THE ORIGINAL VERSION








The original gown. Compared to the newer European versions, there's not been any drastical changes. But there are some minor differences, which I will mention here.

What I like the most about the original gown, is that it is so wonderfully draped and trimmed in every way. I feel the gown has managed to capture the heavy tassel and bustle style of the 1880s. I also adore the fabric. The silk is vowen in India, and dyed and printed in England. It is said that this fabric is made especailly for Phantom, but I've seen a yellow version being used for a Robe a la Francaise costume in "Dangerous Liaisons", plus in the TV series "The Forsyth saga"..... The original gowns used 18 metres of this precious fabric, and I doubt they've used LESS throughout the years. The fabric is surprisingly turquoise/sky blue, but change colour after which light it's in. The fabric has a pattern of both stripes and flowers. This pattern is used to create different effects (like the V shaped apron).

The bodice is what I call the "classical European version". It is slightly longer in the back, and lies over the back drapes (the queue). There are some pretty advanced seamwork in the bodice - it is made of several panels in front, and this makes the stripes go forward in front, down under the sleeve, and backwards in the back. The sleeves are not puffed, and they are quite tight fitted with a stripe going down the sleeve. The cuffs are heavy pleated, with an equal lenght all the way around, and with a semi cirlce velvet cuff on top of the pleats. The velvet is decorated with ribbons (forming a looped pattern) and sequences. Overneath the cuff, there are a white tassle ribbon with a navy velvet ribbon on top (see picture 3). The cuffs are also adorned with laces which are not extremely full or long, but visible underneath the cuff.

The bodice has a velvet collar, not too high up around the neck. The collar is trimmed with white tassles, as well as the ribbon and sequences seen at the velvet cuff - with a floral like pattern. The neck lining has a little lace frill. The front of the bodice (the velvet panel) are trimmed in the same manner as the cuffs and the collar, and the sides are trimmed with white tassles and blue velvet ribbon. Underneath the velvet, there are a closing patent consisting of hooks and eyelets. The back of the bodice has an oversized bow (to hide any eventual closing patent?), while the front of the bodice has a modest tassle in the neck lining, usually made of another fabric.

The apron is V shapes, as most European (and Japanese) gowns are. There is a heavily pleated frill edging it, and you also see the same white tassle ribbon with navy velvet. Parts of the apron is not visible because of the side pannieres - the side drapes. It is a V shaped fabric with the stripes going downwards, and it is draped over (or under - it depends) the back drapes. The front of the pannier forms a pointed edge lying over the side of the apron. It looks to me that the original gowns had this lined with velvet, while later version have lined it it with a shiny blue silk.

The skirt looks quite full. I'm not sure if the original gown had a train, but quite a few later European versions has a train. Underneath, there are a white petticoat, while later version uses a blue silk petticoat. Attached to the skirt, there is a horsehair bustle (a pretty small one, but it allows the right silhouette without making it difficult to sit). The skirt and drapes are not attached to the bodice in any way.

It hasn't succeeded me in finding any decent pictures of the back drapes, but I suspect they are similar to what's used in newer European gowns today. Take a look at the back drapes under "London" and "Denmark" to see pictures. They consists of two separate semicircular fabrics, trimmed with white and blue ribbons in the front, and lined with a blue silk in the back. The fabric is draped so that alternate the stripy fabric and the blue silk forms squared parts. the drapes also forms a little train.

The back drapes, pannieres and the apron are attached together, and forms a "skirt" that goes over the main skirt. The bodice goes on top, and voila! The costume we know today as the blue "Wishing" gown is complete.

The pictures above shows: Sarah Brightman, Rebecca Caine, Claire Moore, Sarah Brightman again, Maria Kesselman and Maria Bjørnson's costume design



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