This dress is probably specific to a character in the play Lend Me a Tenor. If you think it looks familiar, than you are correct, it should look like the Chrysler Building. That is simply why I picked this dress, I love the Chrysler building and I love it being incorporated into a dress.
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Here is my Sansa wedding gown and a few construction photos of from along the way!
The dress is silk taffeta painted with Gutta resist method. All the gold brocade parts were traced with resist and then the grey / silver was painted into the pattern by hand. It was about 6 days of painting total. I had a hard time choosing fabric since it’s clearly a heavy brocade in the show but most heavy brocades commercially available end up looking chunky in gowns. The choice to create fabric was a little bit crazy in the end but Claire and I decided it was worth going for it.
The dress has a 4 foot train and no back waist seam making the back center panel a total of about 110 inches from nape to hem (just over 3 yards long) at its longest. The side panels are curved and pleated into the bodice piece. I tried to recreated the pleating from the show as best as possible.
I flatted the silk to a poly cotton, added bones to the bodice, and then flatted the side skirt panels with baby flannel to give the pleats body. The cap sleeves are silk and baby flannel over bias quilted french canvas re-enforced with stripped ridgeline bones zig-zab stitched into the edges. The ‘hip armor’ is done with the same method except with industrial felt and laser cut leather on the face.
Underneath is a quilted coutil corset with embroidered eyelets taken off of an Elizabethan style pattern which I altered to add a small amount of bust curve and no hip tabs. I quilted two layers of embroidered coutil together and used spring steel bones throughout.
There is a full petticoat with train made of two layers of poly cotton. Each layers has a net ruffle and cotton ruffle all lace edged with a horsehair hem. The petticoat was a bout 25 yards of cotton when all was said and done. I used a 1910 style walking skirt pattern for the body of the petticoat then added about as much ruffle as I physically could. The bottom layer is the hem size times 2.5 and the top ruffles was about 3 times the hem size.
The final piece was a soft panier to give the dress the proper hip shape. I cut three cotton circles in descending sizes and flatted them to net. I put 1/4 inch horsehair in the hem of each skirt, finished it off with lace, then gathered them to a beauve waist band. I put 97% of the gather on both of the sides leaving the back and front flat. The whole piece only came to the side front seams on each side of the dress and was worn over the corset and petticoat.
HIGH WAISTED PENCIL SKIRT DESIGNED AND MADE BY HANDE ERTAN
White wedding dress in Hindu style from Baz Luhrmann’s Moulin Rouge (2001). The breast panel is embroidered with stylised floral motifs in silver thread, silver beads and pearls.
The elaborate Indian necklace and headdress are made of various strings of brass coloured metal decorated with faux pearls, diamantes, sequins, beads and silver pearling.
The costumes for the movie were designed by Baz Luhrmann, Catherine Martin and Angus Strathie.
I watched the last episodes of the Magnificent of Century yesterday. It was quite sad story. The first son of Sultan Suleiman the Magnificent was Sehzade Mustafa killed by his father. According the series story, Sultan Suleiman’s wife Sultan Hurrem and Suleiman’s vizier Rustem Pasa played a bad game to Sehzade Mustafa and than his father decided to killed him…
Consider of this story, l’d like to keep up with Sehzade Mustafa’s costume for this scene.
This costume is the one of my favorite in this scene. l loved the idea why the costume designer used white color of this scene for his costume. In my opinion and according to story of this series, Sehzade Mustafa was quite loved by the army of the Ottoman Empire and a Ottoman public. White color is symbolizing the Heaven and pure death in many Islamic culture. That’s why costume designer used this metaphor on his costume.
As you’ve seen on the bottom picture( Ottoman miniature), the painter artist shows us the reality of dead of Sehzade Mustafa.
*** Ottoman Miniature picture’s from A. Atilla Senturk, Sehzade Mustafa Mersiyesi, Enderun Kitapevi, s.132 (Hunername,CII,172a, Topkapi Palace Museum Library H.1524
Designed and Made by Hande Ertan
"Butterfly" evening dress by Charles James, 1955