The first version of Carlotta’s dress was completed in December 2019, but I revisited the project in 2023 when I created a complementary Piangi costume for a competition. For Piangi’s outfit, I was able to incorporate leftover materials from Carlotta’s gown, but the challenge of finding new fabrics that matched the original look added a fresh layer of complexity to the process.

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For Piangi’s costume, I started with a green tunic made from burnout velvet, lined with black satin for comfort. The tunic features a contrasting red velvet yoke, embellished with hand-sewn trim details, and matching red cutouts on the sleeves. Along the top of the tunic, I applied a combination of sequin appliqués, trims, and gold rhinestones for added sparkle. The chest armor was crafted from EVA foam, which I covered with stretch metallic gold fabric and adorned with additional trims and gemstones. The armor is secured with shoulder straps made from metallic brocade, along with a hidden strap around the back of the waist. The straps also feature buckle clips designed to attach a removable cape—allowing the cape to be easily detached during the performance, yet strong enough to support its weight.

The tunic extends into a pleated skirt that mirrors the technique used in Carlotta’s costume, with layers of fabric and trim creating an intricate effect. The skirt, originally five yards in length before pleating, is designed to echo the elaborate details of the Carlotta ensemble. On top of the armor and tunic, I added a decorative belt made from hand-gathered red and green velvet, centered with a stunning sequin appliqué. The belt is further enhanced with hand-sewn trims along the top and bottom and finished with a beaded fringe and large gold tassels. The double-sided cape matches the materials and layering technique used in the rest of the outfit, with gold fringe along the hem and corded tassel details on the shoulders. The shoes were hand-patterned using stretch faux leather with an embossed "stud" effect. The cutout sections are reinforced with skin-tone power mesh for structure and comfort, while the back features a zipper closure. Red and green lacing, along with gold buttons, complete the shoe design. The wrist cuffs were made to match the chestplate, using EVA foam covered with stretch gold fabric and trimmed for detail. To complete Piangi’s look, I created an elaborate hat out of EVA foam, fabric, and trims. The hat features a 3D-printed griffin at the front and a lion on top, both gilded with gold leaf for a striking finish. Possibly one of the most interesting components of the costume is the hidden fall-protection harness that is worn underneath, to aid with the special effect that takes place on stage. Because the harness is quite bulky, the entire costume was patterned with enough ease to fit, and an easy-open velcro backing to quickly access the harness for the performance. 

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