Christine's "Think of Me" Dress

This dress is seen for a very short time in the movie. It enters in the middle of Christine singing "Think of Me", during the creschendo when the song changes from her tryout to the actual opera. She continues to wear it for a short time afterward in her dressing room and in the "Angel" music room.

Bodice

We'll start with the bodice. First off from the picture above we can see it is a standard victorian bodice, with a low curved point in front and exposed shoulders.

Click for high-res version. Pic is a publicity photo.

From this pic, I deduce that the bodice front is in two pieces. It has a seam down the middle and princess seams across the bust. The side is in one piece, with no side seam. There is a very long dart up the side, however, close to the front princess seam that mirrors it. I think this is for shaping. There is a low false V in the bodice, which stops at the bottom of the bustline. Inside this there is a three inch (or so) 'false neck' made of a flesh-toned fabric to modestly keep the actress in the dress but let the sheerness of the neckline show through. The modesty layer is crystallized (more on that later). Over this is a gathered layer of soft tulle. This tulle layer extends below the top of the white satin in a 1" or so 'ruffle' that appears to have a raw edge. On top, it extends above the modesty layer in a 1/4" to 1/2" ruffle that has a hem. I can make out at least two layers as opposed to the one layer that covers the modesty panel. I can make out gathering stitches on the edge of the modesty layer that probably attach the hem of the ruffle as well as gather the tulle together. There are small, puff sleeves that attach close to the bodice and extend over the upper arm. The modesty panel extends around to follow the sleeves, and the gathered tulle follows it. The puff sleeves are crystallized, the crystals about 1" apart around the arm. Another row is 1" up, staggered to be in between the row below it. There are at least three rows altogether, you can see the third is under the fold of the 'puff' if you look at the curve of the sleeve around Emmy's arm. I'd assume there was a row toward the top as well that is hidden in the gathering. The crystallized sleeves are covered with a layer of tulle, and there is a raw tulle 'ruffle' between the sleeve and the modesty layer, and another peeks out from underneath the puff. The princess seams appear to meet the top of the bodice at the place the sleeve puff attaches. The bottom has been bound with a very narrow bias tape. The side pieces do not meet the middle at the bottom peak, but stop at the side about an inch up from the bottom curve. You can also see an inside 'chemise' or shirt of some kind. It is a very thin silk, very sheer and with a sheen I would associate with the sheerest habotai. It looks to be gathered onto a string or round elastic, and in this picture it is worn to either meet the edge of the modesty layer or come right above it. It is mostly hidden by the tulle ruffle.

Pic from Bloomingdale's exhibit. Click for high-res.

In this picture we can see the back of the bodice. There is a back princess seam to match the one in the front. It also goes right up to where the puff sleeve joins. We can tell by looking at the underarm that the sleeve is not a full sleeve, but is just attached to the armhole at the front and back points. The bodice is laced up the back with cross lacing. The satin bodice dips to a low vee under the shoulderblades, but the modesty panel gets larger to make up for it. It is lost under her hair in this picture, but I think in the shadows that the panel is probably 4" or 5" wide where it meets in the back. It is impossible to tell whether this laces or not, but I would assume it does to help keep the sleeves in place. The bodice bottom hits a high point at the sides, then dips low again in back, although it is hard to tell in this pic how low it actually goes.

screencap from the movie

Pic is publicity cap from the movie. I don't have a better res than this.

In this pic we can see the bodice bottom actually comes to a vee in the back. It is hard to see whether it is a sharp or rounded point, but I would assume it is rounded like the bodice front.

Click for high-res version. Pic is courtesy of Arkady.

This pic shows that the bottom of the bodice is indeed pointed. The lacing extends all the way to the bottom of the point. This dress is laced with a shoe-lacing, differently from the Bloomingdales display. I'm not sure which version of lacing was used in the movie. Also, it appears to have another set of pieces in the back. I think there is a seam line running parallel to the center back opening. It makes a straight piece about 3" wide that runs up the center back. Although this piece could be cut with the princess seamed back piece with no problems, I think it's for ease of fit and adjustability. The costume department could make the bodice with the correct seams, then just adjust this seam until the back laces closed perfectly. Also, it would be easier to bone the lacing area with this seam. Finally, I think the holes are actually white grommets, from the shine they give off in this picture, although it is really hard to tell.

Click for high-res version. Pic is courtesy of piterdevries.

This screencap shows that the dresses being worn in both the Bloomingdales and the London displays are not as fitting on the dummies as they are on the actress. The sleeves are meant to be worn at the shoulder point, not down on the arm like the photo above. Also, you can see the back modesty panel a little better in this photo. I still think it gets wider at teh back, although 5" may be too much.

Close-up of pic 1 above.

This is a close-up of the crystals on the modesty panel. You can see that the crystals are in the shape of a starburst pattern. There are a few gold-colored crystals in the middle, with silver crystals as rays. We learned in the costume report on the official site that there were a lot of swarovski crystals on one costume, so I assume these are all swarovski. I can't see holes, and the crystals are very tiny, so they are probably all heat-sensitive and applied with an iron or heat gun. There are three or four larger gold crystals in the center, and out from that radiate seven long arms and eight short arms. The long arms are made up of two or three medium sized crystals and four or five small ones. The short arms are made up of three small crystals placed close to the gold and one small crystal placed out where the end of the ray 'should' be. There is a partial one of these starbursts at the point of the modesty panel in the center, and one at the point where the sleeve meets the front bodice. There are two more in between these, evenly spaced along the bodice neckline. I can see three on the sleeve's modesty panel, and I would deduce there is one more on the sleeve, then another where the sleeve meets the back bodice, and then more until the back lacing. There are no clear pictures of the top back, but I would guess that as the modesty panel gets wider the rays get longer to compensate, thus the starbursts are more spread out on the back.

Skirt

Click for high-res version.

This is one of the best full-length pics I have found. It shows that the skirt reaches the floor and is covered in more starbursts as well as a layer of tulle. It is also very flat in the front and puffs out at the sides. I can see some of the back tulle puffs, although I can't make out the bustling from this photo. There appear to be two or three different sized starburst patterns scattered across the skirt.

Click for high-res version.

This is a publicity cap of the movie. We don't get much more information than the first picture, other than the fact that on-screen the silver crystals appeared to be gold like the gold crystals. This is probably due to the fire and gaslight effects, trying to emulate authentic period lighting. Also, the dress 'hovers' like it has a hoop under it. It would have to be a very elliptical hoop, since the front is very flat as I mentioned above.

Click for high-res version. Pic is courtesy of midnightstar88.

This is the back of the bodice from above. We can see our first glimpse of the bustling, as well as a new view of the side division. From this pic it appears to be two wide brown satin ribbons bordering a white satin ribbon or section. I'm fairly certain the coloring in this picture is off, though, so I doubt the brown color. We can also see in the reflection that the skirt has been twisted around the manequin. This makes me doubt that the display manequin was wearing the supporting hoop or undergarment, so it probably shouldn't be trusted for true skirt shape.

Click for high-res version.

This picture reveals a little more about the bodice, including an odd buckle on her left breast that may indicate a corset worn under the bodice. It also shows some of the skirt front, which appears to be the same satin as the bodice overlaid with a layer of tulle. Note that the skirt starbursts do not start until about the level of Emmy's clasped hands. The starburst at that level, on the far left of the photo (Emmy's right) appears to be gold cords alternating with crystals. The smaller starburst below her hands gives a good layout for smaller starbursts and shows that the starbursts on the skirt are also gold and silver crystals mixed. On the far right we can see more of the side division. It is definately white satin in the middle, and may not be a ribbon at all. Instead, it could be the skirt showing through, with the 'ribbons' as borders on the two tulle layers. In this picture the ribbons look to be a country blue color with a silver scalloped trim.

Click for high-res version.

This is the first pic from above. If you look at the far right of the bottom, you can see more of the side division. In this picture it appears to be a cream color. The trim here does not appear to be scalloped, but actually softly gathered into a regular 'lumpy' appearance that makes it look scalloped. You can see this effect on both sides of the white skirt piece. Also, she is facing to the screen's left, which means that whatever the division is, it's on both sides of the skirt back, and not just the right (Emmy's right).

Click for high-res version. Pic is courtesy of midnightstar88.

This is a longer length picture of the Bloomingdales' display. We get our first good look at the back bustling and another look at the side division. In this pic it no longer looks like a division, but a long tab that is draped down the side. It comes to a point about 4 inches from the ground. It is bound in wide satin ribbon, almost like blanket binding, but very wide, about 3" at the bottom and narrowing to about 2" at the top. There is a teardrop in the middle that is edged in a sparkly silver trim.

Click for high-res version.

This is a very nice shot of the skirt starbursts. I see three different types. First off is the large gold starbursts. The best example is just ot the right of the tallest candle. Next are the gold crystal starbursts. There are two right above the second-tallest candle (the brownish looking one). Above those is a smaller starburst that doesn't appear to have any gold in it. Also, if you look to the far left edge of the skirt, right under Emmy's hand, you can see the gold braid is attached to the tulle that sticks out from the dress. This means that on the skirt, unlike the bodice, the crystals are on top of the tulle, not underneath it.

Click for high-res version. Pic is courtesy of Arkady.

This is our first good shot of the skirt tails. Here the binding appears to be silver satin, and the 'teardrop' is light blue. The teardrop is bordered in a sparkly silver trim, and has some kind of silvery embroidered spot near the bottom. The silver satin is edged in blue scallops that match the blue teardrop. Also, the bottom appears to be trimmed in fringe. Additionally, we can see some of the bustling on the back of the skirt. The bustling only goes down about mid-thigh, and below that the skirt is straight with more starburst patterns.

Click for high-res version. Pic is courtesy of Arkady.

Here we can see a close-up of the scallopy trim around the tails, which looks to be half-circles laid flat on the white satin. This means the silver is not a binding, but a flat embellishment. You can see the edge of the white satin on the outside edges. Also, if you look at the top where the tail meets the bodice, you can see that the tail is the same width all the way down, but has been pulled together with a deep pleat on the top to make it appear to taper. The back of the pleat comes over the front. I would assume the other side is the same, back over the front, for symmetry. Finally, there is more of the silver trim, which appears to be a wide, peaky silver lace. It is applied on the white satin as well, not the blue edge, because you can see a tiny white border on the inside.

Click for high-res version. Pic is courtesy of Arkady.

This view shows both of the side back tails. There is also a good view of the bustling in the back. Unlike the front, the back has no crystal embellishment on the top, but the tulle is very soft, because it forms gentle drapes in the train and not stiff peaks. Also, the bustle appears to be point bustled. This means that a point is chosen and sewn to the bottom dress, as opposed to a line of stitching running across the entire width of the back piece and then gathered together. The gather method would give a less bunchy, more 'flouncy' look.

Click for high-res version. Pic is courtesy of piterdevries.

This picture of the train goes a little lower, and shows more of the soft bustling. We can also see, for sure, that there are two tails on both sides. The pic is really too blurry for much else, though.

Click for high-res version. Pic is courtesy of Arkady.

This is a close-up of one of the skirt starbursts. It looks to be gold braid with crystal accents. The burst is very clear, and while most of the rays look straight, a few are wavy. On closer examination, the waves appear to be because of folds in the tulle, not on purpose. On the lower right corner you can see an entirely crystal starburst that is also attached to the tulle layer. I'm not sure how it's attached, but it must be very hard work, because sewing on tulle is not easy, and gluing or ironing is hard, too, without getting everything to stick to the work surface as well as the tulle.

Click for high-res version.

This is our first nice view from above. It shows the dress's train. It's very short, just barely a sweep, but it does drag more in the back. You can also see the back is indeed flat below knee-level or about there; the tulle bustling does not continue all the way to the floor.

**insert scan from Movie Companion book**

Click for high-res version.

In this pic we get a rare look at the foundation of the dress. The hem is flipped up at the bottom, showing that the tulle is hemmed to the satin layer. Also, it ends the discussion on whether or not the embellishment is on the dress or the tulle, because there is a starburst on the hem. Why put a starburst on the inside of the satin? Most likely, the starburst is on the tulle and they made all of it so the rays look right after the tulle is turned under. Also, we can see that Emmy wears a crinoline under the skirt. It is still unclear whether the crinoline is thin and covers up a hoop or if it is the only support. I could really go either way, although I personally would go for a crinoline because hoops have a 'bell' quality I hate walking in.

**insert scan from Movie Companion book**

Click for high-res version.

This is another great scan from the movie companion book. There are great detail of the bustling, incliding a large gold starburst that appears to be in the center of the back at about knee level. I couldn't see this in any of the other pictures. There is also a smaller all-rhinestone starburst on the far left lower corner that has great detail. The bustling appears to bbe concentrated on the sides in this picture, although I think the tails are moved further back than in most of the other pics. Anyway, it appears the bustling follows two lines down the back-side seam of the skirt, and there is none on the center back seam. There is a lot of tulle gathered there, though, which would make it ideal to hide a zipper ;)

Click for high-res version.

More of the bustling and tails. Not much detail.

Click for high-res version.

More of the bustling and tails. Not much detail.

Jewellry

Click for high-res version.

Suggestions for where to buy crystals from Turlough:

http://www.firemountaingems.com/shopping.asp?skw=KWCRAFTFLATBACKCLEAR

http://www.firemountaingems.com/shopping.asp?skw=KWCRAFTFLATBACKLTCOLORADO

http://www.rhinestoneguy.com/Swarovski%20Flat%20Back.htm

For the gold crystals on the bodice I recommend either Light Topaz or Citrine.

Guide on how to do eyelets (to lace up the bodice):

http://www.curiousfrau.com/Articles/eyelets.htm

Pattern Suggestions

Click for Truly Victorian website.

1860's Ballgown Bodice. This pattern takes a little modifying to make it perfect, but much less than the others. So far I have made the front piece and the side piece one, since the pattern joins under the arm and the movie version doesn't. Then I've tried to modify the first dart on the pattern into a separate piece.

Click for Truly Victorian website.

1865 Elliptical Skirt. Made to fit over the company's elliptical hoop, which I also recommend to get the dress to lay right.

Click for Simplicity website.

Simplicity 4479. This is Simplicity's new Phantom of the Opera costume pattern. The picture shows the Masquerade dress, but view B could be modified into this dress.

Click for McCall's website.

This pattern looks good overall for a readily available big 3 pattern. It has a fairly good bodice and a skirt with the right fullness and train length.

Click forButterick website.

The bodice on this dress looks good, although I don't think the skirt is full enough.

Click for Butterick website.

This skirt is fuller and closer to the dress. Use the underskirt, not the parted overskirt.