Costume Con/the Ombria Gown

May 20, 2013

I finished, and I wore it:

Ombria gown

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.

3 Responses to “Costume Con/the Ombria Gown”

  1. […] Costume Con/the Ombria Gown ( […]

  2. Pat Mathews (major Kitty fan) Says:

    Nice! I think there was indeed a way to put on ski tight sleeves in period. They were separate, and you eased them off over the hands. Italian Renaissance? I looked at that collar and promptly thought “Cavalier. Big hat with huge plume needed.”

  3. musicalmom Says:

    It’s gorgeous, Carrie, congratulations!

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