Halloween Masquerade Costume Series #7: The Cursed Sisters, Part 6

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The buzz of voices around them grew so loud, and her partner seemed so tense, that Linnetta squeezed her eyes shut, wishing herself anywhere else.

“Whoever that one is, she’s gone too far,” he said quietly, and she forced her eyes open and found the cause of the commotion: at the top of the stairs, a newcomer in a black and orange gown. “This must be unbearable for you,” he continued. “Or do you know her?”

“I don’t,” she said uneasily. “It’s someone’s idea of a joke…”

“Perhaps,” he replied. “Or perhaps not.”

As they were talking, the strange women Linnetta had been trying not to notice all night had gathered at the base of the stairs; the other revelers had given the five of them a wide berth, and they stood motionless, staring out at the dance floor.

“I think you do know who she is,” her partner continued. “I think you’ve known each of them since you saw the third one; possibly the second.”

“No,” she said, shaking her head. Wisps of hair fell out of her updo, sticking to her face. “It must be some kind of joke. A trick, to try to scare everybody.”

“I’m afraid not.”

“But how? How is it even possible that they’re…?”

“They have made their own pacts,” he answered lightly. “There are other powers than those you have dealt with, you know.”

“I don’t know what you’re talking about!”

“Liar,” he replied, with an indulgent smile. “I know all about the bargain you made… Almost all, anyways. Was it that you were already sick, and you traded their lives for your own? Or was your illness part of the ruse, so you could avoid suspicion?”

“I — I could never do such a thing,” Linnetta whispered, but it was unconvincing even to her.

“And so you were able to possess them, and manufacture their deaths one by one. But Georgiana has been seeking her revenge ever since the night you directed her off that cliff. Did you think she could let such a thing rest, even in death?”

Linnetta turned reflexively towards the woman in the black spangled dress, and her eyes were so captivating that she didn’t even realize the queen of the ball was being announced. Her partner had to give her a little push towards the center of the dance floor; a crown was placed on her head and everyone started applauding. She smiled graciously and waved, but faltered when she saw her sisters. Why had no one else noticed they had taken their masks off? While everyone else was clapping, they stood motionless, their hands linked, their faces mangled and ghastly; the only face she could bear to look at was Lenora’s, bloodless and as pale as her gown. Panicking, Linnetta turned back to her dance partner, and while he still wore his mask there seemed to be no difference between it and the skin beneath. He reached for her hand; the embroidery on the cuff of his sleeve pulsed as if stitched with blood vessels, and the bright lining of her gown was setting her skin on fire.

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I hope you enjoyed my little Halloween story… In the end it really was just an excuse to do some creepy masquerade gowns, but it was fun to write too. Thanks to my husband Brian for brainstorming the original idea with me and editing it.

No thanks to Brian for writing a Python script to vote automatically for fairies 20 times. That’s right, the proper fairy vote count ought to be whatever-it-is-minus-nineteen… That means it looks like literary characters get next week, probably, since I doubt he’s going to try a stunt like that again.

You know I had to do this poll… vote for your favorite masquerade costume!

Halloween Masquerade Costume Series #3: The Cursed Sisters, Part 2

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Linnetta, having refused several offers to dance, was catching up on society gossip. A young man–unfamiliar and handsome–approached. His exquisite demon costume, if cliche in concept, was marvelous in execution. Linnetta looked into his mesmerizing, dark eyes. He was grand, effortlessly aristocratic, putting everyone who had asked her for a dance to shame. She accepted his offer without even considering any of her stock phrases of polite refusal.

Unsurprisingly, he was a marvelous dancer; but Linnetta was quite out of practice, and her feet hurt, and she felt grateful when the first song ended. But the man’s grasp stayed tight around her waist, and when she looked at him with alarm, he only shook his head and said, “I
insist. After all, you have been isolated for so long…”

There was a rush of whispering behind them, and the pair turned to see a new arrival to the ball: a woman who wore a spangled gown too dark for the occasion, quite out of place with the bright colors of the masquerade. She did not speak, but prowled the edges of the dance
floor. Linnetta’s partner followed her gaze.

“I don’t believe I’ve met her,” he asked. “Have you?”

“I’m afraid not,” Linnetta answered. He made no further conversation, and she put the sparkling dress out of her mind and returned her concentration to her aching feet.

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No one’s guessed the singer/group I learned to draw gold from yet… At this point the idea of not having to color that black and white gown seems like mercy, because, ow, my hand. Put up a new poll for next week – put in a couple new suggestions, dropped the bottom three from last week.

Halloween Masquerade Costume Series #2: The Cursed Sisters, Part 1

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After three years of black and purple mourning clothes, Linnetta’s gown for the masquerade ball — a playful representation of a demon princess — was a blaze of glory. She felt as if its crimson lining was burning her skin, and her cheeks glowed with, if not perfect good health, a fair imitation of it considering all she had gone through. Even after so many near brushes with death and grief, no one was as beautiful as she was tonight: such thoughts consoled her on such a difficult evening. Linnetta bowed her head demurely as she made her entrance at her father’s side, ignoring the buzz of voices. It was distasteful to hear people placing bets on when she was going to die, but she had gotten used to it.

Linnetta found herself trapped in polite conversations with Lady Someone-or-another, and then Duchess So-and-so, and (so it seemed, in the rush of masks and spangles) every woman at the ball; in her absence from society, Linetta had forgotten most of the titles she ever knew, but she’d lost none of her charm. She didn’t really want to talk about her sisters, but whenever a conversation partner made sympathetic noises about her unfortunate loss — five sisters, and so young! — she made grateful noises in return, so each nosy woman could leave feeling like they had comforted poor bereaved Linnetta without actually sharing in her tragedy.

The cursed sisters all should have been there that night, and Linnetta felt their absence keenly, as if she saw them from the corner of her eye. The masked faces were all focused on her, trying to predict the manner by which the youngest and fairest daughter would meet her end, and wondering if it might even be tonight. Linetta ignored them, taking refuge in a cluster of acquaintances. She couldn’t even lose herself in the dance, for it’d be unseemly to be too carefree at her first appearance after her long illness, and the period of mourning.

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… Don’t worry, I’ve written the whole story out in advance this time. In terms of site news, no one has guessed the correct singer / group that I learned to draw gold from. (Hint: look at my about this page link for an idea of possible dates – this isn’t a trick I picked up recently). Also, I’m going to put up a poll tomorrow for week 3 of costumes: please post any suggestions in the comments.

Black and Blue Heavens Masquerade Gown with Jupiter-Inspired Underskirt and Gold Curls

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So, I hope you all out there are having good luck with your New Years resolutions, because I, oh, TOTALLY failed mine already. (”Draw more,” of course.) Yeah, sad, I know. I have no excuse, and I offer a fancy dress in penance.

I designed this one when drawing Diana’s masquerade gown, but I thought it would be a poor spy who would wear something so dramatic, so I drew the blue gown instead. But I did like the design, and so it didn’t get tossed with the rest of my sketches.

Halloween Costume Series Bonus: The Vampire’s Black and Purple Regency Ballgown with Black Lace and Silver Sash

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Now, I like the Good Queen as much as anyone, but the vampire always was one of my two favorites ever since she was drawn. (The other was the gypsy girl, who didn’t make it into the finals even though she has the cutest embroidery on the hem of ther skirt.) So the Good Queen took an early lead, but the vampire was always close behind, catching up right near the end, and when I got back from Thanksgiving festivities she had won with a respectable lead, 28 votes to 22 (with Undead Marie in third place with 15 and Christine last with 12). I think the Good Queen must be furious, but as promised, here’s a victory gown for the vampire.

I saw her gown as being an undefined Regency style, so here’s a ballgown in the same vein (I’m sorry, I can’t help myself). I don’t think it’s nearly as good as the first one, but it’s not bad. I’m tempted to do extra outfits for all of the finalists, as I’ve become quite fond of them, and now I have a proper pencil sharpener I bet a good ghostly court dress would be fuuuuun, and not the slog that Undead Marie’s gown was.

White Gown and Corset with Peach Embroidered Inset from Taylor Swift’s Love Story

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Now I don’t really listen to country music, possibly because I fear being disowned by my dad, who says if he starts to listen to it of his own volition, we will all know he’s gone senile. Still, when Janel wrote about a beautiful dress that she was helping a young friend reproduce, it was almost a foregone conclusion that it’d end up on my blog, even if it did come from a country music song. It’s called Love Story by Taylor Swift, and I think it’s a lovely music video even if I am getting teased by Brian about it.

Since she spends almost all her time in this dress standing behind a balcony, and because I’m watching the video on YouTube, I can’t really tell how the skirt looks; the corset should be about right, but the skirt is more of a guess. From this photo it seems to have some interesting construction going on, but that’s just about the only picture I can find with the full skirt. (The arial view in the video doesn’t count, but it does give away that there is a longer train on the real thing than on the paperdoll. Unfortunately, while her costume designers likely have access to yards and yards of fabric, a proper train would have run off the side of my paper. Paper Dolls 1, Real Life 1.) Should anyone else wish to reference it, I used these two pictures when drawing the corset.

There’s been a tremendous amount of interest in this dress, so I wanted to add two things: One, I’m definitely not the designer — that would be Sandi Spika. Two, Janel wrote a FAQ on the Love Story dress that answers questions about the dress and is very helpful to anyone wanting one for themselves.

I’m glad there’s no clear winner in the poll yet, it makes the Grand Halloween Showdown so much more fun…

Margaret Hale’s White Gown from Elizabeth Gaskell’s North and South

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This gown is based on one that Margaret Hale, main character of Elizabeth Gaskell’s North and South, wore to a dinner party. I listened to a Librivox recording of it this month.

All we know about the gown from the book is that it is white silk and adorned with coral (two pins in her hair, her sleeves looped up with coral strings, and a coral necklace.) There’s no firm date given for the events of the book, but I’m dating this gown to 1852, based on this page, which makes it sound as if the strike in the book was based on the historical strike at Preston in 1853, a year before the book began to be serialized. Then, this was the gown that Margaret also wore for her cousin’s wedding, which was at the beginning of the book. It’s an inconvenient date — right there between the Regency gowns and the hoopskirt at its height. I used this page for reference, mostly.

It may sound like the book is some sort of Civil War drama, but it refers instead to the differences between the slow-paced farming communities of the south of England and the upstart industrial cities of the north. For this reason I found it a rather odd book somehow; it starts off with a wedding, a silly mother, a pastor father, a suitor for Margaret and a good bit of walking, gardening and drawing, and we Jane Austen fans think “Oh, I know where this is going.”

(Unrelated: while chatting with a woman working at the bookstore the other day, she told us she had been talking to someone who lamented, in all seriousness, that Jane Austen hadn’t written anything lately.)

But just as the reader is getting acquainted with Helstone and its inhabitants and charms, there’s a crisis: Margaret’s father loses his faith in some way, enough that he feels that he must renounce his living and find other employment. This revelation is never truly explored in the book, as Margaret seems rather afraid to ask for any more details, and instead throws herself into the mundane details needed to keep the family together. So they move to Milton, a factory town, and her father becomes a private tutor. And all of a sudden, this book which had seemed to promise a lightly romantic comedy of manners, brings in questions of religious faith, chapters upon chapters of class conflict, lingering illness, murder, deception, lies, grave misunderstandings and lots and lots of death. (And why the one character I would have liked to see die never quite made it there, I have no idea.) This is all separate from the story of Margaret’s love interest, which is its own little torment; they must spend thirty chapters thinking of each other, misunderstanding each other, and being miserable, before it is all finally resolved in the last page of the book.

I enjoyed it thoroughly, even with the heaps of melodrama, as Margaret herself is a fascinating and admirable heroine, and the depiction of the class conflict is easily more important than the romance. The strike, the union and the millowners are all treated evenly and sympathetically, and the inclusion of such themes makes the novel so unique.