Oz: Dorothy Gale

Image: Kori Savoie

Dorothy Gale is the most recognizable and iconic of all of the Oz characters. For her look I wanted to stay as true to the 1939 version as possible. 

I acquired a cotton theatre costume constructed back in he 90's. My costume partner, Kate Hepworth made the alterations to the original costume to make it more authentic to Dorothy. She angled the straps, fixed the waist, changed the buttons and made other changes that brought the iconic gingham cotton romper back to life. 

Out biggest challenge was finding the trim for the neck and sleeves. In the original film Dorothy had a small trim that appears to be some kind of rick rack in a triangle shape. The color of blue was the challenge to match.

We tried felt, paper and ribbon. Not until we found the perfect shade of blue ribbon, that I can describe as periwinkle were we satisfied. It wasn't the exact shape but the color was perfect. I attached it to the neckline and sleeves with fabric glue as the shoot day was quickly approaching.

The Shoes: 

The original ruby slippers were covered in sequins and the bows embellished with rhinestone trim with larger stones on the interior. 

In L. Frank Baum's original 1900 novel, The Wonderful Wizard of Oz, on which the film is based, Dorothy wears Silver Shoes. However, the color of the shoes was changed to red to take advantage of the new Technicolor film process used in big-budget Hollywood films of the era. Film screenwriter Noel Langley is credited with the idea. (Source)

I acquired a cheap replica that is available at every costume retailer and chose to embellish them further.

The heel was exposed with satin and were not completely covered in sequins on the sides. I covered the heels and the rest of the shoe by hand with sequins of the same color. In the image the shoe on the R is how they arrived and the left is after being hand embellished.

The bows were plain sequins and I embellished them with red rhinestones and a little E6000.

 The basket was loaned to me by Kate for the shoot.

Poppy Prop's:

The iconic poppy's had to play a role in my set and prop's for Dorothy. I swiftly realized that artificial Poppy's are hard to find and when you fins them they are expensive. The usual dollar store flowers were not an option.

I got one bouquet of great quality poppies for the shoot.

I incorporated it into my set too by purchasing an artists work in the form of wrapping paper I laid on the floor beside my "Yellow Brick Road". 

Blue Socks

Makeup:

Dorothy's makeup was simple. A neutral eye shadow - MAC Dazzlelight , and a neutral tan shade from a Disney pallet called "Villainous",  false lashes and a neutral colored lipstick called Pasion - Frida Kahlo Collection

Hair was done with a simple roll and ponytail topped off with a baby blue satin bow.

Dorothy and her perfect Toto, our pooch Leo.

Oz: Glinda The Good Witch - The Gown

Glinda the Good Witch character was such a joy to create. She, along with the Tin Man were the two mist complex costumes for the shoot.

My step-daughter Danica has a similar hair color to the original Glinda, played by actress Billie Burke so no wig was necessary. A few hot rollers, a quick brush out and voila, Glinda 2019.

The makeup was natural and simple as well. 

The perfect Glinda Gloss: Haus Labs gloss in "Le Riot"

So many beautiful details went into producing her look.

The Gown:

Glinda's original gown was designed by famous Hollywood costumer, Adrian. It has been said that he actually re-used/ recycled a gown from a precious production which is not at all uncommon for costumers of large houses to do. Read more about it HERE.

I decided to purchase a base gown in the "Glinda Pink" and use it as the foundation for the creation of her character. It was hard to choose the color as the film stills and actual technicolor film varies so widely. I went with the shade that I felt best represented the character. 

I enlisted the help of my good friend and creative partner in crime, Kate to help construct the sleeves, remove items/embellishments that didn't work, re-configure the neckline and build the undergarment that gave the skirt The Glinda Shape. Her dress has wide hips with a flat appearance in front and back, similar to the 18th century look of a pannier undergarment (Think Marie Antoinette). We didn't have the budget or the time to construct one or purchase one so Kate in her genius improvised with fabric.

We used scrap fabric we had on hand to create the tie on "Pannier" with an exterior of iridescent organza. She chose a tie up method so it could be easily adjusted for my step-daughter on shoot day.

The modifications to the base dress was the neckline, the embellishments/appliques were removed from the top layer of tulle.

The sleeves needed to be constructed from scratch by Kate who referenced Glinda's iconic look and shape for the shoulders.

My daughter as Dorothy and Step-Daughter as Glinda.

 Kate, working her magic. I love designing with her!

Kate used the same method of stuffing the shoulders with fabric. She removed the stiff tulle underskirt in portions under the front of the skirt so it would lay flat and re-used it to create the shoulder volume with a gorgeous shell of pink organza.

The sleeves were constructed from a stretch tulle to ensure they would fit her. We didn't have fittings so Kate decided it was the best way to ensure fit for Danica and whoever else may use/wear this costume.

Glinda's gown is covered with silver stars so instead of doing them by hand we chose a pale pink organza fabric printed with silver stars.

We chose not to continue it all the way around and left the back open and pink tulle exposed so the back bow ribbons could cascade down. 

The butterfly details seen on Glinda's dress were created by hand by me. I used feathered small butterfly clips in white and hand painted them silver. I used them for each wrist and for the vintage pearl necklace.

 The stones needed to be hand removed from the pink butterfly before I could paint it silver. the glitter lines gave great texture to it. Each butterfly can be removed so the dress can be cleaned and to ensure proper placement regardless of what body shape/type wears the gown in its next life.

 vintage faux-pearl choker and butterfly clip combo.

Last but not least, I used a brooch from the 1950's to replicate the feeling of her large bust embellishment. A mix of faux-pearls and rhinestones were the perfect edition.

Tomorrow I will outline the details that went into her iconic accessories; The hat and wand.