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@padmeamidela / padmeamidela.tumblr.com

em. she/her. gifmaker. xx.
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"The distinctive qualities of antique textile pieces always appeal to me, and I particularly like being able to resurrect vintage materials and trimmings, revitalizing often delicate bits of embroidery, beadings, or lace from the Victorian era (or earlier) and incorporating them into new garments. I happened across some rolls of vintage 1930s and 40's fabric originating in France, which I used to create several costumes, including Chancellor Valorum's bruise-colored corded silk underrobe.

and the sunray-pleated underdress in orange shot silk (where different colors of thread are used to weave the warp and the weft) seen in Amidala's Throne Room Costume. The neck of this costume was enhanced by placing layers of gold glass-bead fringing and Victorian bullion-embroidered lace motifs over the yoke area.

I had several excellent suppliers in the United Kingdom. the United States, and, eventually, Australia, for the extensive amounts of vintage paraphernalia that are given a new life in the Star Wars galaxy, but my primary source was in Scotland: the Saratoga Trunk shop, where copious amounts of treasures were constantly sourced and stored for my visits, such as the incredible jet collar and neck piece of the Lake Retreat Dining Gown.

The choice of fabric always very much influences the finished garment, and sometimes, it seemed almost impossible to find, or to have made in time, exactly what we were looking for. Padmé's Episode II Wedding Ensemble is one such example. George's vision of an unpretentious private ceremony at the lovers' Naboo lake retreat with only the Holy Man officiating with no guests (save C-3PO and R2-D2) called for a simple, beautiful gown in incredible fabric. We had finalized on paper how it should look, but just couldn't find suitable material. Eventually, Karen Thorn, our Australian buyer, happened upon an antique lace bedspread from the late Edwardian period (circa 1900). It was absolutely perfect, but beds were smaller then, so there wasn't nearly enough material to make the planned dress. George came into the costume department one Saturday morning and we discussed options, taking turns draping the available fabric on the stand; as we both liked the bedspread so very much, we ended up adjusting the design to fit the available amount of fabric.

Interestingly, when we were shooting the wedding in Italy, our production supervisor Guido Cerasuolo, upon seeing the dress, exclaimed, "Ah, Italian lace!" He went on to explain that it was exactly like the fabrics made by the old ladies on the island of Burano. It's possible that the material originated in Italy, emigrated to Australia, and returned, a century later, to the shores of Lake Como.

*Maltese lace veil with headdress made from Edwardian wax flowers and beaded pearls. Small pearls are sprinkled over the rest of the veil.

The multitude of methods utilized to enhance and embellish the many different types of fabrics used to create the costumes drew on all sorts of techniques, and we took advantage of both historic and modern processes to enhance their impact. Fluid, stiff, rough, crisp, smooth, soft, or thick wools, cottons, silks, and sumptuous velvets were screen-printed, embroidered, devoréd, dyed, smocked, pleated, quilted, beaded, or felted to help achieve a harmonious picture through the use of texture, color, proportion, and balance.

But ideas don't only come from fabrics. Art, architecture, archeology, nature, fish, coral - there is a revelation to be found everywhere. Be open to everything in this vast, brilliant, exhilarating planet we live on and the many rich, diverse cultures and the histories of the people who live, or have lived, here and you will never lack for inspiration. " - Trisha Biggar, Dressing a Galaxy: The Costumes of Star Wars

#sw
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