#slavegirl tiara

[operafantomet]

Victoria Paine (now Todd), Heidi Richards and Amelia Jackson (now Holmgren) from the 2018-2019 Danish revival

[andrewlloydwebber]

Imogen Lily Ash (Meg Giry) and Maria Hanke as the Wardrobe Mistress, Copenhagen. (Sorry they have three Christines and two Madame Girys, I can’t identify them)

EDIT: It’s Sibylle Glosted

x

[lightleckrereins]

Guess who is back with an update. After a very chaotic second half of april I finally made progress on my slavegirl costume. All accesories are now done. If you saw any of my recent stories you might have seen that I was making two different tiaras. I had been debating for a while which version I wanted to make, the US one like my previous tiara or the gothic crown one. I ended up making both with the excuse that I will be wearing the costume for both Christine and Meg, but its actually because I really wanted both tiaras. Swipe to see the main inspirations. And I also finished the wristbands and now I'm working on the embroidery for chestplate and belt. #cosplay #phantomoftheopera #potocosplay #phantomoftheoperacosplay #christinedaae #christine #meggiry #christinedaaecosplay #hannibal #costumemaking #tiara #victorian #broadway #broadwaycosplay #musicaltheatre #musicalcosplay #mexicancosplayer #cosplaymexico https://www.instagram.com/p/CdRuMkMJ0Q3/?igshid=NGJjMDIxMWI=

[sewnbyjosephine]

Worked really hard on this tiara so why not repost from Instagram! I've been gathering materials for a Vegas slavegirl Christine costume for several months now. This is the first finished piece from that cosplay.

[operafantomet]

Hello. Can you make a photoset of Lina Mendes's Christine wardrobe, please? I love that she got to wear many vintage costumes

VERY MUCH THIS. I am still so pleasantly surprised about some of the choices made for principal Lina Mendes and alternate Giulia Nadruz. That they resurrected the old Dutch costumes instead of making lots of new stuff, OMG! My inner Phantom costume nerd exploded with happiness. So yes! As a general note, all costumes were flewn in from Germany, which is also where they had the Dutch one in stock. This is also why the mix is German/Dutch. Here goes:

Hannibal 'Slavegirl' costume: Looked like a fairly standard recent German (Essen era) bodice, complete with wristbands and the distinct German Christine tiara:

The Elissa skirt: OMG THE RED SKIRT. Red skirts originated in Stockholm and Scheveningen; I wanna say this is is one of the original Dutch skirts due to the specific tab decorations. But it has been used in Germany for many years too; first appearing on Janine Kitzen in Stuttgart, and last on Michelle van de Ven in Hamburg and Elizabeth Welch in Oberhausen. Still, a rare one so yipee hooray on another principal wearing it!

The dressing gown: A very big-patterned skirt and fitted look. Another Essen costume that's been in the loop for some years, I wanna say this was first made for and worn by Beatrix Reiterer in Essen, and last used by Elizabeth Welch and Annemarijn Mandaag in Oberhausen.

Maid / Serafimo: The German maid skirt has typically been white, and the breeches typically mint green, from the original Hamburg production to the most recent Oberhausen production. So also here, worn by Lina Mendes in Sao Paulo.

The Rooftop costume: O... M... G. That is the wildest Rooftop dress ever made. Electric blue brocade covered with spray-painted contured lace, and with blue and purple decorations. Made for the original Dutch production, is a costume I never thought I would see on stage again. The costume looked quite overwhelmingly bad backstage. This is a good lesson in COSTUMES ARE MADE FOR THE STAGE, because it looks good under the lamp lights, and especially paired with a calming mint cloak.

The Star Princess: This is another good lesson in COSTUMES ARE MADE FOR THE STAGE, as this skirt also looked rather bad backstage. Plastic-like overlayer, with thick pink silk ribbons attaching the big silver stars. It looked like a children's version of the costume. But look at it on stage! Also nicely paired with a classic bodice with discrete beading and rich ruffles.

The Wishing dress: Oh yes they did! Paired that truly vintage Dutch Wishing bodice with a larger German skirt. The bodice can be recognized by the larger appliquées and the stripy cuffs, very typical for the first European versions of the costume. Me like.

The Aminta costume: No huge surprises here. One of the new Hamburg dresses, made in the style of the old Hamburg dresses - but with the addition of the Dutch aprons, just to keep that Dutch flair no? Nice combo.

The wedding dress: AAAA OOOOOHHH OH MY!!! Those bodices. Words can't express how much I love the earlt European bodices, with their exaggerated lines, long bodices, defined waistlines, rich silvery fabric and DECORATIONS. It was paired with a more unambitious recent German skirt, but with its long lines the whole costume reflect rather well on Maria Bjørnson's design. The old Dutch skirts had much more sparce lace.

Also bonus that the other Brazilian Christines wore the same type of bodice, which meant lots of photos of them in use. Here's alternate Giulia Nadruz:

So yeah... the saga of vintage Dutch costumes as worn by principal Lina Mendes in the Sao Paulo revival, and as originally designed by Maria Bjørnson.

[operafantomet]

Are the phantom production costumes getting closer to each other now? Look at the styles of the mask... West-end ish... less forehead... and the star princesses are now following the west end color scheme and style.

With Broadway closing and with the original Australian costume shop closing two major and long-time styles are no longer produced. Which means the West End / UK style kinda dictates the costume styles around the world. EXCEPT in Japan, I might add. They still make their own costumes.

Basically all new costumes added to the World Tour has been UK style, with a few exceptions. For some curious reasons they ended up with US style Hannibal 'slavegirl' bodices and tiaras. Which also means they keep doing the US bodice / UK skirt combo for Christine's Elissa, with no super good transaction between bodice and skirt. Though I appreciate that they tried smooth out the transition in the Chinese production, by adding gold decorations and a brooched "belt". A big improvement from Kaley Ann Voorhees' undecorated look in Taiwan to what's worn by Yang Chengxiyi in the Chinese production and Grace Roberts in the World Tour:

A few other US costumes has also been added into the lot, and quite a few vintage costumes are also still in use. But new stuff made for the principals - including Jonathan Roxmouth's new mask and Red Death costume, and most of Grace Robert's wardrobe - is very much UK style.

I guess the only thing to add some fun is that the costume BASE is made in the UK, but the exact decorations are left for the local costume crew, to add after the final fitting. It means that even if they would use the same materials, they may interpret it differently. This was very prominent in the UK made costumes in the most recent South Korean production. All the extra gold on the bodices!

All the extra lace, all the red, the ROSE!

But that the STAR PRINCESS costumes would take after West End... that's probably my biggest regret. Those costumes have issues. Or I have issues with them. The bodices tend to wrinkle or not appear well fitted, I find the colours over-saturated and the decorations underwhelming, and I don't care much for the updo and the flattening of the tiaras either. In this I appreciate Grace Roberts' costume way more. OK, it has a lesser decorated bodice. But beautifully fitted and perfect good ombre effect, no wig updo and a more distinct tiara tilt. It reminds more of what Maria Bjørnson designed, frankly.

So yeah, the UK costumes dominate the world right now, due to its presence in West End, the World Tour and the Restaged Tour. For better and for worse, some costumes are absolutely fantastic, while others are not my favourites. But fun to compare anyhow.

[glassprism]

Is there a master post with differences between the brilliant original vs the restaged tour? Also, the brillian original vs the RAH production. If not, do you mind sharing some insight and photos? Thank you!

I’m not sure there’s really a master post for the differences between the original and the restaged tour, because you can basically sum it up as... everything? The sets and props are different (instead of the minimal props and curtains of the original, there’s a large drum set that’s pretty lavishly decorated inside), the blocking is different, the costumes and wigs are different, ranging from the minor (such as no tiaras for the Hannibal slavegirls or Christine’s dressing gown being crossed left over right instead of right over left) to major (whatever happened to the Star Princess), and there’s even some differences in lines and orchestrations.

If you want a visual, I made this gifset a few weeks ago, but even that scene-by-scene breakdown is not comprehensive, since I can only choose certain moments that are “gif-able”. I’ll go over a few more notable differences not covered there, mostly with the blocking, since going further into exactly how each set and costume is also different would make this post far too long. It’s really something you should watch a bootleg for to get a sense of all the differences. Anyway, here we go:

Prologue - Raoul is fully mobile, no wheelchair for him. The music box looks completely different.

Hannibal - Piangi does not get an elephant but comes riding in on a chariot. A line was changed, at least in the restaged UK tour, to make up for this: “the sentinels of Carthage” instead of “elephants”.

‘Angel of Music’ - We see the Phantom pass by dressed as a stagehand. Meg and several other ballerinas are in dressing gowns. They and Christine sing ‘Angel of Music’ in a communal dressing room. Meg briefly goes naked.

‘The Mirror’ - Raoul gives Christine a rose, which she drops upon hearing the Phantom. The mirror swings, not slides, open. Raoul later finds the dropped rose wanders slowly around the room as the scene makes its hellishly slow transition to the title song.

‘Music of the Night’ - The Phantom’s lair is much more decorated. There’s greater emphasis on the scene being a music lesson, as Christine spends part of it studying the Phantom’s score on a music stands. There’s a little waltz in the middle of the scene. Instead of a mirror bride, Christine just falls asleep at the end.

‘Stranger Than You Dreamt It’ - After being unmasked, the Phantom’s reaction is more violent, grabbing Christine by the hair and slamming her head towards the ground. He also spends much of the scene standing, not crawling, towards her.

‘Notes I’ - This and the other managers scene takes place in a heavily decorated room of the drum set.

Il Muto - Different choreography for the ballerinas.

‘I Gave You My Music’ - No floating golden angel, the Phantom sings this song on a statue set firmly on the ground.

‘Masquerade’ - Takes place in a mirrored set, no staircase, with very different costumes and dance choreography.

‘Notes II / Twisted Every Way’ - No chair for Christine, she stands throughout ‘Twisted Every Way’. After this scene, Christine flees and shouts, “You promised to protect me, Raoul! Please, leave me alone!”, which prompts Raoul to make his declaration of war.

Don Juan rehearsal - After the rehearsal scene ends, Christine passes by Meg, who sends her a death glare (possibly foreshadowing her poorer relationship in the sequel).

‘Point of No Return’ - Christine is aware that the Phantom is with her much earlier, after his part of the song ends. She immediately flees after unmasking him, rather than getting dragged off by him. Raoul tries to shoot the Phantom but accidentally kills a police officer instead.

‘Final Lair’ - Oh, where to begin? It opens with the Phantom lacing Christine into her wedding dress. To keep Raoul back, the Phantom threatens to strangle Christine and possibly break her neck. Raoul in the lasso is no longer the center of the scene, he’s off to the side. After Raoul is captured, Christine retaliates by balling up the Phantom’s music and hurling it at him. There’s only one kiss, after which Christine hugs the Phantom and they both fall, kneeling, to the ground. The Phantom shoots the lasso down (good aim). When the mob enters, the Phantom throws a hooded cloak on, which Meg grabs; however, when she releases it, the cloaks drops to the ground, revealing that the Phantom has disappeared (real answer: he crawled under the bed).

As for the 25th anniversary production, you’re in luck! I’ve already made a gifset comparing it to the original (I’ve made a lot of comparison gifsets). I’ll post it in a bit. For the most part, its differences are minor, much of it having to do more with the use of another venue than with actually making changes. The biggest thing is that they couldn’t use the larger props or sets, so they compensated with the projections. Other than that, 90% of it is the same as the original, it’s not too different. I’ll just go over the major ones:

Overture - Due to limitations of the concert hall, the chandelier does not rise or fall, though it does send out sparks at the end of Act 1.

Hannibal - No elephant for Piangi, again due to lack of larger props. Christine and Meg do not dance. Instead of a backdrop falling, a sandbag almost hits Carlotta. Some altered lines for Christine right before ‘Think of Me’.

‘Little Lotte’ - The props are changed so that Christine sitting at her table faces the audience.

‘The Mirror’ - The mirror is much larger and shows a projection of Christine as well as the Phantom’s face.

‘Music of the Night’ - The lack of a portcullis means the Phantom sprawls himself across his organ. No mirror bride, so Christine just randomly faints as the song ends.

‘Prima Donna’ - Carlotta changes into her Countess gown onstage.

Il Muto - No giant bed for the Countess and Serafimo. No shadow play during the ballet, instead Buquet is killed onstage. Right before the rooftop scene begins, we see Christine run on and almost collapse from the shock of what she just saw.

‘I Gave You My Music’ - No floating angel, instead the Phantom sits up near the orchestra.

‘Masquerade’ - No giant staircase for the dancers, instead there are three smaller staircases. Christine remains at the bottom of the staircase the entire time during the Phantom’s speech, so she does not get her ring ripped off her neck either.

‘Final Lair’ - Again, lack of portcullis means that to keep Raoul at bay, the Phantom threatens to strangle Christine. Raoul in the lasso is off at the side of the action, not the center. Instead of being rowed away on a boat, Christine leaves by going up the side staircase.

Final note is that some of the changes seen in the 25th anniversary production made their way to the restaged tour, as they were directed by the same person. These include taking out the large props, the sandbag almost hitting Carlotta, Christine’s altered lines in ‘Think of Me’, the placement of the ‘Little Lotte’ scene, Carlotta doing a quick change into the Countess onstage, Buquet getting killed onstage, Raoul’s placement in the ‘Final Lair’ and so on.

I will post the gifset in a bit!

[operafantomet]

Hi! Yukina Hasebe from the West End cast posted a photo with her slavegirl costume. Aside from the braided wig she is weating a tiara I had never seen before. A simple gold band with decorations. Feels like an US tiara without the big roundels. Is it a new design or just a rare one?

Good question!

My immediate thought was that it could be a bandeau used previously by the Hannibal Slavemaster. I've seen some that looks very similar. But I don't think that exact style was ever used in the UK for the Slavemaster, they've worn broad goldbands with a big roundel in front. So that theory doesn't stick… but just to show the overall style, here's a fairly similar one from Copenhagen (used upside-down for the occasion):

The bandeau look also reminds of the late 1980 and early 1990 ones used in West End, which I think the US tiaras originated from. But those had bigger roundels making up the main structure, while Yukina Hasebe's is more like a flat band with ornaments. Here's Maria Kesselman in the early West End style for comparison:

So it's clearly not the same one, but maybe a nod to the earlier styles? It's hard to tell from that photo whether it's new or old, but I would expect either an old structure slightly remodeled, or a brand new one. Interesting choice for one of the ballerinas, none-the-less!

[operafantomet]

Hi Anea! I was looking through references and wondering: is there a case where the slavegirl tiaras are a full crown? I know in general they look either as a tiara or as a headband but has there ever been a style that went all the way around?

I think most versions has been tiara style - meaning, emphasis on the front, and ending at the sides/side back. Some versions has however had elastics or a narrower band going around the back of the head, and a very few has been bandeau style going all the way around the head (but still being higher in the front than in the back). Here's some examples of those. Emilie Kouatchou and Samantha Hill on Broadway:

Tereza de Zarn in Toronto:

Amy Manford and Kelly Mathison in West End:

Elizabeth Martinez in Madrid and Kiara Sasso in Sao Paulo:

But this is variants of the main frame/band going all the way around. I can't think of any versions where the decorations also goes all the way around and is as much a statement in the back as in the front. If that is of any help...

[operafantomet]

Christine’s Hannibal tiaras: from smallest to tallest

Sarah Brightman, West End

Emmi Christensson, Stockholm revival

Colleen Bessett, Vienna

Susanne Elmark, Copenhagen

Lucy St Louis, West End revival

Kim So Hyun, Seoul

Mia Karlsson, Copenhagen

Kiara Sasso, Sao Paulo

Marika Lansen, Scheveningen

Daniela Braun, Hamburg/Oberhausen

[operafantomet]

Rebecca Caine with her mother, backstage in POTO West End ( from her Instagram )

[operafantomet]

Just add tiara! Out-of-context tiara is the BEST

Isabel Schwartzback: Wishing dress and slavegirl tiara

Kelly Mathieson: Wishing dress and slavegirl tiara

Lisa-Anne Wood: Rooftop dress and Star Princess tiara

Samantha Hill: Aminta costume and New Year tiara

Soot: Slavegirl tiara

Emmi Christensson: Sunglasses and Star Princess tiara

Emma Casey: Jeweler’s Maid costume and Sylvan Glade tiara

Simon Thomas: T-shirt and Star Princess gear

Celinde Schoenmaker: Phantom mask and slavegirl tiara

[operafantomet]

Blondes really DO have more fun 😁

This wig will probably be used as a base for a pink Rooftop/Countess wig. Therefore, I had to photograph the h… out of it before I attack it. And what better than a Christine Daaé tiara marathon? 👑

[operafantomet]

Sorry if this has been asked before, but how you make your tiaras? They are gorgeous🤩🤩

Why thank you!! <3

The main trick is to create a base of thick, but sturdy metal wire, and then dress the metal base with metallic lurex ribbon. The ribbon is attached in one end by a few stitches, and is then looped around the metal until fully covered. Here's the original and the copy of the most recent West End Star Princess base:

This creates a comfortable and light-weight base. But also one you can sew in! The latter is essential for whatever you want to attach. It can be appliquées, jewellery pieces, gems, crescent moon, whatever you have at hand and/or have planned for your creation. Here's some of the ones I've made, either in progress or finished.

First, the finished version of the Star Princess base above. The moon was made of buckram painted blue and covered in a blue organza embroidered with silver thread and sequins. Then a beaded spray of stars in the back.

An earlier Star Princess tiara in silver. Here the moon was made of a plastic fundament dressed in a sheet of silver-glitter-foam. It was attached to a small store-bought silver/crystal comb, and with the spray of stars in the back:

A US Hannibal tiara in making. The base later got a strip of gold-painted leather behind the rosettas with gems. The same leather was used as base for the side roundels and the front piece, which were then dressed in appliquées, trims and gems.

A crystal tiara for one of my nieces, where the fundament was dressed in various store-bought "crystal" jewellery:

A mock Medieval crown for a costume party. The metal base was dressed in a wide gold trim and a handful of appliquées, and then I just added gems and pearls wherever I could.

A West End style tiara in making. The main pieces were made of the same kind of glittery foam sheets as one of the Star Princess tiara, but here in gold. Various gems and sequins were sewn on, and then then whole thing was mounted.

And last, but not least a Hamburg-style tiara. Here I went a bit gaga with beading and gems. Just because I could. The base was dressed in an ornate wide metal wire trim. The front got this grand gold appliqée I had saved for years. It was all covered in gems, pearls and beads, with a dash of sequins in between.

All of them feature a metal wire fundament dressed in lurex ribbon. The shape varies depending on what I want to make. Some of them have additional wide ribbons attached to the metal base, some have jewellery pieces and gems, and some have appliquées and especially made shapes. Think sewable and light-weight. I occasionally also use superglue, but it will eventually fall off. Sewn-on items will stay in place.

Also, add a small loop in the back of the tiara to make it possible to pin it to the hair, or add an elastic. It keeps it more firmly in place. You can also add similar small loops in front, or add a haircomb.

And also: have FUN!

[operafantomet]

Christine’s Hannibal tiaras/hair ornaments in non-replica productions

Hanna Liina Võsa, Estonia

Marta Hadzimanov, Serbia

Irina Baiant, Romania

Frida Engström, Finland/Sweden

Emmy Rossum, 2004 movie

Astrid Giske, Norway

Mira Ormala, Norway (and possibly same in Greece)

Tereza Marshall, Czech Republic

[operafantomet]

Someone please stop me...!

Since I now have a replicated the West End “Slavegirl” and “Star Princess” tiara, and ditto for the Copenhagen ones... My brain is trying to convince me that the Broadway and Hamburg “Slavegirl” tiaras also need an accompanying “Star Princess” tiara...

DEAR BRAIN, WHY!??!?!?