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Description
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"The design is simple but the main emphasis is placed strongly on the back train and flounces since the front was not economically plausable.

Several, ivory rose buttons are lined up elegantly and are tipped with silver leaf. The back flounces are made from fine tulle with an overlay of gorgeous burnout voile with a Venetian scroll pattern. Fragrant gardenias adorn each centre of each tier and in itself is studded with swarovski crystals to mimic dew. From each flower bunch, swarovski cubes in an aurora borealis finish hang from 24k plated wire that in itself has spacers of japaneae delica beads with a sterling lining and more swarovski crystal bicones placed at general intervals.

The actual dress is made from a delicious, alabaster, Italian silk peu de soie and is supported by boning on the bust and sides. It is fully lined as well with a matching peu de soie throughout. All hems are finished and pressed. The dress itself in the front has a smattering of Swarovski rhinestones to give extra sparkle when walking across your very own fairytale.

Unfortunately the funds and time were not in my favor when it came to the crushed velvet and jacquard over-cloak. It was meant to be worn over the bride's shoulders draping her in pure, purple-plush decandence. It was to be trimmed with gold and to have a deep cowel.

Taking after celebrities and fairy-tales alike, this design is seen worn with a coronet made from thousands of swarovski crystals and gold filligree wire for you princess complex. Unfortunately it was not until later that I discovered how to have this style be worn without the thin, metal alice band you see. With the coronet, hair should be worn piled up behind it for a gorgeous cascading effect. Curls are not a must but even soft waves are a must for body, height and movement. A veil is not a must though it is shown here. Here you can see a venetian mask worn on the model that is done in the same filligree as the crown and is made with hundreds of rose and violet crystals.

Preferably this is to be worn with a blushing french manicure and large faux pearls as shown to highlite the back accordingly. If possible, one could also substitute the manicure for long, alabaster, opera length gloves as shown in the design.

All in all, a white dream to anyone lucky enough to wear this couture creation."

That was the description that asked for when I submitted this piece for her wedding dress design competition. I previously had only given her the finished pieces but when asked for the actual designs, this is what we came up with together as a suitable outcome. Unfortunately desig wise for the actual deviation, I would have envisioned something more artistic but given the circumstances and deadline, I was very interested in getting things done.

Actual design done in Sakura fineliners, Copic and Prismacolor markers as well as a metaller, gold felt pen.

Inspiration belongs to those who kindled it

Description
DOWNLOAD FOR FULL VIEW

"The design is simple but the main emphasis is placed strongly on the back train and flounces since the front was not economically plausable.

Several, ivory rose buttons are lined up elegantly and are tipped with silver leaf. The back flounces are made from fine tulle with an overlay of gorgeous burnout voile with a Venetian scroll pattern. Fragrant gardenias adorn each centre of each tier and in itself is studded with swarovski crystals to mimic dew. From each flower bunch, swarovski cubes in an aurora borealis finish hang from 24k plated wire that in itself has spacers of japaneae delica beads with a sterling lining and more swarovski crystal bicones placed at general intervals.

The actual dress is made from a delicious, alabaster, Italian silk peu de soie and is supported by boning on the bust and sides. It is fully lined as well with a matching peu de soie throughout. All hems are finished and pressed. The dress itself in the front has a smattering of Swarovski rhinestones to give extra sparkle when walking across your very own fairytale.

Unfortunately the funds and time were not in my favor when it came to the crushed velvet and jacquard over-cloak. It was meant to be worn over the bride's shoulders draping her in pure, purple-plush decandence. It was to be trimmed with gold and to have a deep cowel.

Taking after celebrities and fairy-tales alike, this design is seen worn with a coronet made from thousands of swarovski crystals and gold filligree wire for you princess complex. Unfortunately it was not until later that I discovered how to have this style be worn without the thin, metal alice band you see. With the coronet, hair should be worn piled up behind it for a gorgeous cascading effect. Curls are not a must but even soft waves are a must for body, height and movement. A veil is not a must though it is shown here. Here you can see a venetian mask worn on the model that is done in the same filligree as the crown and is made with hundreds of rose and violet crystals.

Preferably this is to be worn with a blushing french manicure and large faux pearls as shown to highlite the back accordingly. If possible, one could also substitute the manicure for long, alabaster, opera length gloves as shown in the design.

All in all, a white dream to anyone lucky enough to wear this couture creation."

That was the description that asked for when I submitted this piece for her wedding dress design competition. I previously had only given her the finished pieces but when asked for the actual designs, this is what we came up with together as a suitable outcome. Unfortunately desig wise for the actual deviation, I would have envisioned something more artistic but given the circumstances and deadline, I was very interested in getting things done.

Actual design done in Sakura fineliners, Copic and Prismacolor markers as well as a metaller, gold felt pen.

Inspiration belongs to those who kindled it