Anastasia
When I began cosplaying in 2007, Anastasia was at the top of my dream projects list. However, as the years went on, I continuously postponed her because I was too intimidated to work on this costume. There’s part of me that regrets waiting so long and letting my lack of confidence stop me from cosplaying one of my favorite characters. But in many ways, I’m grateful that I had this costume patiently waiting on my list for when I needed it most. At the height of my depression, I was able to say, “Screw it. Now’s the right time. I’m ready,” and then threw myself into making Anastasia. I approached it with the mentality that if making this project didn’t bring me joy, if it became the last costume I ever attempted, then so be it. More than anything, I was just hoping to reconnect with the creative energy I felt when I started cosplaying for fun back in 2007.
I fully expected Anastasia to be a hot mess. I was tackling techniques I had never attempted before. This was my first time sewing a ball gown. That included my first time making an elliptical cage; my first time using rhinestones; my first time sewing a boned and lined corseted bodice; my first time designing and executing extensive beadwork; my first time sewing a petticoat. The list goes on. I was convinced I’d put the whole thing together and I’d hate it and want to set it on fire, but I was determined to finish it even as that voice in my head tried its damnedest to make me give up.
For extensive construction notes, please refer to the Anastasia tag of my blog.
A huge shoutout to J.Hart Design and Tracy Fletcher (tracyscostumingworld.weebl
The elliptical cage was constructed from scratch using the Truly Victorian TV103. The foundation petticoat was comprised of several layers of frills and godets made from iridescent organza in various shades. Those layers were covered with an overskirt of silk chiffon to tone down the luster, and the end result was a lovely shimmering effect that appeared with movement. The petticoat was covered by four circle skirts: the bottom one made of gold silk charmeuse, and the top three made from silk organza (two layers of iridescent, one layer of glitter). The two layers of the outerskirt were comprised of over 30 yards of silk chiffon, the under layer of which was gradient dyed. Both silk chiffon layers were hand-gathered to the yokes.
The bodice was self-drafted and constructed from double-faced silk satin overlayed with glitter silk organza (with structural layers of fleece and brushed cotton canvas). It had steel spiral boning and a corset lacing for closure. The sleeves were made from silk tulle. Both the waist bow and hair bow were made from hand-dyed silk dupioni. The kokoshnik had a buckram base, covered with the same double-faced silk satin/glitter organza combination.
The overskirt contained 10,000 Swarovski rhinestones, all of which were hand-applied. There are over 600 beads incorporated into the kokoshnik, sleeves, and bodice detailing.
For Anastasia’s wig, I used a Matilda in Dark Copper Red from Arda Wigs.
I ended up pouring 286.17 hours of work into this costume. 41.12 hours on the elliptical cage and structural elements; 37.81 hours on the kokoshnik (which I scrapped and remade twice); 40.25 hours on the bodice; 1.25 hours on the necklace; 16 hours on the sleeves; 102.24 hours on the petticoats and skirts; 6 hours on the wig; and 7.75 hours on the bows. The 10k rhinestone application process alone took 33.75 hours.
Wearing her at Katsucon felt surreal, but it was an incredibly validating experience to see all this hard work come together into something that looks passable! I’m excited to apply the skills I learned and techniques I attempted to future projects.
(Featured photo by The World of Gwendana.)