The blouse is a purple chiffon "peasant" blouse with an elasticized neck; I got it off the clearance rack at Hot Topic a few years ago. Over it is my stalwart Frederick's of Hollywood "Renaissance dream" corset, and it's matched with a full tiered black velvet skirt I picked up at Red Light, a thrift/vintage clothing store in Seattle. The stole is plush black velvet, 8 feet long with fringed ends, and was made by my boyfriend. The choker consists of a black velvet ribbon knotted at the back of my neck, with a faceted plum glass pendant that was originally a chandelier drop.
I bought the mask that afternoon at the con, from artist Judith Rauchfuss of Leopard's Leap, specifically because it went with the outfit. My hair (which is actually only chin-length) is pulled into a high ponytail with a black velvet scrunchie, and a variety of black fabric floral ornaments from a bridal department are tucked into the bottom edge, running along the top of my head and falling alongside my face. Bangs and tendrils are swirled into curlicues with a spiral curling iron.
Makeup is intentionally very dark and very dramatic--glittery plum and shimmery lavender eyeshadows, black shadow worn as smoky eyeliner, black mascara and deep plum lipstick.
I was really astonished at how lovely this outfit was when it was finished. Take this outfit as an object lesson in the importance of being creative with your thinking when it comes to costuming: sometimes, all you need to do is pull together some pieces with imagination and flair to come up with something stunning.
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| After all these years of costuming, I've developed a nasty little trait: I can't leave an outfit alone. Nope, given the chance I'll keep tweaking and touching up, trying to make an outfit that little bit better. The biggest problem I had with this costume in its first incarnation was that the simple black velvet skirt just seemed too "flat." In the fall of 2000, I bought a hoopskirt to go with another costume; but its mere presence in my wardrobe led to new musings. Why should a hoopskirt be used only for one outfit? And what about all these big, full broomstick and ballgown skirts in the closet? The result of those musings: the new and improved Masked Beauty, shown here in its Norwescon 2001 incarnation. The top, bodice, jewelry, hair and makeup remained mostly the same. The biggest change was in the skirt. This layered wedding-cake confection is actually four pieces: first, a hoopskirt. Then, a black silk broomstick skirt, which I ironed smooth so it would cover the hoops. Layered over that is a slightly shorter purple silk broomstick skirt; also ironed smooth. Finally, on top of all, the full black velvet skirt from the previous version, hitched up at the sides to give it that rounded, "swagged" look. I brought along the plum velvet mask from the previous version; but that very afternoon, I paid another visit to the Leopard's Leap table, and fell head over heels in love with a new piece, which I decided to wear with the outfit. This photo does not show it well, but it's a headpiece rather than a mask, which sits atop the forehead; it has a rounded shape with a a "widow's peak" and wire "spit curls." It's made of embroidered black silk velvet and is decorated with black lace, black crystals, and black velvet leaves. As noted, makeup remained mostly the same, though I did add some purple glitter on the eyes and lips; and I threw in a black paper fan as one of the accessories.
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