Although my name is Blanca, my designer name is “Cusi” (pronounced as coo-see) which is my family given nickname. I actually make all types of garments and things, as I am a fashion designer, costume designer, accessory designer and even do a little home decor. I decided to post some of the costuming work which I made for the holiday season, as they were spefically constructed using fancy fabrics and were made with a lot of hard work, dedication, and love.
Enclosed are a few pictures detailing what I made for a Holiday on Ice Show (for a routine to a song called “Deck the Roof Top” by Glee); an 1812 Regency Gown for a holiday event to honor Charles Dickens’ 100th Anniversary; a Victorian Gown that I custom made for a Victorian Christmas Charity Ball; and another set of ice skating dresses made from velvet stretch fabric and white boa fur for the Holiday on Ice Show (for a routine that was coreographed to the song “Jingle Bells”). My clients absolutely love these garments. I hope you enjoy them and can appreciate what I call my “sewing masterpieces” for the holiday season.
I created these dresses for a Holiday on Ice show (for a routine that was coreographed to the song, "Deck the Rooftop" by Glee). I made these ice skating dresses out of fancy fabrics, such as ribbon and sequins embelished netting overlays lined with metallic fabric. The fabrics were cut on the bias for the most stretch possible. Two different types of embellished overlays were used for each dress. One in the bodice and the other in the skirt. One girl is also dressed in green and gold, and the other is in red and silver. The skirts are actually 7 layers (with metallic netting underneath) and consist of horsehair under the fur trim. The dresses also consist of swarovski crystals using coordinating colors in a diagonal design placement, which I executed by hand. I also made the headpieces by hand, which function as two separate parts that can be used in unison or placed in separate areas of any hairstyle that the skaters might wear. One part of the headpiece is a headband of white fur. The other headpiece is a clip (also made by hand) that consists of coordinating metallic presents and glittered holly.
That's me, Cusi, second person from the left in this picture. I made this 1812 Regency Gown as part of a commemoration that was held to honor the 100th Anniversary of Charles Dickens' work. My guild put on a fashion show of styles that were popular from 1812-1870, which spanned fashions during Dickens' lifetime. My 1812 Regency Gown is made and lined in ivory satin and consists of a bridal netting overlay, which is embelished with ivory silk embroidery, pearls, sequins, and seed beads. The hem of this dress consists of an embroidered scalloped edge. I had to strategically cut each pattern piece so that the overlay netting's design would repeat accurately, and so that the scalloped hem would remain uniterruped and consistant. The dress also consists of 22 eyelette closures, as well as 12 sets of hooks and eyes (in keeping with 1812 period closures). I also made the bracellet, necklace, and all of the hair pieces by hand using faux ivory pearls and Swarovski cyrstals.Â
I was asked to make the enclosed gown for a Victorian Christmas Charity Ball to benefit the Orange County Florida Historical Society. I used Peacock Blue Teal Taffeta and coordinating Gold Jacquard fabrics. I also used 22 gold eyelets in the back bodice closure, and adorned the gown with a combination of cream scalloped edge lace and ivory silk embroidered bridal trim (which consisted of pearls and sequins). My client requested that my design include an off-the-shoulder bodice, and a slightly shorter skirt. Since she is a Chairperson on the Board and Chair for the Charity Ball Committee, she would need to run around a lot at the ball. So, she was concerned about tripping over a longer skirt. Plus, she had the most adorable lace Victorian boots, which she wanted to intentionally peek-out so that she could show them off. She did not care about being fully period specific. She wanted to look Victorian, but on her terms. I made sure to make that happen and I did it to her complete satisfaction.
11 yards of fabric were used to create this gown. There are three layers of fabric and one layer of interfacing in the bodice along with boning. Also, more than 660 yards of thread were used in the creation of this garment along with almost 10 yards of trim (mostly applied within the hemline area). The bottom hem of the skirt is actually comprised of 9 yards of lace and bridal trim. The first row of lace is 5 1/2" in width. The next row of the same lace is inverted and meets the first row at the center. Then the bridal trim is placed on top of the center line of the hem, which results in a cohesive and complimentary grouping of trims/embellishments. I also designed and made my client a coordinating gold jacquard purse (lined with the blue taffeta). It too was embellished with the same cream scalloped edge lace and adorned with a picture perfect bow, which I created out of ivory crystal organza.
1812 Regency Gown (on dress form) for 100th Anniversary of Charles Dickens' work.Â
I made these garments for a Holiday on Ice Show for a routine that was coreographed to the song, "Jingle Bells". One girl is dressed in Christmas Pine Green, and the other is in Christmas Traditional Red. These dresses are made from Velvet stretch fabric, which stretches 50% more in one direction than the other. So, for optimal performance and comfort, I cut the dresses out on the bias. These ensembles were created with double-circular skirts, and I made matching fingerless gloves. Each outfit is trimmed with 12 1/2 feet of soft, white, flowy faux boa fur. This totaled to 25 feet of fur, which I had to hand sew to each skirt hem and at the top of the fingerless gloves. This fabric is just as challenging as regular Velvet to cut and sew; but I did it and I am proud of it too!
Get the latest including tips, techniques and special offers straight to your inbox.
nice one mate
superb stuff