Sorry for missing yesterday – the time went past a lot quicker than it’s supposed to. There is a chance I won’t post tomorrow, but that is because I want my masquerade series to be great and I don’t want to rush it… We’ll see, wish me luck. If I don’t post tomorrow, you have this black and white masquerade gown to keep you company…

The elf dress coloring was suggested by Monica, who guessed my favorite warm color to be Sunburst Yellow (it’s in there, actually, in the gold part). Hope you like it! As before, I’ll color the masquerade dress to the order of whoever guesses this week’s question, and it’s kind of a strange one…
I learned my technique for coloring gold (fabric, metal) a while back, when I tried copying a costume from a specific singer or musical group. Which singer / musical group was it?
Not giving you any more clues than that… One guess per person please!

Leaving the poll on the LOTR costumes up a little longer…

So I said I drew a few prom dresses for the Boutique, and here are the first two of them! I don’t think they’re particularly based on any real gowns, but it’s been a long time…

Johanna at 18th century fashion linked to a sort of museum social networking site, Creative Spaces which is a way to tag, collect and organize works from different museums that are participating. I love this, because one of my biggest issues is, say, looking for gowns from a specific year and going through this crazy avalanche of Google image searches and bookmarks and links to sites I’ve never seen before and links to sites I’ve used before and then forgetting where I saw what. I’m sure there’s some widget I could use to fit with my stream-of-consciousness research style, but in the meantime I like where this is going. If you join up, add me as a contact and then explore the Things Liana Likes notebook!

So I drew a white dress Ginger Rogers wears at the end of Swing Time some time ago, and I never liked how it came out — I drew it a couple of days after watching the movie without much reference, it wasn’t well done to start with and my scanner washed it out. So it’s one of the dresses I always told myself I’d redraw, and then it got to be the number one image on a Google image search for “ginger rogers swing time” and in the second row for “swing time” and people started e-mailing me about how to reproduce it. How embarrassing! The skirt on the old dress didn’t look like it could hardly move, and it was so pale it was like not even a dress at all. Some nights, if the dress takes more than an hour it just isn’t happening, and this must have been one of those nights… Finally, I redrew it tonight, using this video of Never Gonna Dance. You can still see the old drawing, and I’ve got a link to it at the other blog post too, but I like this one much better. Thanks to a reader recommendation I’ve got another Ginger Rogers and Fred Astaire movie waiting for me to watch it, Follow the Fleet, so I’m looking forwards to that!

So I saw this pattern on A Dress A Day and thought it was just beyond cute and it needed paperdolling. Seriously, look at the little collar and the pointy shoulders. Adorable. Erin thought it made a good airship hostess uniform, so I added a little cap and little airships around the hem. (Yes, that’s what they’re supposed to be…) Check out the original post and a post about a version of the dress being auctioned off.

I don’t have too much else to say about this dress other than that drawing tiny airships is fun and that my scanner is starting to annoy me (see the banding? It’s been doing that recently, plus the blue is cuter in person), so please go create a dress for me on my dress wiki.

So I started a belly dance class (beledi, to be precise) a few weeks back. Unsurprisingly, it’s always been something that appealed to me (fancy veils! shiny coins! etc.) but I’m ridiculously uncoordinated, disconnected from my body, overweight, quite self-conscious, can’t tell my right from my left, and in every way am the type of person who should stay well away from dance classes. But once I got over the abject terror involved in stepping into the studio and completing the first class, I was hooked. Hip shimmies are a lot of fun if you’ve got plenty of hip to put into them, for one thing, and the movements are something I can usually do once I watch closely and practice for a bit. Of course I’ll never be a “dancer” in any way; people say “just let go” and “just follow the music” and “don’t think about it” and apparently I walk around in a near constant state of tenseness because all that is impossible for me. In class I feel like I’m translating everything the teacher does into a flowchart for me to follow and when I do something with my body that I can’t explain with words, like pivoting or this one veil move, it’s really quite unsettling for me.

Anyways, as far as I know (and keep in mind I’m a total noob) there are two styles of costumes, cabaret and tribal, cabaret being the highly beaded bra and skirt look and tribal going for a more ethnic, fantasy look. I really like the tribal look, so that’s what I went with for this paper doll. She’s got a green choli, a red hipscarf and a black full skirt, all trimmed with gold and gold coins. I covet the choli I drew for my doll, but I’m not so sure I’d have the courage to wear it!

At the moment, the vampire has pulled ahead… there’s still time for the Good Queen to come back ahead though.

Violeta claims she makes up all her fortunes like everyone else and it’s not her fault there’s so much bad luck in this wicked world, but all the same her family won’t let her talk in the future tense. She can never get past “I will” or “Tomorrow” before one of her sisters tackles her and claps a hand over her mouth, none too gently either. They resent her because as the seventh daughter of the seventh daughter of the legendary gypsy mystic Simza, she was supposed to inherit the family powers, and since they were all brought into the world to facilitate her arrival there should have been some payoff for them. Instead, they switch off days shadowing her, protecting their family, their friends, for all they know the world from this lightning rod of misery, their uncanny and dangerous sister. Violeta floated the idea once of billing herself as a sort of goddess of curses, and her mother would have thought it a terrific joke for another of her daughters, Zora perhaps, to make up theatrical fake curses and fleece all those who sought to bring harm on others. Violeta, however, seemed to be at the mercy of some demon that hijacked her tongue when she foretold the future, and her mother had better sense than to try to profit off of such a thing. Even the fortunes she told that sounded positive brought only wretchedness. (Would that she had never told Carmen about that darkly handsome rich man!)

Forbidden contact with the future and silenced by the tender ministrations of her sisters, she pours her energy into other things, trying her best to walk straight on a twisted road. She paints and repaints intricate and vivid patterns on her family’s wagons, she knows all the names and uses of everything that grows in the forests, and she makes up wild, violent dances, stamping the ground with the intensity of a curse.

New poll, and rather a silly one. I drew from my Halloween pile, but all my paperdolls are potential warriors here, so if you want Calamity Jane’s trusty shotgun I’m not going to stop you.

So what if “princess” is possibly the least imaginative costume for anyone past second grade? It’s pretty, and if there’s anything I like in this world it is pretty dresses. I believe, now, that I may be the foremost non-Disney expert on what makes a dress princess-worthy, for these are the kinds of things one thinks about when one draws lots of paper dolls.

I don’t know much about the owner of this dress except that she does like her roses, and I would be surprised if she cultivates them herself as the owner of this pink princess gown does. No, this princess is a bit of a terror, and she insisted that her dress should lend her a sort of mature innocence, that it should be both heavy and light, serious and frilly, and highly becoming to her porcelain complexion and rich brown hair. It it is no coincidence that her dressmaker took a very long vacation after its completion. But this, I think, is not the kind of princess to worry too much about the anguish of such people. I for one hope the dressmaker got far enough away not to hear about the princess saying, at her next ball, “Oh, this old thing? You like it? It’s just an old rag I had lying around in my closet.”

The veil should be cut between the gold part and the white fabric, such that the doll’s head can be slipped through and the gold band goes around the forehead while the veil flutters behind.

Take my new poll: