Final Fantasy IX
Garnet "Dagger" til Alexandros XVII
I've been meaning to re-make Garnet ever since I basically FINISHED the first version in 2008. After some pretty significant disappointments in my attempt in 2016, I decided to stick with the dress, and make the White Mage version seen in the early part of the game. This would allow me to basically Cheat on everything from the waist up, and since I already had finished boots and gloves, it was minimal work.
Scroll down, or Click Here to read about how I made this costume.
CONSTRUCTION TIME: ~
The short-haired wig is an "Always Sexy" from Amphigory in Dark Brown (#4), trimmed by me. The Long wig is a mix of 3 different Arda wigs -- a Venus, Ferarri, and Blue Steele, all in Natural Black. I sewed the Ferarri into the Venus for some extra lift without too much weight, as well as to get the longer side pieces without having to take away from the bulk of the longest hairs. The front scalp of the Venus was replaced with that of the Blue Steele, and then styled to most closely resemble her hair. There is also a third Stage Trick wig, which was made from 2 cheap Ebay wigs. The hairclip is made from a combination of Craft foam and worbla, and is held in place with a barrette clip.
I crafted the falcons claw pendant by sculpting a positive out of polymer clay, creating a mold, and casting it in resin. The crown-like setting was made using a plastic toy vening-machine capsule, raft foam, worbla, and rhinestones. The resin jewel is secured to wire with and strung through the setting with strong wire, so that the strain of the weight is not on the crown itself. Even so, this thing is HEAVY and I don't do well with neckalces, so I have to hold the pendant when I'm not taking photos.
The blouse is not so much a blouse as a structured bodice made to LOOK like a blouse. It's actually completley sleeveless, and the sleeves are sewn directly into the arm holes of the suit for increased mobility. The white fabric is a deluxe bridal satin. The base is made of a strength layer in duck canvas, fully boned, and lined, with a zipper up the back. The details pieces like the gathered bust and the button back are extra facade pieces, and were layered on top of the base bodice. Since I am not nearly as well-endowed as Garnet, I butchered an old bra, stuffed the cups, and sewed them directly into my blouse in the strength layer, to enhance the silhouette. The sleeves I drafted by hand, combining a Leg-o-Mutton sleeve and a bell sleeve, and adding thin cuffs at the bottom.
The bodysuit is a matte marigold stretch ITY/Lycra that I found at Hancocks in 2010 and promptly scooped up 6 yards, to cover all my bases. For extra strength and smoothness, I have a layer of powernet mesh as a middle layer from the underbust, down to the knees (like my own eprsonal built-in spanx). The pattern is the combination of altering a leggings pattern, and a bolero-pattern, and then butchering them together. All of the piping is made from layering elastic, and covering it in the same spandex as the suit -- the elastic also helps the cut-outs to hold their shaep.. I also chose to make the suit have 'stir ups' so that I could be guaranteed that the leggings would not ride up.. The belts on the thighs are made of a soft white pleather from JoAnn, and the buckles are painted metal "Santa Claus" belt buckles. The padding and belts loops on the thighs are each interfaced with a single layer of fleece, to give them some bulk but still allow for some stretch. The Eyelets arejust Extra Large eyelets from JoAnn
The gloves started life as plain red leather gloves. I created the straps from the same vinyl I used on my shoes, and then hand-stitched them in place.
The shoes started as a pair of black suede zip-up ankle boots, which I butchered and meticulously covered with red upholstery vinyl, using Shoe Goo. The added pieces were built out of a combination of craft foam and decopaging interfacing onto it w/ fabric glue. The stitching is all real, done by hand with white embroidery thread through the vinyl and foam pieces, before being attached to the shoe.
The Rod, which I love dearly, was comissioned from my friend Al Squall -- his wood working was so impressive to me, I knew that I wanted to have him make me the basic Rod, to show off the wood grain :) It's solid wood though, which means it's pretty hefty.