Oscar Buzz 24 (Updated)

 

Normally, I am able to post my Oscar girls no more than 2 weeks after the event. But this year, I saw quite a number of dresses that inspired me. As a result, I became VERY AMBITIOUS! It was all I could do to get this up before the end of the month. And truth be known....there were still about 3-4 more gowns I wanted to make. But as you will notice, in most cases I took a LOT of liberties!  Sometimes, it had to do with "tweaking" the original look but in other cases, there was something about the original look that didn't sync with the proportion of the doll. Still....this year's Academy Awards red carpet provided a feast of ideas.

What could be more glamorous than this modern rendition of a famous 1950's  Balenciaga gown! As simple as it looks, this was not something I could whip out in a few hours. Au contraire! I used a stretch velvet because I felt it would give me a perfect fit--which it did. HOWEVER...(and this is a big however) the sweetheart neckline and the scallops at the hem contributed to the headache! The fabric is soft and the scallops went limp. I used hem tape to add a little body. It would have been easier to cut the neckline straight then pinch in between the busts. On a doll with small breasts there would not have been the same issue. But Nadja has full breasts. I used tulle to face the top of the dress. After attempting to tack on the tulle lower skirt to the dress, I gave up and finally decided this dress--originally conceived by the master couturier himself, Cristobal Balenciaga--would have been made with an underskirt! The underskirt is tulle held in place at the waist. 

This dress, designed by the house of Dolce Gabanna, is so elegant and looked so good on actress/dancer, Rita Moreno. I had to make the decision to follow this design line by line or to simplify. I think the original dress might be a wrap dress with its grand collar of ruffles that cascade down to the ankles. But I felt the that was too much volume on Veronique's tiny body. For me, that regal pile of ruffles framing her face so beautifully was the real story so I decided to start out with a simple black velvet sheath and add a taffeta collar with a few trailing ruffles down the front. 

The simplicity of this Dior Couture dress is what caught my eye. It's as if she's wearing a silk satin scarf twisted around her breasts and shoulders. Again, this dress is more complicated than it looks. I ended up making two dresses in different fabrics. The original dress was described as a "light silver satin." I used a silver satin  (for the dress above) but after photographing it, the sheen distracted the eye from the details of the dress bodice (as seen below).

So I cut another...this time using a soft pink silk satin. This version comes close to the original dress. However, the tiny proportions of the doll will never lend itself to exactly the way it falls around the bust of the actress. 

A strapless sheath of black sequins with a little sash at the hips by Versace worn by Margot Robbie is lovely for "ordinary folk dressed up," but for couture, I feel it is too simple, too boring. For me it lacks those special little details that distinguish it from expensive off-the-rack dresses. So for my girl, Charlize, I did a gown cut from iridescent mini sequins, dotted with regular sequins and paillettes at the hemline. If you look closely...instead of a sash, I did three rows of black sequins in a trompe l'oeil effect resembling a chain belt! She's holding a shawl made from embroidered tulle.

For the Balenciaga gown worn by actress, Michelle Yeoh, I used lame instead of the 2-toned silver sequins because I didn't have the right fabric on hand. It was fairly easy to make--an asymmetrical bodice with train over a sheath skirt. But when I finished, I was quite underwhelmed and almost didn't include this dress in this lineup. The top came out the way I envisioned, but the light grey lame did not. Just before abandoning this dress, I decided to rub in some silver glitter and photograph it outside in the sun. In person, I like it better. But for some odd reason, it didn't make a difference in the photograph.

 On the subject of silver.... I do love silver dresses and this one translated well for the doll. Naomi's version of DJ Kiss' Jovana Louis gown, is in three parts. A silver bustier, a skirt with train and a sash belted at the waist. 

The other challenge this year... curvy lady fashions reinterpreted for our skinny vinyl divas. I did not have the baby blue sequins the original Louis Vuitton gown called for. And that was okay because I am sure I would not have liked it as much as the dress I ultimately created for Shakira. Actress, Da' Vine Joy Randolf's proportions call for simplicity in design. So the sequins with the dramatic ripped sleeves is just the right look for her. That said.... my doll has smaller proportions and we can play more with the details of this look. Instead of a strapless sheath, I made the body of the dress using a twill acetate (usually used for lining) that I wet, crushed and let dry. You don't have to think about darts or construction because when you unravel it, it will cling where you want. If there are any gaps, simply tack in place. I added a train of un-crumbled fabric. But then, instead of the ripped fabric sleeves--which I started to make out of tulle--I used the rag jacket we make a while ago out of ripped denim. How much fun is that!

Producer Ava Duvernay's gown, in a word, was.....boring! But the straps and the color screamed "denim" to me. So... I decided to have some fun and created this denim gown for Pat. Her dress was made from a pocket I ripped off my father's old jeans. A created long fringe out of another piece and added that to the bottom of the dress. The straps are leather.

Here's another boring dress we decided to have a bit of fun with. Jennifer Lawrence wears a Dior couture gown--simple bodice with full skirt gathered into the waistline--tasteful but boring. Morgan's dress is in three pieces. I had more fun by draping at random, the polka dotted sheer fabric over a strapless bodice. I added a gathered skirt. BUT....I make an over-skirt of black tulle and scraps of dotted sheer that it tied to one side over the rest of the dress! If you are going to do polka dots....make them dance!

I found this dress very interesting!!!!  I love the swirl of black and white around the bottom of the dress. The under dress is a simple black velvet gown that I duplicated using stretch velvet. But it is the black and white satin draping around the hips and the train that is most intriguing. It is also one of those rare dresses that you really need to see in person to figure out exactly how it is made. I cannot tell you how many times and how many different ways I tried to drape this detail to no avail. Though it appears to be one big piece of fabric wound around the hips in a swirl, I believe there are several pieces incorporated to achieve the end result. In this case, I had to close my eyes to the original dress and focus on what I most love about the look. Then....drape in the spirit of the original. It's not the same, but it exudes the same emotion!

Arianna Grande appeared on both the best and worst dressed lists because of this dress from the house of Giambattista Valli. The actress is cute as a button and there was something terribly adorable about her in this Barbie pink gown. To my eyes, she emerged as princess dressed like a pink bumblebee struggling under all of that fabric! This is a perfect example of what happens when you design for a photo, for that moment on stage. Unfortunately when you don't think about how the woman will get between point A to point B....this is the result. But still, we couldn't pass up on her. I wanted to keep the spirit of "Hello Barbie" but lighten it up as if our heroine was emerging from a sky filled pink airy clouds. The strapless gown is nice, but inasmuch as she has such a teenager silhouette, I felt that dress should be something less heavy; something that doesn't point to the curves she doesn't have. I kept the drapes but there are fewer of them and the dress itself is cut from a sheer fabric. The over-piece of the original dress is cut from silk and again is so heavy...it looks like she gathered her bed sheets around her. So....I used sheer polyester organza (from a package of gift bags I found at the Dollar store), to create a series of poufs tacked together into a cloak of sorts. Everything is light and airy as an early summer evening. 

And for the final dress of this series, I chose Laverne Cox in a velvet gown from Mugler. From the bottom up...this is a black fishtail skirt topped with a bustier made from.....the foil from a champagne bottle, sculpted to Amalia's body. This is the second one I made. The first one corresponded to the proportions of the original dress. However, I didn't like the end results as much as when I added more length. The scarf over the shoulders....this is the one in two pieces that I did in the post just before this one! 

(April 18 Update... Here are the dresses we added on after this was published. They were also featured on our Facebook page as well.)

Melissa McCarthy

Danielle Brooks in Dolce & Gabbana

Leah Lewis in Lever Couture

Lisa Koshy in Marchesa.

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Oscar Buzz 23

 

This was a most interesting Oscar "Red Carpet" event. First of all the carpet was champagne and not red. The  number of nominees and Oscar winners was, perhaps, the most diversified in the Academy Awards' history. But for my purposes, most of the dresses worn by the celebrities were tasteful and some designs even provided a good dose of inspiration for the one-sixth renditions I would be creating for my divas. For this post, I chose 12 dresses, though there were a few others I wanted to try. My biggest regret...that gorgeous Moschino plum colored chiffon gown worn by actress Angela Bassett. I could get a hold of that fabric in a timely fashion. But for the ones I singled out....I got ambitious. Very ambitious. Some of these dresses were quite simple, however for a few, I had to treat them as pure craft projects. No pattern, I build the dress piece by piece, directly on the doll as I tried to figure it out! All in all, though, the trends from this year's event fell into three main categories: Simple Elegance (column dresses), Cake-Top Ballgowns, and Peek-a-Boo I see you. The color story was very clear..lots of black, lots of white and the occasional burst of bright color.

Lady Gaga is always a standout for my girls. She pushes the envelope with such class and elegance. For the most part, we didn't care too much for the Peek-a-Boo dresses. Though my girls can wear them well, most normal human bodies cannot. And there's always the question of...what happens when the body starts to move under those cage-like structures. But this Versace dress worn by Gaga..we couldn't resist. And here is what I mean by a pure crafts project. I used the netting (taken from the selvage edge of some sequin fabric I had on hand) and constructed a bodysuit. I thought this would be the best way to get the bodice close to the body without seams. On top of this, I stitched on a bra top. I used a stretch jersey inasmuch as the bodysuit was stretch. In hindsight, this was not the best fabric because it didn't lay as flat as it should. The outlines are made of 1/8-inch (3mm) satin ribbon. I would have preferred to use something matte, but yarn was out of the question because I needed something flat and I've never seen 1/8 inch ribbon in velvet. For the skirt (which is separate) I started out with a jersey skirt but it didn't have the structure needed for the stark A-line shape. So I swapped it out for a fabric with more body. The "jewels" on the belt are stickers. Her necklace is the double row of "diamonds" we featured in the previous post.

You know me...I LOVE a good basic black dress! I suppose I love them so much because, not only do they go everywhere, but you can dress them up or down. In this case, this one, worn by actress Andie MacDowell and cut in stretch velvet with its asymmetrical neckline is from the house of Saint Laurent. For this dress I used a basic jersey pattern and simply drew in a similar asymetrical neckline. It serves as the perfect backdrop to help showcase Lindsay's cascading "diamond" necklace.

As soon as we saw Vanessa Hudgens, one of the red carpet greeters on Oscar night, we fell immediately in love with her Chanel gown. Again, very simple, very elegant and 100 percent class! For the version modeled by our lovely model, Belle, I used a stretch velvet trimmed with white satin. I kept her "diamond" necklace simple. It's a single row of rhinestones tied into a single knot in the middle!

The problem with black dresses is that, most often, you cannot distinguish the details. So for me, the Dolce et Gabanna dress worn by Phoege Walker-Bridge appeared to be a column dress with a sheer black lace corset top. For my girl, Helena, I created a black lace corset worn over a sleek black narrow skirt. The look begged for something else. So I tossed a fancy embroidered shawl with silk fringe over her shoulders. Only when I finally saw a larger photo of the original dress did I discover that the skirt is made from dévore (burn-out or acid etched) velvet. Dévore will be the subject of a project I will be presenting in the near future. I have to order the supplies. 

But for the moment, what I would like to bring your attention to is Helena's necklace. It is a 1/6 scale rendition of the diamond version of Elsa Perretti's serpent necklace for Tiffany's. I added a clay head and tail (later dipped in silver glitter) to a length of rhinestones. 

My Barbies were all over award winning film maker Ava DuVernay's shimmering look. Instead of sequins for the shawl and train, I used a dark silver Lurex. I also used a panne velvet for the dress underneath. On the other hand, we did not think she Ms. Duvernay needed the belt which, in our opinion, interrupts the sleek lines of the dress. 

We were very happy to see the first Asian actor win Best Actress. (It's about time, no!!!) Congratulations Michelle Yeoh. We love the soft white gown she wore from the house of Dior. For our girl Yoon's 1/6 rendition, we did not have time to source out the feathers and apply them one by one. So... we cut out the dress and added row after row of a sheer nylon cut into fringe then attached row by row. Around her arms...a whisper of white tulle. (P.S. We tried to get Yoon to smile. But she's bashful and this is her first time on the red carpet and this was her first cover shot. She was very nervous. Sorry about that!) 

Nicole Kidman is another actress we always have our eye on when she arrives on the red carpet. Her dress, from Armani Prive, is a simple, one shouldered black sequin sheath, slit up the thigh and adorned with silver roses. For our girl Karen, we stuck pretty close to the original design, using a micro sequinned fabric decorated with silver Lurex roses planted on one shoulder and the top of the thigh.

Quelle Elegance! Here is Danai Guirira looking positively regal in this gown designed by Jason Wu. It is a very simple but spectacular dress with the strapless bodice topping a full gathered skirt. Our girl Grace wears her version in the same elegant fashion. We got a little fancier with the bodice, opting to use flattened drapes over the torso. And please note.... we were able to recreate a similar mile-high hairdo! 

Here's another "cake-top," fit and flair scarlet dress designed by Elie Saab and worn by Cara Delevigne. It is an one-shouldered gown with a bodice draped close to the torso and lots of volume in the skirt. We recreated the same look for our girl, Yvette...right down to the giant rose on one shoulder to the thigh high slit in the front.

And while we're on the subject of big dresses..... We really wish the stylist for Florence Pugh had chosen a simpler dress for her. While we saw so much potential in this dress, we felt it overwhelmed the wearer. The black hot pants and platform shoes underneath did nothing for the overall look. Moreover, Ms. Pugh came across as looking as if she had gathered up all of her bed linens around her just before appearing on the red carpet. That said... we did like the spirit of the dress and was motivated to select our fresh face model Ingrid for our 1/6th version. I chose an oyster white taffeta...a fabric with enough body to carry off such a spectacular look. Initially I began with a bra top, but ended up with a more simple empire waist bodice (which I pinched in the middle)  instead. It was just easier to suspend the skirt from a simpler structure. The skirt is gathered then attached to the bodice. I will be honest...this resulted in a dress that was way too heavy to stay up. So....I used small strips of clear vinyl to create straps which are nearly invisible in my photos! The dress by itself was nice, but I felt it could be taken to the next (more avant-garde) level with another skirt underneath. The sleeves, both in my version and the original version, are separate. This is a large tube with gathers on both ends. We tacked the excess together in a variety of spots across the back. The end result is abstract yet elegant at the same time. In some ways, it almost recalls the creations of architect Franck Ghery .

Another cake top dress....

Normally I loathe this sort of fishtail gown, here, worn by India's Bollywood superstar, Deepika Padukone. (Please note, Ms. Padukone was misidentified by the Hollywood press as Camillia Alves.)  But Veronica (who is modeling our dress) reminded me how this look really smacks of old Hollywood in its glory days. As simple as it is, this dress taught me a few lessons. There is a reason why you rarely, if ever, see doll dresses in velvet. Other than a simple tube dress, the fabric is too thick for most 1/6 scale garments. I began with a small empire waist bodice that I pinched in the middle to create the sweetheart neckline. The skirt part of the dress is attached to this bodice. A gathered piece of fabric is attached to the hemline. I made the decision not to go as wide as with the original dress because I felt it made the dress appear a little too kitsch. In the original dress, there are pieces gathered into the dress draping down from the shoulders over matching gloves. When I tried this, those pieces did not drape well; they appeared to be wings. So.....I made the decision to create instead, matching velvet gloves with poufs on the top. This gives us the option to wear the dress without the gloves and under a coat, for example.

 

I've saved this one for the last because, other than the fact there is a silver dress in both looks....there is no relation between the two. I chose this dress because I do like the notion of silver combined with another color. Ms. Bingbing's dress is lovely, but I thought it could be so much more interesting than that standard beaded column dress with deep decollete that we know so well. I'm also not fond of the color of the "duster coat" nor of its overpowering winged sleeves. For Anna's dress, I chose some sparkly wired Christmas ribbon and had a little fun with how it unraveled at the edges. Instead of a big bulky coat, Anna chose a pleated silk wrap in teal. Softer, more contemporary. 

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Oscar Buzz 2022

It was certainly great to see the Academy Awards return to an in-person event. The stars were all out in full glam mode and my girls were quick to head out to the red carpet in their own dolly versions! What we noticed about this year's trends was voluminous many of the dresses were. After two years of confinement, what better way to celebrate the world's most famous red carpet rendez-vous.

Ariana DeBose was regal in her head to toe Valentino red. Her look is comprised of evening trousers, a matching bra top and a coordinated flame red cape. Tamron didn't like the look of the molded bra cups over the breast, so we created what we felt was a more flattering version of that top. Since I couldn't see the detailing of the cape, we improvised and added a full ruffed collar. 

The comentators were every bit as glamorous as the celebrities they were interviewing. Liu couldn't take her eyes off of Sophia Carson's full tulle regalia by Italian designer Giambattista Valli. It resembles a modern version of a Dior "new look" gown with its full, ballroom skirt and the asymmetrical tulle sweep over one shoulder. 

In her nineties and still heating up the red carpet....actress and Broadway star, Rita Morena inspired our girl, Anna with this black one-shouldered gown. Ours began with a one shouldered black jersey dress to which we added layers of flounces along the neckline. I gave this version a more paired down version of the bell sleeve so as not to overwhelm Anna's tiny body. We did love the feather hat on Ms. Morena, but on Anna, we felt it was a tad bit overkill. 

While we admired Nicole Kidman in Armani Prive's Tiffany blue gown, me and the girls were not so crazy about the taffeta "tire" around her middle. Instead, we saw more promise in the Louis Vuitton gown worn by Caitriona Balfe. The original gown is cut from a softer fabric, but the one we created for Marpessa, is made of taffeta. We wanted the ruffles to bounce more around the body and we were not disappointed. This is essentially a slip dress with a train. The "surprise" is the ruffle placed near the waist which connects to the train on both sides. It results in a very pretty "frame" over the hips.

And, off to the side there she was....Zoe Kravitz looking like a modern day Audrey Hepburn in a powder pink satin gown. We loved the top with its bow tied to one side of the bodice but we wanted something a little more sophisticated than the original "prom dress" vibe. So the two-piece dress we made for Belle has a narrow sarong skirt.

We just loved the 1930's glamour girl look to Jessie Buckley's pale pink gown. We don't know who the designer was but Kym knew she wanted something similar. Since we have done this bodice treatment many times, we decided to change up the neckline treatment. The dress is a simple strapless sheath flared gown with a train to which we added satin straps around the shoulders. 

Another lady in red...Kristen Durtz shows off very pretty gown by the house of Christian Lacroix. (Haven't seen that name in a long time!) We couldn't resist trying out the technique we showed you in our post "Pucker Up." Our version: a simple strapless, flared gown with a permanent pleated fabric treatment using polyester organza tacked over a silk base. The result was spectacular! Ariana is thrilled! 

What a fabulous finish to our Oscars Red Carpet report, starring actress Laverne Cox. Getting the look for Gail was easier than it looks. She wears a simple stretch velvet gown with an off-centered asymmetrical point in the front. Over her shoulders....an oversized sweep of crinkle taffeta as a stole!

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OSCAR BUZZ 2021

 

How refreshing it was to see a real, in-person red carpet event where the stars had to actually dress up and pose for pictures. That was the good part. On the other hand, due to Covid restrictions, there were fewer people on the red carpet which meant a smaller number of fashions to choose from. Nonetheless, a few trends emerged....metallics (gold in particular), bare midriff gowns, and the color white... To be frank, I wasn't all that enthralled with what I saw, but at least it gave me something to work with. 

The one stand out gown that I truly loved was by Alexander McQueen, worn by award winning actress, Viola Davis. The original gown has an art nouveau embroidered pattern over a micro gathered chiffon skirt. I will admit, I tried several ways to duplicate that bodice without success. The main problem is scale. The intricacy of the floral pattern with leaves swirling throughout simply didn't translate into a simplified 1/6 application. I nearly gave up on this dress until I came across a triangular cotton embroidered lace insert I removed from an old bustier. I started to cut away the pattern near the bottom, but then I decided I really liked my bustier fell into a point over the gathered skirt. The result is not as close to the original as I had hoped, but I was still able to the verve of the Alexander McQueen gown.

I remember seeing a version of this Valentino dress and thinking the bare midriff top didn't seem in balance with the skirt. That it is a shiny gold is another challenge. However, I do admit that Carey Mulligan wore this dress very well. Unfortunately I did not have gold lame on hand, so I had to get a little creative. I chose a golden polyester organza instead. I also simplified the skirt a bit, largely to save time and fabric. Instead of doing a skirt with deep pleats, I used the method from my "Fit For a Queen" tutorial. It is a slim skirt with a high waistline and bustles added to both sides. To make up for the "bareness" of the Valentino, I added a statement necklace to complete Zoe's look.

Angela Bassett in Alberta Ferretti's gown was simply stunning. I loved everything about this dress, but for my girl Sonya, I wanted to soften the sleeves a bit. Instead of "wings" I thought "roses." I started out with a simple V-neck strapless sheath to which I added the side gathered "poufs." I pinched them and tacked the fabric in place to arrive at the desired shape. When the two sleeves are finished, I tweaked each one so that they closely resembled each other before definitively stitching them in place. To the back I've added tulle on either side of the center back seam. Then a square of red silk allowed to fall into points is tacked at the top of the back near the center back. I did not allow for a front slit because I did not think this style needed it. 

Laura Dern's dress was actually on many people's "worse dress list." Me, I saw the "Fred Astaire-Ginger Rogers" aspect to this Oscar de la Renta gown. Vanessa's gown is actually in three pieces: a velvet bustier with removal sleeves worn over an asymmetrical skirt created from a square piece of faux fur. 

Well.... this Vera Wang original worn by actress Angela Day, made both the "Best Dressed" and the "Worse Dressed" lists. Personally, I found it surprising to see this dress at a time when we have not completely emerged from the pandemic. While I empathize with the desire to resemble an old fashion "movie star," shiny gold is VERY difficult to pull off. (Personally, I would have preferred to see Ms. Day in white shimmery satin a la Billie Holliday.) To add to the challenge, the material here is chain-mail,  which is metal. The drape of this bare midriff dress is, for me, extremely ambitious and I with the Vera Wang atelier had handled it more simply. So for Radiah, I made a complete overhaul. I kept the concept of the bare midriff dress with an asymmetrical top, but I kept it simple and I chose silver which is much easier (and more modern). I did like the slant of the skirt, but on the original look, the slant seems to go against the movement of the hips and the placement of the deep slit. Since I didn't have access to chain-mail, I used a flat, silver lame often used for theater curtains. It stretches and does not fray. I chose not to turn down the edges. Instead I cut the material with a sharp pair of scissors so that the dress would lay perfectly flat against the body like liquid metal. 

I had to zoom in close to see the details of the fabric here. This is Margot Robbie in Chanel. At first glance it looks like a little floral slip dress. But in reality it is silver lace. I had a small scrap of silver lace, though the pattern is not as tiny as with the original dress. While I was figuring out whether or not to do this dress, I discovered that the over-sized scale of my lace gave the dress a more luxurious edge, especially when lined with pewter toned satin. Since the Chanel dress is so simple, I decided Estelle's version could use a simple, unlined over coat from the same silver lace.

A white pant suit is always a glamorous way to show up for a fancy event. The original pantsuit worn by Tiara Thomas was designed by Jovana Benoit. Here again, I made several tweaks. The proportion of the jacket to the pants seemed to be a bit overwhelming. For Iman, I chose a shorter, more form fitted jacket and straight legged wide trousers (as opposed to bells). I did like the feathered cuffs on the jacket, but felt it didn't need them at the hem. As far as her top.... I did not care for the flat placard. I decided it have more dimension so I created one with pleats and more of a drape. 

When the jacket is on, you see how it fits perfectly over the body, is in perfect proportion to the trousers and how the V-neck is deep enough to allow the top to fit in unison with the rest of the look.

We also liked simplicity, especially at this particular point with the pandemic. Our girl Roshumba mimics the elegant white gown worn by Lauren Domingo. It's cream white jersey that is simple in the front with a plunging cowl neck detail in the back.

And finally.... this princess gown. It wasn't anything we haven't seen before, but it was very pretty....the Louis Vuitton tulle gown worn by actress Maria Bakalova. And yesfor our girl Margot , we went a little crazy with the tulle!

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