sexy fashion cactus

So. This was not a redesign, it was basically a mix of adding details, making things practical from a construction perspective, considering how the materials physically work and throwing studs at every seam available.

The thing with the Six costumes is that they are a mix of historical elements and the style created for the show. In this case it was a mix of the designs, four different historical periods and the Six style. It was fun.

Disclaimer: my knowledge of fashion history previous to the mid 18th century is superficial at best, so I couldn't go as deep as I would have liked with the historical inspiration (except with victoria, I do know that century)

Matilda: This one was mostly detailing. I added mesh on the top and shorts and changed the body of the jacket to holo vinyl instead of fur to avoid it looking less shiny than the rest. The one "historical" element I added is the lacing on the sides because on that century many kirtles (gowns) were laced on the sides.

Jane Grey: This was a tricky one. Took me a while to find the balance between a clean design and too little detail I was like two seconds away from giving it cutouts on alternating panels howard style, but it doesn't look right with the skirt. I gave her a fully structured pleated skirt (that would probably be a nightmare to make).

Mary Tudor: This is where I started deviating from the six costumes. The design had both fire motifs and original aragon costume sequins. I was looking for a way to mix this two as the vinyl wouldnt cooperate with small curves. And then I found this really cool sequin mesh with flame shapes and I knew it was meant to be. I also swapped the hanging charms for ones that are in the middle of the chain to avoid pulling it down.

Elizabeth: To say I went crazy with this one is an understatement. (I mean it literally has two parts) First I made the decision to change all the studs for pearls to keep the theme from the design, then I put pearls in every avaliable surface. The top skirt is made like the Boleyn skirts but with double the panels and a clear bottom. The design said embroidery texture for the skirt and my options were yet another fancy sequin fabric or pearl latice. I chose the latice. There is a legend saying the three pearls from Anne Boleyn's iconic B necklace ended in one of the british crowns so I changed the single pearl in her headpiece for three hanging pearls. The underlayer was the only thing here I fully designed. The inspiration was a crazy lady gaga dress that was just begging to be combined with one of my favorite historical illustrations (google ballet farthingale you won't regret it). The skirt would be folded under the skirt and just burst into life during the change. This is where I used the fancy sequin fabric combined with pearls on chains and in can't get any more extra.

Mary Stuart: This one got almost no changes from me it was mostlydrawing it with the show materials. What I did change was the top. The one thing I know about this time period is that the mantua was the fashionable dress and the design for this top reminded me a lot of the pulled back shape of the mantuas.

Anne: This one is my personal favorite. Again I took heavy inspiration from late mantua designs and mixed it with the original design. The lines, the layers, the collar shape, the wide sleeves. It made so much sense that it flowed in like five minutes. The one big change I did was the skirt top layer, the design said bustle, but Anne lived over a century and a half before those were a thing. What was a thing were layered skirts so thats what I went with.