I do love a sparkly dance frock…

It’s funny how sometimes, when life dishes up lemons, it can take quite a while to get that lemonade made.

What on earth am I talking about…? well, when I left my job in a secondary school five years ago in a manner not of my choosing I had no idea what could happen next. If you’ve been reading my blogs for a while now you’ll know that I’ve carved out a life that involves sewing for my own pleasure, sewing for others, visiting interesting galleries, museums and exhibitions and, best of all, forming new friendships through those sewing activities. This post is really a result of the last one…

Two years ago Mr Y and I went on a cruise to the Baltic at a time no longer during school holidays, which turned out to be a Strictly Come Dancing-themed cruise. It was during this that I met Theresa Hewlett and without whom no costumes for the TV show would get made. She is the pattern cutter and alterations manager for the show, and designer Vicky Gill’s right hand woman. I didn’t know any of this when we first met on the ship, many of the costumes from the most recent series were on display around the ship and T was there giving us all very insightful guided tours of the dresses with tales of how each garment was constructed. As you can imagine I absolutely lapped it up [you can read my two blog posts from that trip here and here] and I was even more pleased to discover we’d both attended London College of Fashion within a year of each other.

That was that until several months later when I decided to give Twitter a try and somehow came across Theresa, on there, During the duration of the show she regularly tweets updates on progress of the costumes and little behind-the-scenes nuggets (she certainly never gives away big secrets though!)

Joanne Clifton’s show dance dress from the SCD Final 2016

DSI-London are based in Croydon, south of London so I travelled there by train and tram and found them based in a very unassuming building in a quiet residential road. I’d be lying if I told you that inside all was super-glamorous sparkles, feathers and sequins because that wouldn’t be true. Up the stairs you enter the showroom where customers can shop from the RTW items of essential ballroom and Latin dance-wear such as practice clothes, shoes of all styles, spray tan and eyelashes. It is also in this area that fittings on bespoke outfits take place. Later on in my visit I was privileged to sit in on fittings for two custom-made dresses for a young dancer who had flown over especially from Ireland and was flying back again that evening. It was fascinating to watch T tweak and measure and pin (always safety pins, regular pins would fall out straight away-I’m going to remember that one when I’m pinning wedding dress skirts in future!) T’s colleague Nina sits in as well to make notes of the customers requirements and record measurements, photos are often taken too, especially as the client is unlikely to be able to come for many fittings.

just a few of the made-to-measure couture dresses
a selection of styles available
all the fringing…
a man’s ballroom outfit
a ‘body’ so that the shirt doesn’t come untucked
all the colours in all the fabrics (actually this isn’t anywhere near all the fabrics but it’s a start!)
custom-beaded ballroom shoes
choose your stones here
perfect for a wedding too?

T gave me a tour through all the different departments within the company, they don’t only produce the Strictly costumes but also Dancing On Ice, as well as costumes for cruise ships and many other shows around the world. The ready to wear garments for these orders are cut and made in a separate workroom on the same floor. The cutting room for men’s wear is downstairs, as are the bulk of the fabric, haberdashery and trim supplies, and the laundry room.

The designs are created by Vicky Gill (who sadly I didn’t get to meet during my visit) and then T makes the made-to-measure patterns which are in turn are passed to a highly-skilled cutter who cuts all the fabrics and they go on to the machinists who sew the garments together, each person generally makes the whole garment and any alterations go back to that machinist too.

Once the dress is put together a fitting like the one I witnessed takes place to check fit and skirt length. The dress goes back to the machinist for any changes to be carried out and then it goes on to the stoning department for embellishment, which might include feather trim too.

Ash, the king of stoning, was on holiday when I visited so I didn’t meet him either.
there were lots of mannequins with beading in progress-bodies all over the place!
Boas might be trimmed and the feathers glued into very small bunches by hand, ready to be stitched onto bodices and skirts, or the boa is left whole if it’s going on hems, or sleeves and necklines for example.
a design in progress, before its embellishments are added
the colours of stoning on this bodice were simply beautiful

Scattered all around the studio are mannequins in various states of undress and with different quantities of padding. The machinists use these all the time to be able to assess the dress as they progress, for the placement fringing or embellishment for example. [Incidentally, every dress is built on a leotard base so whenever there’s a ‘no knickers under her dress!’ scandal after the TV show it’s nonsense]

This client wants a longer skirt than usual, although this will be shortened a bit at the fitting. The fabric is gorgeous with huge ‘pailettes’

DSI often has dresses come back to them for alterations, fashions change, children grow, bodies alter. New skirts can be added, sleeves removed or added, stoning added to. It’s worth mentioning that the dresses (apart from ones with feathers on) can go in the washing machine, a fact I found amazing! In another part of the building there is a laundry with dresses drip-drying on a rail. Everything is sewn together on industrial zigzag machines along with rolled hem machines and overlockers. Theresa told me it’s very challenging at times to keep the machines working happily because they have to sew through so many layers of difficult fabrics at once, frequently including feathers and crin, and sometimes stoning if an alteration has to be carried out after completion. (they use heavy duty domestic machines to carry out repairs or alterations at the TV studios whilst the program is going out)

Many of the dresses from the TV show are hired by other productions of SCD around the world, they are all for sale on the company website so you could buy yourself a little piece of Strictly. DSI-London sell a wide range of specialist fabrics and trims too so if you ever need/want to have a go at making costumes or dancewear then have a look at their website.

T at work! would you look at all those zips too!

I so enjoyed my visit to DSI-London and thank you so much to Theresa and all the staff who were so friendly and made me very welcome. I absolutely loved being back in a workroom environment again, it’s been a very long time since I was part of a creative team like this and it made me realise how much I miss it-everyone has a part to play in the making of these garments whether it’s wedding dresses in my case, or dance dresses. Obviously it isn’t glamorous in the slightest, it’s hard work in a hot room, and the pressure is immense when there’s a live TV programme at the end of every week for three months…and then Dancing on Ice after that.

It’s possible to for you to visit DSI-London too as they offer tours around the premises at different times of the year, have a look at their website to see when they are next taking place. I know they have proved popular though so there may be a bit of a wait.

It won’t too long now until the new series of Strictly starts again and the relatively peaceful atmosphere of the workrooms will be replaced with frenetic activity, I’ll be thinking of the people I met during my visit as they produce dozens of beautiful garments every week to dazzle us on our TVs on Saturday evenings during the autumn. And if you want regular updates on costume progress during the week, follow Theresa on Twitter.

Until next time,

Sue

Balenciaga at the V&A

I finally managed to get to this gorgeous exhibition the other day and it was frustrating to think it was both ‘worth the wait’ and ‘why did I wait so long!’  Whatever the answer I really glad I did.

I’ve loved the V&A since I was about 14 or 15 when I was studying for O-level Needlework (!!) and I used to visit to draw the clothes that were on display in what was then known as the Costume Court. I would sit patiently in front of the cabinets to sketch the details of historical garments, it’s definitely where my love and fascination for the construction of garments began.

Amazingly I found some of my original sketches from that time (although if you look carefully one of them seems to have been tampered with by a small child!) They were drawn on graph paper donated by my Dad. At that time I’d decided I wanted to be a costume designer, although through a few educational twists and turns I finished up doing bridal and evening wear instead which was the next best thing. Fortunately since then the fashion galleries have moved on a fair bit in the way they display things now, more rotation of garments from the collections and less dusty mannequins. That said, a few of my favourite garments from that era are still on display so I can still get my nostalgia-fix.

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one of my favourites, a magenta crinoline

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This is another of my favourites, it’s from 1937 designed by Charles James and made in a silk chiffon with a print by Jean Cocteau…I’d wear it now given the chance!

Nowadays they utilise the central downstairs area to host changing exhibitions along with the upstairs gallery. [This is was an inspired move in my opinion because all that the upstairs area used to contain was ancient dusty stringed instruments and, as far as I could tell, no one ever went up there!!]

And so to Balenciaga…he was a Spaniard born into a humble background in 1895 who eventually worked for almost all of his illustrious career in Paris and came to be hugely respected and influential amongst the pantheon of great designers.IMG_3077

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He developed innovative ways of handling fabric to create extraordinary shapes and styles, many of them had hidden foundations which enabled them to hold their shape. Fabric was all, it was always his starting point and the design came from there, not the other way around. He was extremely proficient in all aspects of the design process, he understood fabric and its capabilities, so he could drape and cut the fabrics into his chosen shapes, he was an expert tailor, pattern cutter and could sew too. Not every designer is capable of all this and many rely on the expertise of others to realise their visions. I have great respect for designers like this.

Balenciaga at work
Cristobal Balenciaga at work in his atelier, a calm and quiet place where he always wore his customary white overall.

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One thing that is different about this exhibition to most others I’ve been to at the V&A is being allowed to take photos-I can only assume this because they’ve given up trying to stop people, or they don’t need to protect anyone’s copyright or intellectual property??

The dress in the foreground here was, apparently, adored by fashion editors of the time and much photographed. Only a few were sold though because it was nearly impossible to go to the loo whilst wearing it!!

The exhibition has a several displays at the beginning which illustrate Balenciaga’s use of fabric and his swatch system and the designs that stemmed from it.

His Spanish heritage was often a source of inspiration too, boleros being typical of this but also the use of lace and flamenco-influenced ruffles and flounces.

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a bolero jacket…sorry, not a good photo…

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The whole of the downstairs part of the show is given over to Balenciaga’s own designs for both his couture collections and the ready to wear line that he also developed. There are evening gowns, coats, day dresses, tailoring and pant suits. There’s an opportunity to try on mock-ups of a garments for yourself, and there are also a number of toiles that have been recreated in calico by MA students from UAL including Claire-Louise Hardie who blogs as The Thrifty Stitcher and who was the sewing producer on the Great British Sewing Bee series.

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Claire-Louise Hardie’s toile

There are several exquisite beaded coats and gowns as well as a fascinating accompanying video showing exactly how the beading is done-don’t miss it, it’s enthralling. IMG_3102IMG_3103IMG_3104

I adore this dress, my photo doesn’t do it justice as it’s a vibrant fuchsia pink in reality. On the wall behind is one of several specially commissioned x-ray photos taken by Nick Veasey and showing the secret interior construction of the dress.

This is a strapless gown that has been turned inside out so that you can see all the details that mean the dress won’t fall down! My previous blog from a visit to the FTM also tells you about my ‘hands on’ experience looking inside beautiful couture clothing, read it here. 

Upstairs there are lots more clothes created by many contemporary designers who acknowledge the debt that their designs owe to Balenciaga’s influence. These include Roksanda Illincic,  Erdem and Nicholas Ghesquiere, who became chief designer in 1997 when the Balenciaga brand was reinvigorated for the 21st century.

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Roksanda Illincic-love this!!

 

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Erdem

 

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Nicholas Ghesquiere for Balenciaga

There’s so much more to see than I can show here so I’d urge you to go along to the V&A if you love finding out about the history and development of fashion design. This exhibition is on until February next year so there’s plenty of time at the moment. Make sure you look around the rest of the fashion exhibits that are on display in the surrounding gallery too-there are so many interesting garments, often dating back centuries, and you can see the influence and development that they’ve had on clothing over that time.

I’ve been a member of the V&A for 3 years now so I can go as often I like to their exhibitions but, as ever, all opinions here are my own! I hope you enjoy this show as much as I did and I’d love to hear your thoughts on it.

Sue

Strictly dresses part 2!

So here I am with another collection of photos and, I hope, interesting info about how the dresses come together on Strictly Come Dancing (Dancing with the Stars elsewhere but I guess you know that)

With the start of every new series Vicky Gill is given a set budget and from this she has to create every single costume. At the beginning that’s a LOT of outfits because initially there are 16 celebrities and their professional partners, there will be group dances every week on the main show and Sunday night, as well as other dances accompanying any guest acts. Theme weeks like Halloween, Movies or Musicals mean there might be other accessories too which wouldn’t usually be needed. The budget restrictions also means that each week some dancers will get more elaborate or expensive outfits whilst others are less costly. This usually results in a ’swap’ over the following weeks so that everyone gets something very special at some time or another…unless they are voted out early doors. As I said in my previous blog, some of the dresses can cost as much as £2000 so they will almost certainly be reused in subsequent series whenever possible or sold on the DSI website, or on the SCD cruises for that matter.

I mentioned how Vicky might have particular fabrics cropping up throughout a series and Claudia’s two piece featured here is another example of the lace or embroidered fabrics that she used in the last series. It’s also the sort of style that wouldn’t be seen in real Ballroom dancing competitions, they have their own trends going on and SCD doesn’t particularly reflect them, it’s often more fashion-led than competition clothes.

Claudia F
Claudia’s skirt is an example of the use of ‘crin’ around the hem to make it stand out. It’s used in different widths, usually 1″, 3″ or 6″

Claudia F blue
Theresa told us how this skirt changed shortly before the actual show from being a peach underskirt with navy organza and satin overlay to having a navy tulle overskirt. This was because Vicky decided it was too shiny under the lights in the studio.

 

The dress run takes place on Saturday afternoons and in the 2 hours between the end of that and the live show starting the team will often have to make changes to costumes for lots of different reasons-too long, too tight, too shiny, too daring etc etc. Vicky and Theresa are at the studio in Elstree from Friday evening and take a supply of fabrics so that skirts can be recut, repaired, whatever is needed. The dresses are made at DSI’s base in Croydon but they are then taken by car by a member of staff direct to Elstree on Thursday evening, this is because they can’t risk putting everything in a taxi or a van and then it ‘disappears’ en route-no costumes=no show!. Bearing in mind that the costume designs aren’t usually finalised and started until Tuesday morning that is an incredibly tight turnaround. The machinists are extremely skilled and adept at working with stretch and other tricky fabrics, it isn’t for the faint-hearted that’s for sure. Vicky often watches training footage too to ensure that her designs will work in conjunction with any tricky lifts for example-too much skirt or fancy details at the waist might make it really difficult.

Before the live show begins everyone is sewn into their outfits so that no disaaaasters like straps or hooks coming undone, ties flapping about in the male dancers faces and so on can happen. This is fine unless they need the loo, in which case it has to be redone after they’ve been!

Katya and Ed
Ed the knight in shining armour swept new dancer Katya off her feet in this dress.

Katya 2

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This was an unusually sober dress although it did have some stoning on the polkadots

Ed Balls was a good example of a male celebrity who didn’t want any sparkle to start with but quickly embraced the whole ‘Strictly-fication’ of his outfits!

I loved this dress that Daisy Lowe wore to dance to the old music hall song “Daisy, Daisy, give me your answer do” with Aljaz. It was so understated with a simple daisy lace trim added to the neckline and crystals on the front. It’s a good example of a less costly dress too.

Daisy daisy
It had an unusual cowl back too.

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Tameka Empson’s Charleston costume was probably one of the least expensive outfits to create in plain navy fabric and very few sparkles. Theresa told us the red trim was an example of a costume getting altered after the dress run because the front was too low and revealing, especially for an active Charleston!

Tameka Charleston
I loved this dance, it’s a shame Tameka didn’t get further in the competition.

Tameka green dress

 

Green, blue and pink was an unusual combination but it works beautifully. There are a lot of stones on this dress so it will reappear in a future show in a different guise. IMG_0510IMG_0511IMG_2635

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These are 2 of the most unusual costumes to feature on SCD. They were worn by Judge Rinder and Oksana when they danced the Paso Doble and the skirt and ‘moth wings’ were both hand-painted by an artist-friend of Vicky Gill. Theresa was telling us that the jacket didn’t have enough colour on it so they were daubing it with Dylon only hours before the show and drying it with a hairdryer!

Strictly Come Dancing 2016

Just a few more pictures now and they are some of my favourite costumes, all worn by Joanne Clifton, who won the competition dancing with Ore Oduba.

Ore Singin' in the rain
This lovely canary yellow ‘raincoat’ wasn’t out on display to see close up but it did feature in the fashion show and was modelled by two members of the crew!

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The dress featuring in the fashion show on board.

A very different sort of dress, it featured shorts under a long georgette skirt (which wasn’t always georgette, it got changed late on) and a roll-neck top which was stoned. The striped fabric is more usually used for the men’s shirts.

This dress worn by Joanne for the Quickstep was one of the hardest to create because of the centre front seam between 3 different fabrics. It also featured heavyweight metal zips from the side and across the back as well as crystals, sequinned fabric and gemstones! The finished result looked amazing but took a long time to achieve.

Ore showdance
Old school Hollywood glamour for the Final

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So simple yet so lovely, sheer navy over a nude base.

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Feathers, multiple godets and crystals-gorgeous!

Lesley Joseph was the oldest person so far to compete in the main series of SCD and she looked stunning in this beautiful raspberry pink heavily beaded dress. Unusually it has a centre-front zip because of the beading details on the back.

I’ll finish up with two more hot pink outfits [because it’s my favourite colour] as worn by Breakfast television presenter Naga Munchetty and  professional dancer Karen Clifton.

Karen’s outfit for her dance with singer Will Young to Jai Ho! was made using sari fabric and embellished with Indian necklaces bought in a sari shop.  The gold belt was made using plaited elastic and, like the bodice, it was stoned to make it sparkle.

So that’s about it, I took masses of other photos of the Showcases which the professionals danced as well as the fashion shows but sadly many of them aren’t good enough quality to publish here.

I hope you’ve found it interesting because I certainly enjoyed finding out all about the creation of the outfits and all the back-stage stuff, there’s probably still masses more I could have learnt and I would have loved to chat more with Theresa [it turns out we both went to London College of Fashion at virtually the same time although she went on to work for the Emanuels…. and I didn’t]

As before, the information I’ve shared is as I remember it from the cruise so I hope none of it is incorrect or misleading, and I’ve received no payment either. If you think it is then do let me know so that I can rectify that. Most photos are my own but others were sourced from Google images.

It’s only a couple of months before the whole cycle starts again with lots of new celebrities and we can marvel at what Vicky Gill and her brilliant team create in almost no time at all.

I, for one, cannot wait!

Keeeeeep Dancing!

Sue

close up with the Strictly Come Dancing costumes

I haven’t written a blog for absolutely ages because I’ve either been super-busy with sewing, teaching and alteration commitments, or I was away from home, and now two blogs come along in quick succession…

In early May I went with my good friend (and sewing student) Sue to south west France to walk a section of the Camino de Santiango between Cahors and Moissac. After taking Eurostar and the TGV all the way to Cahors we walked from one destination to the next every day, carrying all our belongings with us in our rucksacks. It was challenging at times but a positive one. We had little contact with home, no TV or news (lovely!), no make up, simple accommodation and delicious home-cooked meals. It also meant I couldn’t worry about anything back home so it was very liberating in that respect. One of the things I didn’t have to think about was sewing and, much as I love it, I didn’t particularly miss it!

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all of my belongings for a week were in this bag…it was quite heavy

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spotted in the window of a French dry-cleaners….seems all the world needs things fixing!

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best foot forward….

After my French sojourn I had a couple of weeks in which to start/continue/finish as many projects as possible before heading off on a cruise around the Baltic. What we didn’t realise when we booked it months ago was that it would be a Strictly Come Dancing themed one and not only would judge Craig Revel Horwood be on board (with his Mum Bev and his sister Di!) along with dancers Aljaz, Janette, Giovanni, Oti, Oksana and her husband Jonathan, but LOTS of the costumes would be on display too!

We were sailing on the P&O Cruises ship Britannia from Southampton and once we were on board we set about exploring straight away…actually that’s not quite true because we had some lunch first!

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3 of the dresses on display in the atrium of the ship.

I discovered that the costumes were on show in the central atrium area of the ship so we generally had to go past them most of the time if we were walking elsewhere, which wasn’t a problem as far as I was concerned. They were all displayed on mannequins and you could get right up close and have a good look at them. This was thrilling enough, and I would have been happy with that, but then I discovered that there was going to be a guided tour of the dresses so we could find out more about each of them in detail. Fab-u-lous.

So my husband (bless ‘im) put my name down on the list [we were first and second hehe] so on the second sea day we rocked up nice and early for the ‘tour’.

So the first thing I learned is that all the costumes (men as well as women) are made for the BBC by a company called DSI London based in Croydon. If you ever watch It Takes Two in the week during the run of Strictly you’ll see designer Vicky Gill talking about the dresses for Saturday night’s show. Although she wasn’t on the cruise her production manager and indispensable right-hand woman, Theresa Hewlett, was. What might seem like a dream job she described as hectic, stressful, fun, very long hours, pressurised, sparkly, rewarding and exciting.

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Theresa…oops, eyes shut 😉

Theresa walked us through the various dresses on display, many of which were from the most recent series of Strictly [I bet you didn’t know that you can buy the actual dresses as worn on the show? They go onto the DSI website on the Monday morning so you too could own a piece of telly memorabilia…although it doesn’t come cheap]

Over the course of the series they will have to design and create in the region of 350-400 dresses and outfits! That’s a lot of crystals, ruffles and godets! Incidentally DSI are also responsible for the male judges outfits but not Tess, Claudia or Darcey-they have to sort themselves out-although they quite often have to shorten Claudia’s frocks as she’s so diddy.

This is a selection of the dresses I saw and wherever possible I’ve accompanied them with a picture of the celebrity wearing it in the series.

Anastasia wasn’t in the series for that long but several of her dresses featured and they are interesting because they were made from ready made basques which were bought on the high street and then customised. She liked a slinkier silhouette so they had lots of fringing and were heavily embellished with crystals by Ash who does most of the stoning and you’ll hear Vicky singing his praises on SCD ITT on a Thursday night regularly.

This black Guipure lace with baby pink lining was worn by Laura Whitmore, it was such a pretty combination. Theresa told us that Vicky gets sent samples of all sorts of fabrics and last season there was a lot of heavy laces which aren’t traditionally used in ballroom dresses. The dress worn by Oksana dancing with Judge Rinder was also lace although it was a more ‘fun’ dress. Because lace doesn’t stretch like the other fabrics used it would often have to be cut in small segments for the fitted bodices and pieced back together over body curves.

I loved this pretty dress Oksana wore in a peachy shade with heavily-crystalled bodice and neckline. We were lucky enough to see her wearing this dress for real in the second week because she and her husband came on board. It’s an example of a bodice and skirt which Vicky uses quite often because of the flexibility it offers by being adaptable and getting a good fit in double-quick time.

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Oksana in her ‘Prom’ dress in the on-board fashion. show

Judge R Flintstones
The white Flintstones dress was interesting close up, it was lots of feather-shaped pieces sewn on singly to strips of elastic which, in turn, were stitched to a white leotard.

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The ‘feathers’ look really effective but were, apparently, a real pain in the neck to sew on.

Theresa told us how all the dresses start out on the base of a leotard, everything is made from scratch so they have a huge range of colours and fabrics at their disposal, almost all of them stretchy to allow full movement. They have bra-cups in them when needed, or made in such a way that the dancer or celebrity can wear their own bra under it,  invisible straps or flesh-coloured mesh. The celebrities usually start out quite shy and want to be covered up but as they progress, and often slim down a little, they become happier to expose more flesh.

Louise Rednapp was a good example of this. She didn’t want anything figure-hugging at the beginning (even though she has an enviable figure!) but by the Final she was much more confident about herself and her abilities and her outfits got more revealing.

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Louise’s Argentine Tango dress

Louise Argentine Tango

This is Louise’s show dance dress from the final in a lovely grey and pink combination. You can also see that it’s been the victim of a mishap at some point because the front decoration has been damaged. The dresses frequently go overseas on loan to other versions of SCD and, although they shouldn’t, they often fiddle with or alter the dresses.  This particular dress got sold to a passenger on the cruise so the front will be rectified before she takes delivery. Louise showdance

Because the dresses are so stretchy they will fit anyone from a size 6/8 up to about a 14 which can be useful during the run of the show. Dresses which are heavily embellished are extremely costly both in terms of crystals used and the man hours making them so one garment could cost as much as £2000! These dresses (if they don’t get sold) are frequently recycled in later series by using the bodice and/or skirt on a new outfit. Unless you’re very eagle-eyed though I doubt we’d recognise it. I was fascinated to learn that the dresses will all go into the washing machine! on a gentle cycle mind you, and not the ones with feathers on, they get carefully hand washed.

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Natalie Lowes and Greg Rutherford dancing a Samba

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Close up of the stoning on one of Natalie’s outfits

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these are strings of bugle beads which are glued in position. It’s used to give a lovely feathery or swishy effect but is pretty time-consuming.

Natalie samba
The outfit in action, it was memorable because Natalie managed to finish up with the skirt up around her waist by the end of the dance!!

Natalie’s dress from Movies week when she and Greg danced to the theme from Robin Hood, Prince of Thieves.Natalie Robin Hood

Theresa told us that Natalie always likes a belt or sash to emphasise her waist.

black and white dress

This dress is one which featured in the group dance at Blackpool so it’s one of about 12 the same or very similar! It’s a lovely example of stoning too, as is the dress below .

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More fringe beading on Oti’s show dance dress, it was amazingly heavy!

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Oti Mabuse and Danny dancing in the Final.

This is an example of a dress which will be reused sometime in the future because of the the amount of work in it, even though it is essentially a tube of stretch fabric. When Oti came on board during the second week she brought with her another of her dresses from the Final.

This one was also extremely heavily stoned, probably one or two days work alone!Oti showdance

The crystals are applied by picking each one up individually on a small stick which has a blob of bees wax on the end and then glued on. Ash has several people who help him but it still takes HOURS.

When Oti and Danny danced their jive (I think…) she wore this heavily-stoned two piece in green, a colour that she wasn’t very keen on. It was green because the dance had a snooker hall theme so it was the colour of the baize. Another factor that Vicky Gill must take into account every week is that each couple has a different colour from one another so that there shouldn’t be two shades the same or too similar, to give a balanced look to the show. It’s one of those things that the audience wouldn’t even think about probably.

I’ve got loads more pictures and interesting info to share so I’ll finish this blog here and write up a second one, that way you don’t get Strictly overload! I’ve got lots more insider facts to come yet…

All the information I’ve shared here is as I understood it from the guided walks and fashion shows that I was fortunate to take part in. If you know any of it is incorrect or misleading in any way please let me know so that I can rectify that.

Most photos are my own, others were sourced from Google images,

Until next time,

Sue