be used for a chemise.
Folkwear #207 Kinsale Cloak
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)
JP Ryan (has 18th c. costume 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..
The Beader's Companion by Judith Durant
Bead & Sequin Embroidery Stitches by Stanley Levy
Mary Thomas's Dictionary of Embroidery Stitches by Mary Thomas
Beadwork
These Books Are Out There, But I Don't Reference Them Often:
Costume 1066-1990's by John Peacock Has very small sketches of clothing, no undergarments or specifics, if you
want to try to date a piece of clothing you MIGHT be able to use this one..but..eh..
Textiles for Colonial Clothing in America: (Spiral-bound) A Workbook of Swatches by Sally A Queen
This book, is hard to get a hold of, AND you are ONLY going to learn about COLONIAL AMERICAN textiles during the
18th c. Nothing in here about Europe, specifically France or England. Just wanted to state that so that you are not
fooled into buying it if you're interested in 18th c. textiles from Europe.
The Little Corset Book: A Workbook on Period Underwear by Bonnie Holt Ambrose
Has a chapter on 18th c. stays, very short cut/ "cliff notes" type book.
Patterns of Fashion: English women's Dresses and Their Construction C.1660-1860 by Janet Arnold This book
focuses on dress in England, so it's limited in scope.
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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