Costume Con/the Ombria Gown
May 20, 2013
I finished, and I wore it:
What did I learn? Paintings can do things real clothes can’t, like have skintight sleeves. Artists painting a gown never have to figure out how the gown actually gets put on. So there’s always going to be some compromises, constructing a gown based on a painting. This was never going to look exactly like the painting — because I’m not built like a Botticelli sylph. (Wearing a corset would have got me a little closer to that.) Oddly enough, what this means is the gown ended up looking more historical — more like, say, a sixteenth century Italian gown — and less like a fantasy gown than the painting. This means I will wear it to SCA events with impunity. Of course there are things I would do differently, but all in all I’m quite pleased with how it came out — it fits, it looks impressive, it got many compliments.
Costume Con was great. It’s the first con I’ve been to in ages where I wasn’t working. I went to panels! I wandered about aimlessly and talked to whomever I ran into! I shopped! Saturday was the SF&F masquerade — it was the first masquerade I’ve ever been to where master class entries outnumbered the journeymen and novice entries. I was inspired through the whole day.
And rather than decide this was as big a project as I ever want to tackle and I’m done with ambitious dressmaking… I bought a pattern for a Regency gown. Because of course I did.