Cinema-Fantasy
La Petite Fille Vampire:
The Dressing Room
She has everything that she could ever want..
The year is 1870 and the lamp lit streets of Paris await.
Do not be fooled by her smile, for her eyes betray the angelic face.
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This Costume is inspired by:
Claudia's Blue Ball Gown from Interview with the Vampire
This creation is the first in a series inspired by the costumes of Claudia.

Created Exclusively For
Tiny Kitty Collier and Consisted of Eleven Pieces:
















A Sleeveless Chemise:
The chemise is made of cotton batiste in a soft ivory color. The design of the chemise allows
it to wrap around the body and close in front with two ribbon ties, one at the bust and one at
the waist. The top is edged with a natural color crochet lace, and at the hem some dainty
gathered lace. The shoulder straps are made of the crochet lace accented with tiny blue
bows. They are meant to be worn off the shoulders slightly. The front is detailed with tiny
pintucking on either side. The chemise hem falls just past the hips.

Drawers:
The drawers are made of cotton batiste in a soft ivory color. They close in the back with a
hook and eye. The drawers of this period were normally open drawers, but since Vampires
wouldn't have the need for open drawers, I made them closed instead. Close fitting and
shaped with darts in front and in back, it stops just below the knees with two rows of
gathered embroidered trim accented with tiny blue bows.

Knee Stockings:
The stockings are made from ivory colored cotton knit which has diamonds inside stripes
running down the sides. The decorations reminded me of the "clocks" knitted into period
stockings. The stockings reach just above the knee. The top is edged with ivory lace and
there is a tiny ivory bow in the back.

Corset:
















The corset was designed after a drawing of a corset for a young girl from the period of 1870.
The corset is worn just under the bust. The corset is made of two layers. On the outside, a
tone on tone 100% cotton print of roses and vines, and the inside layer is white cotton coutil.
The corset is boned and each bone has been stitched around. The edges are finished with a
delft blue cotton bias and on the top edge a delicate ivory rose lace. The back has 10 tiny
eyelets in a nickel finish. The corset stops just past the top of the hips. White embroidery
floss is used to close it.


Bustle:
















The bustle is made in the style traditionally worn during the 1870's. The bustle is made of
cotton broadcloth in a soft ivory color. Between two layers of the broadcloth are bones
encased inside sturdy bone casings. The top of the bustle has a small pad. The pad is
permanently attached to the bustle. Two rows of gathered cream lace that have been
embroidered with a butterfly and flower motif. Tiny blue bows cascade down the back. The
bustle ties at the waist with tiny ribbons attached to a waist band. The bustle has been
permanently laced on the inside with ecru embroidery thread in a back and forth pattern.


A Petticoat:
















The petticoat is made of ivory colored cotton broadcloth. Five panels are pleated and tucked
into a tiny waistband. The petticoat opens and closes on both sides with hooks and eyes.
Rows of fan shaped cream lace cascade down the center back and the same lace decorates
the hem as well. It sits nicely atop the bustle with the hem reaching just to the ankles up
front. Three rows of blue embroidery run horizontally across the center front panel and side
panels. A small bit of the fan shaped lace is tucked into the back waistband.



A Skirt With Train And Apron Front Drape:






























The skirt pieces were the most difficult of all to design and took the most time to create. The
skirt ensemble is comprised of three separate pieces. The skirt pieces of the gown are made
of silk taffeta. The color changes from black to midnight blue as it catches the light. It has an
iridescent sheen. The skirt mirrors the shape and style of the petticoat, but slightly longer.
The skirt has two tiers, the first begins at the waist and ends near the calves with a line of
scallop embroidery followed by black silk taffeta pleats up front, and blue/black silk taffeta
pleats in back. The second tier begins where the first set of pleats end, and continues with a
row of scallop embroidery and black silk taffeta pleats up front, and blue/black pleats in
back. The skirt closes in the center back with two sets of black hook and eyes. The skirt is
lined with cotton in navy blue. The train of the skirt is made of a panel of silk taffeta. 7 rows
of shirring, five of which are accented with ruffles edged with black thread. The train is
finished with silk taffeta pleats in blue/black. The train reaches the floor. The train is
attached to the skirt with two black hook and eyes on either side of the skirt. The front of the
skirt has an apron front drape. The apron is made of silk taffeta and stays put with a hook
and eye on either side of the apron and at the side seams of the skirt. The hem of the apron
is decorated with black silk taffeta pleats and black bead loop fringe trim which is hand sewn
onto each apron.


A Bodice:
















The bodice of the costume remains true to the 19th century style in many ways. The bodice
is made of iridescent silk taffeta in blue/black. The bodice is lined with self fabric. Up front
you will find a few tucks to shape the bodice to the body, and at the bust hand embroidery in
black sprinkled with tiny black glass beads. A flower and laurel leaf design. The neckline edge
is accented with black silk taffeta bias insert, and the tiny puffed sleeves end with a row of
double shell ruffles that were first edge stitched with black thread.  In the back you will find a
little bit more of the hand embroidery along the neckline edge sprinkled with glass beads.
The back closes with six black hook and eyes that run from the neckline all the way to the
end of the skirt of the bodice. Along the edge of the skirt of the bodice you will find more
hand embroidery and more tiny glass beads. A daisy chain motif. The hem of the skirts is
edged with several passes of thread in a zig zag stitch to create texture and depth making it
almost fuzzy in appearance. The side back meets the center back pieces with the curved
seam typical of this period. Because of the complicated seams and design of this bodice 90%
of the sewing was done by hand. The front of the bodice dips down past the hips into a
squared off point. The bodice fits very snugly over all layers on the hips.


Shoes:
















The shoes were designed after a photograph of a pair of shoes from the 19th century. They
display the squared toe and throat from that period, with a little contemporary artistic flair
as well. The shoes are entirely hand made. No manufactured parts are used in the making of
the shoes. The upper is made of a striped silk in blue on blue. Tiny dots are scattered over
the fabric. The lining is made from ivory cotton. The vamp is decorated with tiny navy blue
bows. The outersole is dark brown leather. The heels are all individually hand sculpted and
hand painted. The shoes measure 1 1/4" long and 1/2" tall.


A Necklace:
















The necklace begins with gold filled findings and an acorn shaped brass connector. Four sets
of beads follow in an alternating pattern of sapphire blue Swarovski crystal bicone beads,
sapphire blue Swarovski crystal rondell beads and very tiny gold seed beads. The
centerpiece of the necklace is hand sculpted, painted, and sealed. A sapphire blue Swarovski
xilion rose chaton is set in the center. The necklace measures 2 1/2" long and the stones and
beads are all about 1/8" wide.

A Diary:
















The outer cover of the diary is brown leather in a crocodile or dimpled texture. The leather
has been lined with cotton muslin on the suede side in a natural color. There are a total of 5
pages inside. The first page is blank, the second through 4th have a diary entry created by
myself. The entry is written in French. The text is very small. I made the book slightly over
sized for her, and that was deliberate, following the idea that she is a small person in a big
world. On the very last page, a tiny real red rose bud, which was flattened and dried is glued
in place, a keepsake from a long ago garden. I have signed the diaries. The diaries are
bound with black satin ribbon tied in a bow. The diary measures 1 1/2" long by 1" tall. The
diaries are individually hand made.

This set was a Limited Edition of 4

-Handcrafted dress form display in scale for tiny Kitty Collier
with a round stained wood base and solid brass portions. The back of the dress form has
been hand embroidered in blue thread. My initials and a wicked little spider. Arachne would
be proud!















-Certificate of Authenticity: Signed, numbered, dated and given my watermark/seal.
-Black coffin box tied with a blood red ribbon.
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