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Maleficent collar template!





If anyone needs a base I’ll be sure to scan these as soon as I have a moment. Right now my sinuses are really kicking butt (I suspect bacterial infection because yay, RA and comprmoised immune system and how familiar this all is) and I’m finding it hard to concentrate. But I have kept all my patterns to transfer to 1:10 scale patterns 🙂


Sooo.


 






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Maleficent fibreglassing





Sooo, the duo tone blue green doesn’t show up in the photo but it does in reality and I’ll just mix some and coat it tomorrow.




So I put the horns and head in the sink and used hot water to soften them enough to remove from forms.



E voila! Head support, untrimmed horns and staff all ready for the next stage of sticking together and sanding.




See the thin layer on the horns? It’s a bit tricky to do and I’ll probably not do that again. These will get a layer of black latex for the show so I don’t need to try and make some latex sheeting. It’ll stay well until I need to remove it 🙂


So how to stick the horns to the support? No idea just yet! They’ll be trimmed before anything else. And I’ll try and get some foam inside. Still not sure how one of the horns got warped but it must have been during curing as it won’t heat shape out.









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Maleficent, new parks costume, maybe….?





Well it was made for the Social Media Moms’ event so it may or may not be permanent.



 


 


The gown in action sheds a lot of light on the train of the original. It fits to the back after all unlike her other robes.


https://twitter.com/samhowzit/status/454767382804721664/photo/1



https://www.flickr.com/photos/aloha75/13991128094/in/set-72157643806632283


(many more, scroll through to see them all)



https://www.flickr.com/photos/hyku/13787915495/


And even more, scroll backwards for images from the meet and greet.



So from the recreation:


The gown is less full but is made from a knit mounted over a more stable fabric. The sleeves have extra details to reflect the original gown (deep wedges/notches at the hem of the front of the sleeves.


The headdress appears all in one and has more sculptural lines on the leather parts.


The collar sits wider, possibly not hooked to the choker, which is what I suspect may be needed.


The choker has a centre front seam.


The fabric is not purple but the lighting was used to make it so- another nod to the original.


The hem of the gown and the train is not as large as the original. Makes sense having just tried to wrangle the back alone….


There are skirt gores and they are similar to the ones in the Game of Thrones Westeros gowns. But narrower! There is a sculpted detail like a tail that covers the top of the gores and appears to go through in the recreation, it appears flatter in the original so may just be butted.


The back has a spine of some sort. Probably to cover a zipper- a good quality metal zipper as per the burlesque corset reblogged the other day 🙂  I’ll attempt a sculpted urethane piece.






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Maleficent pleather wrangling





So it’s a total pain to try and sew as it sticks to everything. To tidy the front edges I needed to top stitch a narrow facing. And I stumbled across this nifty little method to avoid puckering!


A button hole foot! Yep, this sticks to the pleather and you can then sew the full length and then lift the foot and slide forward again as you need.




 


For those of us with some fancy feet but not all.


For the hem I used a really sloppy running stitch with a very few back stitches, then clipped the hem off.



Once the hem was reshaped I then zipped it under the overlocker using the hand basting as a guide. I don’t fancy hand sewing all this. So I may wind up doing a “rolled” hem that the machine does. It’s a silly name as there is no rolling, just a very tidy encasing in thread effect.



 







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Maleficent has a huge hoop. Bugger.





I had suspected but a few images put together really do reveal this quite clearly.


If you watch the Awkward Situation clip you can see how the train skims the ground without folding or dragging. If you watch the edge of the train as she goes up the steps it even catches and springs just like a hooped skirt. If you have ever worn hoops or a cage crinoline with flat steels/plastic it wibbles a bit like a jellyfish.



 


 


Note how the front edge of the train stops, it doesn’t just pull like fabric under tension it moves like there is a wired edge. And in movement the edge then springs forward once released from that first step.



 


Here the train is caught on the last step but this is mainly to show the front of the gown is not also stifened. It does have a fairly deep hem which does has some sort of facing but it still flows. It also looks like Angelina is wearing platforms to add to her height- note how the toes push the fabric out above hem line.


You can also see the wired edge also extends in to the seam where the train is sewn to the gown. This makes sense to help support the full train. Having now made mine it is very heavy indeed.


This then explains why that seam appear to be top stitched or otherwise additionally reinforced in other images.



So I had a look at stills again and they do also support the idea of a supported train. In the still below (screengrab) you can see how the train edge is under a lot of tension, but also there is a mystery “bump” near the join between the leather and shell fabric- it does not correspond with the step or any fabric componant of the gown. This is most likely due to a support underneath lifting off the ground- as she is turning this makes sense.



And in this still you can see a ridge that follows the main curve of the leather. And even where the layers are caught to the support hoop in the 2nd to left panel.


So a U shaped hoop on the bottom of the train and two gently flared strips inside the front edge of the train. Imagine a curvy scoop. To make mine I’ll be making a tube of fabric to tack to the underside of my train. And a wrapped facing on the front edge. Then wrap three layers of plumbers coil with sports tape to insert just before putting the entire piece on. I will have to use temporary fastenings to hold the ends in place so as to be able to remove them for convention safety!


I have also just overdyed a huge metal zip (possibly for a sleeping bag) so I will have a super mega firm fastening that will survive the pull and drag of this train. Then I can cover it with a spine.


And now to resize my collars 🙂





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Why Maleficent? Why that costume?





Costume is art. The costume can tell a tale all on its own.


So take this gown.


Why? The film hasn’t come out and even based on the leaked script (which I haven’t read) I can’t surely be a fan of either the character or the film yet? Well true, maybe not. But costume is part of the art department and what art does in any form is make you think and feel,


Maleficent’s gown is the biggest Eff You I have seen in film for a very long time. It is on the same level of brilliance as Mina’s red gown in Dracula and Michelle Pfeiffer’s catsuit in Batman Returns. It’s on par with the world building the costumes affect in Game of Thrones- where one costume spoilt me months in advance.


When you design you do not just draw pretty things or interesting lines. You have to think about the character, their mind and spirit and how they are reacting to the world they live in. And how that world responds to them


Catwoman’s catsuit was literally Selina tearing down the life she had built, and had others build around her, and reforming it. She took a practical item (at least in this bizarre world) and made it into a symbol. Her costume says yes you objectify me but I will kick your ass for doing so. You treat me like this? I’ll take that and make you regret it.


Mina’s red gown is another iteration of Eiko Ishioka’s obsession with the raw self. Being literally and figuratively ablated, exposed. It’s hard to think of it as part of the same theme as Dracula’s armour from the same movie, or the foam latex muscle suits from The Cell or the lycra and paint/cord/ink piece from Der Ring des Nibelungen. It’s a concealing dress after all.  But the texture, colour and self pattern in the form of organic leaves and striated pleats puts it firmly in place as a reminder that Mina conceals herself in the trappings of the society she lives in. In this gown she is letting herself see who she is and what she feels.


So Maleficent. What makes this gown over all her others so special?


In the world of the movie humans are very much dressed as we expect. At least what we expect from years of what Hollywood has shown us of the past. Which is mostly based on modern textures and materials, foundations and construction.


At the start Maleficent is a child of nature, her clothing is loose and flowing and not made from a drafted, and thus mass produced/industrialised. Even her other gowns seem to flow and drape with little relation to the methods used to create the costumes of humans. She is apart. And clearly so.


The gown she chooses to wear to the christening however is very complicated in structure. It mixes both draping and drafting techniques. It is fitted to the body but does not follow the lines of clothing worn by the members of the court.


Bias cutting alone makes the gown different. Bias cutting is so intrinsically different to even the most complicated multiple panel garment cut on the straight. It shifts and requires exquisite fit and shaping and multiple fittings. It is insanely personal and bespoke.


Maleficent has taken great care to dress herself splendidly for this court. Her fabric even mimics the watery weave of the king’s own robes. But again it is different. The texture is not woven but created by hand, organic and deliberately unable to be copied. A true one of a kind.


Her horns are covered but barely. The threat of nature is present though sheathed.


Her gown is bigger, more sophisticated than any other garment at the court. She outshines everyone. Yet the cut, fabric, and scale clearly single her out. No  one could mistake her as being expected or meant to be there.


Her gown says everything her speech does. It says you tell me I don’t belong, well, that’s true; I am more than you. 


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MALEFICENT at The El Capitan Theatre



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