The Making of One Eyed Cat - Part 4: the Pasties

I feel like I really stepped up my pastie game since making my last set (which you can read about here).  This set was made with better materials and overall has a much better finish.  So if you want to learn how I made these cute-as-a-button cat nose pasties, keep reading!


Photo by Joel Devereux


I made my first pair of pasties out of cardboard from a pasta box.  They were star-shaped (for a cowgirl-themed beginner burlesque routine) and covered with silver lame and plastic rhinestones.  After this I graduated to craft foam sheets, being the easiest way to make a quick pair of pasties for an end-of-term group routine.  The problem with craft foam pasties is that they aren't the sturdiest and will be ripped apart when you remove the tape.  Keeping this in mind, I decided when I made my pasties for my first solo that I would back the foam with buckram to protect it from tape removal.  Well, I couldn't find buckram so I ended up using a thick interfacing that frays, which I tried to abate by sealing the edges with nail glue (which I use to fix almost everything, including my overlocker).  

The finished pasties (see above) are pretty but not ideal.  The overlapped section of foam with the added crystals is thick.  So thick they look a little silly.  Don't get me wrong, it's not something you can see on stage, but looking at them makes me think that craft foam sheets really aren't the right material for a proper pair of pasties.  So when I went to make these pasties I wanted to make sure I used better materials.  

I've never had any luck buying buckram.  I'm usually met with puzzled looks when I ask the staff at Spotlight where I can find it.  So when I went to Lincraft and asked one of the staff where the buckram was, I was dubious when they said it was over with the interfacing.  But it was there! I was so excited! I finally had buckram to make pasties with!  


Super thick over lap in the last pair of pasties

Nice and thin overlap in the new pair of pasties


The next thing to do was create the design for the pastie base.  The easiest way to make a non-circular pastie is to start with a circle, make it into a pastie, and trim it to the shape you want.  I started with a paper circle slightly larger than my nipple which I overlapped as per normal, secured with sticky tape, then trimmed down to a cat nose shape.  I tried them on to check the coverage then altered the size of the starting circle and the shape of the cat nose until I was happy.  I then removed the tape and flattened out the pastie.  I traced this shape onto another piece of paper so that I could refine the design and make a smooth and neat template. 

Using this template I cut 2 layers of buckram for my pasties and a layer of vinyl.  Now that they are finished I think one layer of buckram would be enough.  I shaped and glued the layers of buckram then glued them to each other using craft glue.  I used my trusty pin curl clips to hold the overlapping buckram together while they were drying.  I also used pin curl clips to hold the 2 layers together while they dried.  I used 3 clips for this which not only held them together but also acted as a little tripod that kept them and any excess glue off the table.  The cat noses are pink so after the glue dried I painted them using an acrylic paint.  


Finished pasties with the pin curl clip 'tripod'

The vinyl covered inside of the pastie


The next thing to do was attach the whiskers!  I was fortunate enough to receive some glitter whiskers with the beautiful half-mask fascinator I bought from Pearls and Swine.  The whiskers are a flexible plastic covered in glitter.  I was sent whiskers in pink and black and opted for black as it would contrast the most with my skin and stand out more on stage.  I cut and attached the whiskers with a hot glue gun to the back fo the pasties.  I then attached the backing of the pastie, which is vinyl, to over the ends fo the whiskers and create a durable and smooth backing.  This I glued in place with craft glue and held in place with my trusty pin curl clips.  


Finished pastie


Finally, it was time for crystals.  I covered the pasties with a mix of rose, light rose and Crystal AB in ss12 and  ss16.  I glued the crystals on in lines radiating out from the centre using E6000.   I filled any spaces the best I could but with the base painted pink any little gaps are fine and not noticeable.  


Close up of pastie


The finished pasties are great and a definite step up from my last pair.  The only thing I'm not too sure about is the vinyl backing.  While it adds strength to the structure and is a smooth surface that won't be damaged by tape, it seems to be too smooth.  The tape I currently used seems to not want to stick to the pasties too well.  This combined with the fact that the whiskers are long and want to catch on thing means that I have lost a pastie on stage 1 out of the 3 times I have performed this act.  Maybe I need to change tapes or maybe I need to change to spirit gum?


Photo by Jacs Saffioti | Editing by Ruby Corvette


Anyway, I hope this post is helpful to stepping up your pastie game or at least gives you a few ideas for your next pair!  My next post will cover the final elements of the costume including the gorgeous half-mask fascinator from Pearls & Swine!

xo Margeaux

The Making of One Eyed Cat - Part 3: The G-String

In the next part of the Making of One Eyed Cat, I take you through how I made the strappy and skimpy g-string.  Sewing lingerie can be intimidating, but it's actually very achievable.  


Photo by Joel Devereux


My thinking when it came to my g-string was to incorporate something to create another reveal.  The idea was to have a paw print covering my hoohaa that I would conceal under a black panel attached with snaps.  At the end of the act, the paw print would be revealed as part of the finale.  My other idea was to take advantage of the sheer tap pants and dress and create some interesting shapes with straps.  I did a few sketches before coming up with the one element that everything was anchored on - the cat nose.  The back of the g-string has a point where all the straps converge.  I made this point a cat nose and the straps the whiskers!  That meant that I needed to design the front of the g-string to accommodate the extra straps to acheive this. 


The next consideration was the hardware required.  To enable a proper fit I opted to put sliders on the straps.  I also wanted to use some loops to add to the overall look.  I ended up buying them from who stock a huge range of lingerie making supplies.  I went with the die cast metal components in gunmetal.  I also purchased the elastic from there in 10mm and 19mm.  


The final design ended up something like the sketch below.  I drafted the pattern for the panel of the g-string by putting on a high-waisted pair of cotton briefs and marking where I wanted the panel to cover.  I finished the gusset section in a triangular shape and tried to make sure it covered enough.  I then cut the panel out of the briefs and traced it onto paper, adding a seam allowance.  I did the mesh panel first which I edged with scalloped elastic in a matching colour, that I also got from Booby Traps.  I attached the elastic by sewing it on to the right side of the mesh (if there is such a thing) with the scalloped edge facing in, then folding the elastic and fabric over to the wrong side and sewing again.  I then made another panel out of black spandex from the same pattern piece which I just sewed a regular hem on.


I think this is where things went slightly wrong.  Even though I sewed the elastic onto the mesh panel using a zigzag stitch and my walking foot, the panel did become much larger.  I experienced the same issue when I sewed the fold-over elastic to the mesh of my mesh bra I made form my previous costume (see blog post for that here).  It was probably a good thing that the panel ended up larger than designed as I'm not sure I'd be happy with less coverage.  The down-side is that the top black panel is much smaller than the bottom mesh panel.  Although I don't mind the resulting look too much.

After the panels were sewn I attached the straps.  First was the strap that goes in my crack.  For this I used the 19mm elastic strapping from Booby Traps.  I first attached it to the end of the panel and left it long so that I could adjust while trying it on.  I then sewed the triangle loop to the top of the panel by making a loop out of leftover scalloped eleastic and stitching in place.  I then needed to create the top strap to go around my waist.  These straps have sliders on them to make them adjustable.  This required a lot of thought because, even though I am a geologist, I struggle with spatial visualisation.  The way I approached it was to get a bra and copy the straps on it.  


Back of string showing cat whiskers and nose detail.


Once the main straps were attached, I could determine their lengths by doing a quick fitting.  I fit the waist straps so that they were as loose as I could possibly want them with the sliders at maximum length.  I fit the vertical strap to be tight enough for the panel to cover what it needs to cover effectively.  Once happy I held the 3 straps in place with my trusty pin curl clips then straight stitched in place.  The other straps were attached to the panel with metal loops which were themselves attached with loops of scalloped elastic.  I then again went through the mind fuck of attaching the sliders then fit the straps and sewed in place.  


Front of g-string showing cat paw detail.


Once sewn together it was time to do the paw print.  First I needed to determine where the paw print was to go.  I found the best way was to mark the position while the g-string was on.  I decided to create the paw print entirely out of crystals.  I didn't want to sew on fabric patches because I was worried about how they would affect the stretch.  Because there was nothing to going under the crystals I needed to place them very close to each other. To do this you need the g-string to be stretched while you crystal it.  But the glue will go through the mesh and onto anything it touches, so you need to somehow stretch it without it touching anything where you want to place the crystals...  The solution I came up with was a bowl.  I placed the area to crystal over the opening of the ball.  I then stretched and twisted the rest of the g-string around the outside of the bowl and secured it under the bowl.  


Front of g-string showing detachable panel.


I glued on the crystals using E6000.  The stones I used were a mix of Black Diamond and Hematite.  I was originally going to use Jet with an accent stone mixed in but the lady at the shop (Bead Trimming & Craft Co)  convinced me otherwise.  I swear they have special lights in that place because they looked a lot better in the store then they do in person. The combination of the two comes off very grey which I'm not too happy about.  

The last thing to do was to sew on the snaps to secure the black panel to the front.  I just used some standard small metal snaps and hand sewed them on.  Again, the panel is not the same shape and size as the mesh panel below and I'm still not sure if I like it or not.  Also, there is a bit of gaping between the straps and snaps that I'm not happy about.  I will need to keep experimenting with materials to try and stabilise the panels.  But it's nothing some double sided tape wont fix.


Photo by Jacs Saffioti | Editing by Ruby Corvette


So there you go!  Making a g-string is not that hard but does require a bit of planning and thinking and is helped immensely by a walking foot.  I haven't been blogging as much as I used to due to some other things that have been taking up my time (like Paint Me Burly Babe and Glitter au Gogo) but I do want to finish blogging about the making of this costume.  The next post will be about the making of the pasties which took a major step up since my last pair (read the post about them here) so stay tuned for that!


xo Margeaux

Glitter - the Good, the Bad, and the Ugly Truth

Glitter is a showgirls best friend.  But if you're not using the right kind it can be more like a frenemy or even a mortal enemy.  


I know that sounded dramatic but this is legit.   We've all heard that using craft glitter on our eyes is bad.  Some of us still use it though.  For some the chance that you could scratch your eyeball with the metallic and sharply cut stuff is not enough to dissuade them from using it.  And I get it.  It's cheap and easily purchased.

So what if I told you that getting craft glitter in your eye could result in you losing that eye?

What about if I told you that if you inhaled craft glitter you could end up in a coma?

Florida woman Erica Diaz lost her eye after a piece of the craft glitter she was using to make Valentines Day cards with her daughter got lodged in her cornea. Her initial examination by doctors didn't show any scratching on her cornea so she was sent home.  When she returned after her eye went milky and lost sight, doctors found a 1mm hole in her cornea which grew to 7mm within a week.  The eye became infected and after many medications and operations (including 2 cornea transplants) her eye was removed.  This was 1 month and 2 days after the piece of glitter got stuck in her eye.  Erica has detailed her journey in photos that you can view here.  (The photos are graphic so keep this in mind before you click.)  Also there is a lengthy article on the Daily Mail website that Erica's friend who set up her GoFundMe campaign has linked to and referred to as "authorised".  

Mauro Lopez Banegas from Santiago del Estero, Argentina was 7 years old when he died from inhaling craft glitter.  He filled a whistle with glitter which he accidentally inhaled.  The glitter contained toxic copper and zinc which blocked the exchange of oxygen and carbon dioxide and dramatically lowered the child's oxygen levels.  After being in intensive care  for 2 weeks and beginning to show some positive signs he was declared brain dead and later died.  

Glitter is very popular at the moment which has resulted in a lot of stupid people doing a lot of stupid things.  Glitter capsules to insert into your vagina and glitter tongues are making the rounds on social media, but little is said of the safeness of inserting and ingesting glitter.  Heavy metal poisoning is definitely a possibility though, especially if you're using craft glitter.

Глиттер Клиттер ✨ #glitter #glittertongue #makeupforever

A post shared by Лиза Клубника (@liza.klubnika) on

If you do buy glitter that is eye and lip safe though that still isn't the end of the story.  Lit Cosmetics is a reputable brand that sells a lot of top quality cosmetic glitter.  There are no heavy metals in their ingredients other than aluminium powder which is found in many cosmetics.  In the FAQs on their website they state that all of their glitters are made from rounded plastics so there is no issue with getting them in your eye.  But just because their glitters are eye safe doesn't mean they're off the hook.  Glitter is a micro-plastic.  Like micro-beads, glitter in the waterways is a problem.  Micro-plastics are polluting the oceans and lakes and fish are are starting to preferentially eat these plastics over real food.  And even if your glitter doesn't end up down the drain it still adds to the never ending supply of plastic waste in landfill.

So what do you do?  If you want to avoid damaging yourself and the environment the easy answer is biodegradable glitter.  Bioglitter contains very low amounts of heavy metals and is antimony-free.  It is cosmetic safe and complies with the cosmetic regulations of the EU, USA, Australia, China, Japan, and Korea.  It therefore poses very little threat of damaging your eyes or body.  It is also more comfortable to wear than plastic glitter ans is in fact  30-40% softer than plastic glitter.  Even though it is so different to plastic glitter it still has the same precision cut and sparkle.  

Biodegradable glitter is made from plants - primarily eucalyptus.  The eucalyptus is sourced from responsibly managed plantations in southern Europe (so no need to worry about the koalas losing a food source).  This plant-based material is completely biodegradable in the presence of microbes, meaning it will break down in ocean and freshwater as well as in compost. But it is stable in clean water and glues and wont dissolve away.  As it's made primarily from plant materials, it is also vegan and cruelty-free! 

Biodegradable glitter is a product I believe in so much I have decided to  start stocking my own range  which is available to purchase here.  The launch collection is all about glamour and includes all the colours you need to make a statement.  There's Golden Age - the perfect gold that's not too yellow or brassy; Silver Screen Goddess - a silver made for glamourous eyes and shimmering bodies; Rose La Rose - named after the bawdy babe of burlesque herself and perfect for a red glitter lips; Kitten - a black glitter that's perfect for cat eye flicks and beauty spots; and the Great Pretender - a clear glitter that will transform any eyeshadow and is also a great highlighter!  They are packaged in 5mL jars with special stoppers to avoid mess  and of course are available all together in the Ultimate Glamour Kit. 


I'm starting out small but have big plans for the future with new colours, sizes, and adhesives.  I'll also be filming some tutorials so  stay tuned!

If you want to find more about Glitter au Gogo, click here to visit our website!

xo Margeaux

Bettie Bangs: Tips & Tricks

One of the things I most often get complimented on is my Bettie bangs.  I've had some form of fringe (or bangs) since I was a child.  So in this post, I will share with you all my tips and tricks so you too can have bangs that would make even Bettie bitter!

For my top tips & tricks, you can watch my video below.  For a more in-depth look at getting banging bangs, keep reading!  (Or even better, do both!)


The cut

You want your bangs to be a deep triangular shape with the point a few inches back from your hairline.  You also want them to be quite wide, like as far as your hairline will allow.  When you first get them cut it can sometimes take a few goes for the hairdresser to get them right.  Keep making them deeper and wider until you're happy.  Your bangs should be curved up towards the temples.  The degree that you curve them is up to you, generally, move curved styles have more of a rockabilly look.  



Styling your bangs really isn't as hard as you think (or as you are currently doing).  I used to think that you needed to blow dry your fringe with a round brush and follow with a hair straightener to get a good result.  This is simply untrue.  When I got my bangs recut after years of not having them the hairdresser simply rough dried them with a hairdryer and no brush.  They were perfect.  My mind was blown.  So all I do now if rough dry them and brush into place.   I put my hairdryer on medium heat and high fan and hold it above my head point down along my fringe.  Now you roughly dry by moving the dryer side to side while running your fingers through your hair.  You do this to break the hair up and help it dry faster.  Move to the other side of the fringe and repeat.  And that's it.  Sometimes I don't even have to blow dry them as they're still fine from the previous day.  If you do need to reset them though, just dampen them with a spray bottle filled with water, brush through, and dry as above. 


My secret weapons

The one thing that will take your bangs to the next level is dry shampoo.  Dry shampoo will not only refresh your hair in the days after washing, but it will also give you fringe the volume and texture it needs to look it's best.  I use dry shampoo on freshly washed hair as well as dirty hair.  If your fringe looks flat and is just not sitting right put some more dry shampoo in it.  My personal favourite is Batiste dry shampoo in Cherry.  I also have the Batiste tinted dry shampoo for dark hair but I don't really like the brown residue that ends up on your fingers and can end up on your face if you're not careful.  White dry shampoo is fine if you work it in properly using your fingertips and brush out any excess.  


The brush I use is a postiche brush, or a teasing brush, or a smoothing brush.  It's small and made from synthetic bristles which makes it perfect for smoothing out your fringe and brushing out the excess dry shampoo.  Because it is narrow you can also use it to sculpt and mould your bangs into the perfect shape.  I do this by softly brushing and pushing the hair into place with the brush.  The final touch is hair lacquer.  I use hair lacquer over regular hairspray because it adds some shine and counteracts the dullness caused by the dry shampoo.  If you use both the dry shampoo and the hair lacquer your bangs will stay in place all day and likely into the next day.  A quick brush and a spritz of lacquer will be all you'll need.  

Trimming your bangs

The most annoying thing about having bangs, especially short ones, is having to trim them all the time.  It means booking an appointment at the hairdresser and maybe even having to pay for the trim.  I'm terrible at remembering to book appointments so I cut mine myself.  This may seem like a hard thing to do but it's actually very easy.  What makes it so easy is using hair clippers!  Hair clippers have a straight edge that makes cutting a nice straight fringe a breeze.  All you do is press the clippers into your hair and they do the rest.  

Sidebar: If you are cutting your hair over the bathroom sink, line your sink with some paper towel to catch all the hair and stop it from going down the drain.  If you rinse hair down the drain it will eventually clog the drain.

To start determine how short you want your bangs to be.  I often cut them a little longer than I think I want just to make sure I don't cut too much.  Make sure your fringe is dry and styled when you cut it.  If it's wet or not styled you may end up cutting off too much or cutting it crooked.  The first cut you do will be a straight one.  This cut will be in the centre of the fringe and will be the longest point.  To cut just line up the clippers and press them into the hair.  Make sure the blade is perpendicular to your hair so you get a straight edge to the cut.  

The next cut will be at an angle in order to start the curved shape.  This is pretty straightforward.  When you get to the edge of the fringe is when things can go wrong.  Because your fringe is so wide and most likely overlaps your hairline, it can be dangerous using clippers in this area.  You could easily cut into the hairline below and make a mess of your hair.  To avoid this I use a business card.  Slide the business card between your fringe and the hairline below and use it as a shield to protect your hairline.  If you're still not 100% confident use scissors in this area.

Once you have finished cutting your fringe it is really important that you brush through it to make sure you haven't missed any bits.  Checking for rogue hairs will be a lot easier if you brush all the trimmed hairs off your face so that you can clearly see the edge of your bangs.  Also, check that the angle of your bangs is the same on both sides.  I do this by holding my brush at the bottom of my bangs and checking the angle between my bangs and the brush is the same.  If you've missed anything or you're unhappy with the shape or length of your fringe, just go back through it with the clippers.  


And that's it!  If you follow these tips and tricks you're sure to have your Bettie bangs always in top form!  If you watch my video be sure to like, comment, and subscribe!  There's heaps more YouTube goodness to come!

xo Margeaux


The Making of One Eyed Cat - Part 2: the Tap Pants

Today we continue the series the Making of One Eyed Cat with the details on how to make the cutest pair of tap pants you'll ever see.  They are made of tulle and lace and oh so sweet and skimpy.


Photo & Styling by Jacs Saffioti| Editing by Ruby Corvette | Mask by  Pearls & Swine | HMUA & costume by me


This is the second pair of tap pants I have made and definitely the best!  If you want to revisit the first pair then go over to The Making of Lovin', Touchin', Squeezin' - Part 3.  The issues I had with the first pair was that they didn't flair as much as I wanted and they were kinda just flat.  I combated this by using a much lighter weight fabric a a brand new pattern. 

The design was a follow on from my mesh dress.  my think was, if your dress is see-through then why shouldn't your underpants be too?!  The idea of tulle tap pants was born.  The other advantage of tulle is that any embellishment you add will be that much more effective as it stands out so much more.  With this in mind I decided to add some floral lace and crystals.

Now for full disclosure.  

These are very similar to a pair of french knickers available from Cristina Aaelli.  This was not intentional as I did not know about these until after I had designed mine.  I figured as I was only making these for myself and not selling them it was OK to continue.  Mine are nowhere near as high quality or beautiful as Cristina Aaelli's, but they are basically the same design.  I highly recommend you buy something from her range as it is extremely beautiful and very reasonably priced when you take into account the high quality materials and detailed and painstaking work.  

Moving on.


Photo & Styling by Jacs Saffioti| Editing by Ruby Corvette | Mask by  Pearls & Swine | HMUA & costume by me | Collar by Killstar


Pattern drafting 

In order to get the shape I wanted I drafted a full circle culotte pattern that I altered from a  pattern I found on a blog called Petit main Sauvage.  This is a really great tutorial that is very easy to understand.  To begin the pattern I drafted a standard full circle skirt pattern using my waist measurement and my required length.  To add in the crutch of the pants you need to first measure your hip circumference, hip height, and sitting height.  Your hip height is the distance between your waist and hips and your sitting height is the distance from your waist to where your butt meets the chair while you are sitting.  

Next you measure along the centre front of the circle from the top and mark the sitting height.  The instuctions on Petit Main Sauvage is, for the front panels,  to draw a line at a right angle from this point that is 1/10 your hip circumference plus 2.5cm.  Mark the hip height on centre front and draw a curve between that point and the centre of the new line drawn at a right angle to the centre front.  Repeat this for the back panels instead drawing the line at right angles at a distance of your 2/10 hip circumference minus 3cm.  


I personally think that for pants this short that the crutch is simply too long using this method.  I shortened the  crutch by 2.5cm on both the back and front pieces but I am probably going to shorten it even more.  Add seam allowances all around before cutting out and pinning to your fabric.  As for fabric, I first tried bridal tulle but found it felt horrible against my skin and was too light.  I instead used poly stretch tulle which is the same fabric I used for my pink robe/gown.  It has a great drape to it and is comfortable.  

Sidebar: If you are unsure what paper to use to draft your pattern I have a few suggestions.  Newspapers that don't transfer ink, butchers paper, brown paper used for packing parcels, baking paper, or (like I used for this pattern) A4 printing paper.  Just sticky tape pieces together until you have a big enough piece.


Now you can sew the tap pants together.  I sewed the 2 front and back pieces together before sewing the front to the back, leaving the sides open in order to insert closures. I tried the pants on and decided they needed to be shortened.  The shortening was controlled by the gusset meaning I couldn't shorten as much in the middle of the pattern as I could on the outer section.  The closure I chose was snap tape.  Snap tape is easy to sew in and the snaps are strong but easy to open.  I sewed it in to the sides and together at the bottom.  I trimmed the hems with bias binding which was a bit difficult.  First it is nearly impossible to buy the black satin 2cm bias binding I wanted.  It seems that as soon as it comes in stock it sells out.  I ordered some online which was lost in transit so I got a refund and luckily bought some in store (and you bet I bought half the roll of it).  A couple days later my package showed up so now I have lots.

As the tulle is very light and not so easy to fold the end result is a little hit a miss.  There are sections where the folded tulle extends beyond the edge of the bias binding.  Fortunately, because the tulle is so sheer, you can't see the this  unless you look very closely.  I think that when I do this again I will first overlock (or serge) the hem before attaching the bias binding.  My thought is that this will stabilise the edge and make it easier to fold and contain within the bias binding. 

Lace applique 

The lace I bought is a very inexpensive piece from eBay.  I then cut out the lace into pieces and started placing them on the pants.  I did this with the pants on because I wanted to place the m so that they framed my crotch and butt crack.  

I hand sewed the lace on because I was able to do it at my desk at work and I wasn't sure I was going to be able to machine sew it successfully.  I first tacked the appliques in place along the centre of each one.  I then went and sewed each one along the edges of the lace.  I used regular all purpose thread but should have used embroidery floss.  The standard thread is a little dull compared to embroidery floss and doesn't look all that good close up.  This isn't really an issue for a costume though as no one will be able to see this from the stage.  

I am not entirely happy with the way the lace is sewn on.  It took me 10 days to sew all the appliques on so I did try to have them sit as smoothly on the tulle as possible but there is some puckering.  I thought of using an embroidery hoop to help with this but I was worried that it would stretch the tulle.  I might need to use an iron on adhesive or similar to attach the lace to the tulle before I sew it next time I tackle something like this.

I added a few black diamond and hematite crystals to the lace to finish it off.  I'm very happy with the way they turned out, especially the pattern.  I don't think I'll be buying another tap pants pattern.  Instead I'm going to keep altering this one to perfection.  Next week I will continue the Making of One Eyed Cat series with the the g-string.  If you missed last week, which was the start of series, click here to read it now. 

xo Margeaux


Photo & Styling by Jacs Saffioti| Editing by Ruby Corvette | Mask by  Pearls & Swine | HMUA & costume by me | Collar by Killstar


The Making of One Eyed Cat - Part 1

I'm back bitches!!!!

I have been MIA for the last month or so but for good reason, I developed and debuted a new act!  The new act, as you may have guessed, is called One Eyed Cat.  I got the name from the song I perform to, One Eyed Cat by Royal Crown Revue.  The act is something very different to my first act and I am pretty happy with it.  In this post I will discuss the concept for the costume and the making of the gorgeous marabou trimmed mesh dress.


Photo & Styling by Jacs Saffioti | Editing by Ruby Corvette | HMUA by me



The design process for this costume started way back in 2015 when I did a costuming class with the amazing Coppelia Jane.  CJ suggested that we come up with an act to make costume pieces for during class.  I had a few songs I had in mind for potential acts and randomly chose One Eyed Cat.  Obviously, I wanted to go with a cat theme for the act but I also wanted to tap into the early 20th century feel of the song.  I started researching original costumes from the Ziegfeld Follies and found some amazing inspiration.  I also found inspiration in Jean Paul Gaultier's S/S 2011 couture, specifically the dress below.  The design I came up with is ultimately a combination of the 2 below. 

Lina Basquette photgraphed by Max Munn Autry, 1920s

Lina Basquette photgraphed by Max Munn Autry, 1920s

Andreja Pejic in Jean Paul Gaultier Spring 2011 Haute Couture 

Andreja Pejic in Jean Paul Gaultier Spring 2011 Haute Couture 

One of my initial sketches of the dress design.

One of my initial sketches of the dress design.


While I wanted a feline feel to the look I didn't want it to be too literal.  I have a love of marabou and felt that it would be a great material to use to represent stripes of fur.  I was unsure about what colour I wanted the costume to be as I was stuck on the idea that I needed to have contrasting stripes and that the colours had to be based on the actual colours of a cat.  I eventually, and in opposition to the opinion of some ecdysiast costumiers, went with all black.

Some elements of the costume came to me quickly - like the cat nose pasties I came up with in that class back in 2015 - while others took longer to develop.  I had originally wanted cat ears and a cat collar with bell, but it wasn't until I found the designs by Pearls & Swine and Killstar that I realised exactly what I wanted.  As with most projects, the design process didn't end at the sketch book and I continue to tweak and perfect the ideas I have. 

the dress

The dress was probably the first thing I began work on and the one thing that has undergone the most change in terms of design.  I initially imagined this to be made out of tulle.  I bought a pattern from Vogue and a whole bunch of polypop to make a toile.  That toile never eventuated.  I then decided  to pad my dress form and drape a pattern off that.  In the first week of the act development class I did at BB Le Buff's School of Performance  it was suggested to me that I make the dress from stretch mesh.  That was a light bulb moment for me (thanks BB!).  The pattern of the dress ended up being very simple.  Its a tube dress with a zipper down the centre front with a full circle skirt added to the bottom.  The tube dress is made from black power mesh with a open ended brass zipper.  The skirt is 2 layers of netting with marabou trim attached.

pattern drafting

The tube dress pattern was drafted from my measurements.  I wanted it to be fitted and not a literal tube.  I measured around my chest just below my arm pits as well as my bust, waist,  hips, and knees  as well as the length of the dress.  I also measured the vertical distance between these measurements.  These measurements are then halved to make a front and back panel to the dress.  The pattern is drafted as half of this because the front of the dress has 2 panels and the back will be cut on a fold.  You will need to curve the lines between the points so that the dress sits smoothly on the body.  I did this by hand but a French curve would probably be handy to do this.  


You will also need to remove some of the width that will be taken up by the stretch of the fabric.  I'm not sure how to figure out how much to take out but I ended up removing about 6cm and I'm very happy with the fit.  You will need to make 2 pattern pieces from this - one front and one back.  This is to take into account seam allowance.  The back pattern piece will only need seam allowance added to the outer edge of the pattern as the inner edge (or the middle) will be placed on a fold.  I addded a standard 1.5cm seam allowance to this.  The front piece will need the same 1.5cm seam allowance for the outside and enough seam allowance on the inside to enable you to attach the zipper.  I did not add a seam allowance to the top as the mesh fabric does not fray and this edge was to be covered with marabou.  The seam allowance for the bottom was  1.5cm.


Once you have your pattern drafted you can cut it out.  Using pins in power mesh is nearly as useless as using them in tulle so pin curl clips are the way to go! (If you haven't already, check out my post Sewing Tulle - Tips and Tricks for further details on this.)  Standard sewing isn't going to cut it with power mesh.  I used a standard straight stitch and a walking foot with foot pressue set to 1 to sew the dress together the first time and everything looked good until I tried it on.  The stitching came apart as soon as I zipped it up.  So I ended up having to sew a narrow ribbon into the seam in order to get the stitches to stay.  I suspect that using a triple strength stitch would have helped as well.  The zip I was able to easily sew in using a straight stitch, although I ended up sewing it in 3 times... The first time I sewed it in so that the pull was at the top when the zip was closed.  Now that would be fine for normal clothes but not for a dress for a stripper.  So I sewed it in again the right way down but inside out.  The pull was on the inside of the dress... Third time really is the charm. 

Photo & Styling by  Jacs Saffioti  | Editing by  Ruby Corvette  | HMUA by  me

Photo & Styling by Jacs Saffioti | Editing by Ruby Corvette | HMUA by me


The skirt

The skirt is a simple full circle skirt.  To draft the pattern you need to do a little maths.  With a typical circle skirt you need your waist measurement as well as the final length of the skirt.  For this design, the bottom of the power mesh section of the dress is essentially your waist.  So to make your circle skirt you take the 'waist' measurement minus 2 and divide it by 2 times pi (or 6.28).  This will give you the distance you need to measure from the corner of your folded fabric to create your 'waist' ('A' in the diagram below).  Then add the final length to this to get the distance you need to measure for the hem of you skirt ('B' in the diagram below).  


Take a piece of netting that will fit half a circle of a radius of B - for me this is a 2m piece of 127cm wide netting.  Fold it in half and start your measurements from the folded corner.  Anchor your tape measure at the corner and measure from that point to distance A. Pivot the tape measure so that you keep marking distance A until you have enough marks to join and make a quarter circle.  Repeat this for distance B.  No seam allowance was needed for the hem as netting does't fray but I did add 1.5cm to the top to allow for attaching it to the dress.  When you cut and unfold the netting you should have a half circle.   Cut out 2 half circles, one for the front and one for the back.  Cut the front one in half to allow for the opening.  I cut 2 layers of netting for the skirt.  You'll need 8m of netting to do this.  To construct the skirt simply sew the 3 pieces together to make one large circle then sew to the dress.  

The marabou

As marabou is expensive and must be hand sewn on which is time consuming ( see The Making of Lovin', Touchin', Squeezin' - Part 2: The Gown for my experience sewing 20m of marabou onto my pink gown) you need to have an idea of how much you're going to need before you order it.  I wanted to create an effect similar to the JPG dress above in that the marabou was thicker at the top and bottom of the dress and at the hip and got gradually thinner towards the waist and knees.  My marabou supplier only has 3 thicknesses available, so I needed to make sure my placement took this into account.  Also, sewing non-stretch trim onto stretch material is a pain.  You have to stretch it as you sew and that was just not going to happen.  So I decided to just attach the marabou to the netting of the skirt.  This was a good idea because I actually haven't even managed to finish that. 

Anyway, to calculate the amount of marabou you need you will have to decide on the spacing you want.  I decided on 10cm between each stripe.  So now for more maths.  To calculate the amount of marabou needed you need to calculate the circumference of the circle the marabou will attach along.  My skirt is 70cm long. The 'waist' circumference is 82cm.  The radius of a 82cm circle is 13cm.  So for each marabou circle you need to calculate the circumference by adding the distance from the top of the skirt to the radius of the inner skirt and multiply this by 6.28 (2 times pi).  It's a lot of math but it will make it so that you can order exactly how much marabou you need.  

To calculate how much marabou you need to attach a row to the hem of the skirt:
- take the distance from the top of the skirt = 70cm
- and the radius of the 'waist' of the skirt = 13cm
- add them together to get the radius of the circle you will place the marabou along = 83cm
- Calculate the circumference of the circle by multiplying the radius by 2 times pi = 83cm x 6.28 = 521.24cm =5.2m approx.

So you can see from my calculations above I needed about 25m to have 10cm spacing of marabou.  I ended up ordering another 10m for my hat and for what I was going to put across the neckline and shoulders.  I ordered a mix of the 3 sizes available (their item numbers are 1089, 1090, and 1091 as per the diagram above).

Sewing the marabou on was not fun.  First it needs a steam as it has been sitting all squashed up in it's plastic bag for a while.  I steam the boas by passing them over the steam from a pot of boiling water with its lid open a crack.  This works well but leaves feathers all through your kitchen.  Black feathers are so much more pervasive than lighter colours and the dye is not colour fast so I ended up with black fingers.  In order to keep my lines straight as I sewed on the marabou stripes I cut a piece of cardboard into a 10cm square and used this instead of a ruler or measuring tape to quickly mark up my lines.  I more or less just tacked the marabou on because I hate hand sewing and would rather have to resew sections later than sew it on extra securely now.  My house was completely covered in black feathers but it was completely worth it.

Photo & Styling by  Jacs Saffioti  | Editing by  Ruby Corvette  | HMUA by  me

Photo & Styling by Jacs Saffioti | Editing by Ruby Corvette | HMUA by me


In the end I decided against having a marabou neckline and off-shoulder sleeve.  It was so humid when I was rehearsing for my debut that the thought of having feathers (especially non-colour fast feathers) against my skin was not the least bit appealing.  Also I didn't feel like it was needed.  It does however leave a raw edge exposed at the neck line which is a little messy.   It's not noticeable from the stage but I do need to fix it up. 

So that's it.  There's a lot of maths but it's actually a very simple design.  I'm pretty happy with what I ended up with even if it's the lite version of what I had originally planned.  I hope you've enjoyed this post as I'll be continuing this series next week  with the next costume piece, the tap pants. 

xo Margeaux

5 Essential Eye Makeup Brushes

If you've ever watched a makeup tutorial where the YouTuber reaches for brush after never ending brush to complete a simple eye look and wondered 'Do I really need all those brushes?' then this is the post for you.

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Amassing a large collection of makeup brushes is not necessary to pulling off great makeup looks.  And your brushes don't have to be expensive.  My personal collection consists mainly of Crown Brush brushes, which are both great quality and inexpensive.  Crown Brush may not be as commonly used by YouTube beauty guru's as a brand like Morphe, but let me spill a little T for you.  Morphe is very likely a private label brand of Crown Brush. 

Private labeling, for those unaware, is the practice of buying a bulk amount of another brand's product and getting them to put your brand's label on it.  Businesses that have a great brand but no manufacturing facilities commonly do this (i.e. Mermaid Salon).  It is something that is offered on the Crown Brush Australia website.  If you look at the products available from Crown Brush you will see that they are identical (or at least very similar) to those available from Morphe.  One example is the Crown Deluxe Soft Fan brush (C143).  This brush is exactly the same as the Morphe Deluxe Sort Fan brush (M143).  Even the brush number is the same.   If you want to go more in depth into private labeling and the similarities between Crown Brush and Morphe I highly recommend Stephanie Nicole's Morphe brand review video.  


Screenshot from


Screenshot from


You'll notice that the Morphe brush is priced a lot cheaper than the Crown brush, but postage for this brush alone is $27.31 USD.  The cost of postage on the Crown Brush Australia site is a flat rate of $12.95.  Alternatively, if you live in SE Queensland you can visit the Crown Brush store at Burleigh Heads.  There are Australian stockist of Morphe, but none of them sell this brush individually.  

Their eyeshadows are the same too.  The 1st photo below is of the 35 Colour Neutral Palette from Crown Brush and the 2nd is the 35N from Morphe (both photos are from their websites).  While not identical in layout and not all the shades are the same, they are very very similar.  

Another great source of inexpensive makeup brushes is E.L.F.  E.L.F can be purchased at Kmart and online at and Adore Beauty.  Brushes can be bought for as little and $3 and are still great quality.  I have quite a few E.L.F. brushes and haven't had any issues.  I did destroy the eyeliner brush, but that was because I left gel eyeliner on it to dry then pulled the bristles out completely when I pinched the bristles to see how dirty the brush was.

So on to the essential eye brushes.  If you buy these 5 brushes you will be able to achieve any eye look. The brushes I recommend will be Crown Brush unless otherwise stated and are all extremely affordable and perfect for those just starting their makeup collection.

1.  Large blending fluff

This brush is great for setting down your base colour and blending transition shades.  With it's soft and fluffy bristles it will add soft colour to your eyes and help to blend out for a diffused, blown out look. A natural or synthetic bristle is fine for this brush.  My current favourite is no longer stocked on the website but a good alternative is the BK30 -  Luna Badger Oval Shadow brush.  It's very soft and fluffy and only $6 AUD.  Another option is the C529 - Pro Jumbo Blending Crease brush ($13.30 AUD).  It's a little more pointed but would also be good for the purpose.  If you're wanting a synthetic alternative, the C459- Infinity Chisel Fluff ($8.75 AUD) would be a good option, although I do not own this brush.


2.  Blending fluff

 A stiffer and smaller blending brush is essential for adding definition in the crease and blending out shadows in a less diffuse way then the  large blending fluff.  My favourite is the C433 - Pro Blending Fluff ($9.90 AUD).  This brush is a dupe of the commonly used MAC 217 ($37 AUD). You can get away with only buying this brush and forgoing the larger blending brush.  You could even use this brush under the eye - it really is the best multipurpose eye shadow brush you can buy.  If you're looking for a synthetic version - which I use with my Colourpop Super Shock Shadows - then the SS027 - Deluxe Blending Crease  brush ($8.75 AUD) is what you want. 


3.  pencil brush

The pencil brush is used for more defined shadow applications including cut-creases, lower lash lines, and inner corner highlights.  It is another multipurpose brush that you will get a lot of use out of.  I use the C431 - Precision Pencil ($8.50 AUD).  I also use the synthetic C461 - Infinity Precision Crease ($7.95 AUD) for cream products. 


4.  Flat shader brush

This brush is for packing colour onto the lid.  I have a few in different sizes and sometimes use concealer and lip brushes.  A good option and the brush I use for cut creases is the C170-10 - Oval Taklon ($5.65 AUD).  This brush is made from a synthetic fibre called taklon so is great for using with cream products and is the perfect size for covering the lid with colour. Another great synthetic brush is the SS011 - Syntho Series Deluxe Oval Shadow ($6.25).  Flat synthetic brushes are pretty easy to come by so any brush will probably be fine.


5.  Angled brush 

I use this brush for creating a new crease for cut creases as well as mapping out my eyeliner,  filling my eyebrows. lining the lower lash line, and creating a new inner corner.  I have 2 brushes I use: the C160 1/8 - Taklon Angle Liner ($3.95 (AUD), and the Small Angled Brush from E.L.F. ($9 AUD).  I use the C160 for my eyebrows and the E.L.F brush for my lids.  It may be a good idea to get 2 of these if you're using a cream product for you brows so that you don't have to try to clean the brush to use it for something else.


Bonus brush -   Eyeliner brush 

This brush is only essential if you're using gel, cake, or cream eyeliner (sounds delicious).  I use a Napolean Perdis Sable Liner 2H FR ($29.00 AUD) and it's likely the most expensive brush I own.  I tried to use my C160 1/8 for winged eyeliner but found it difficult.  You may have better luck than me though.  Another option is the C438 - Pro Deluxe Liner ($5.20 AUD) which is very similar to the Napoleon brush but way way cheaper.  I personally use the Maybelline HyperSharp Wing Liquid Liner ($17.95 AUD) pen as it has a brush tip and is waterproof, so I don't need an eyeliner brush.


So if you went ahead and bought a set of these 5 brushes from Crown Brush it would set you back $34 AUD ($35.65 AUD if you bought all synthetic).  This is less than the cost of 1 MAC brush.  Postage is a flat rate of $12.95 AUD so your total is $46.95/$48.60.  So for less than $10 per brush you can now achieve any eye look you want!  Be sure to check out all the brushes on my Pintrest board. 

Happy blending!

xo Margeaux

Sewing Tulle - Tips and Tricks

I have just started developing a new act with the help of BB Le Buff's School of Performance and have therefore been busily ordering and planning and training but, until recently, had done very little sewing.  I started my first costume piece on the weekend - a pair of tulle tap pants!  Sewing with tulle is not fun but I have discovered 3 tricks that make sewing with it sew much easier!


My gown is made of ~11m of tulle!! Photo by KTB Designs | MUAH & Styling by the Bombshell Burlesque Academy


Sewing machine pressure dial

This is one of the parts of my machine I never paid attention to/understood what it was for.  This dial actually controls how hard the presser foot presses down on the fabric.  On my machine (a Janome My Excel 18W) the dial is on the top of the machine (number 11 below) and is set to 3 as a default.   


Image from the out of print manual for the Janome My Excel 18W. Number 11 is the pressure dial.


Setting 3 is for regular sewing.  When sewing fine fabrics you can change the setting to 1 to reduce the pressure on the fabric and prevent feeding issues.  You can also use this for when you are sewing stretch fabrics and bulky layers that you have trouble fitting under the foot. 

Image from the out of print manual for the Janome My Excel 18W.

The Walking Foot

Yeah, I'm probably not going to shut up about this anytime soon.  The walking foot, AKA my favourite foot, AKA the even feed foot, will help with feeding issues when sewing tulle and other fine fabrics.  The walking foot has feed dogs which work with the feed dogs on your machine to ensure the fabric is feed though smoothly.  This foot is also essential for sewing with stretch fabrics as well as for pattern matching.  This foot is a little pricey, but is so so so so worth it and will help you with so many different fabrics and applications.

Pin curl clips to avoid slips

This is the real reason I am writing this post.  Pinning tulle is next to impossible.  The pins will slide out so easily and excerise becomes quite pointless and annoying.  I had seen on a sewing blog somewhere someone using plastic clips instead of pins on their fabric, and I happened to have a couple of pin curl clips on my table that I had used for pastie making (I use them to hold the pastie at the overlap while the glue dries) so I decided to try using to pin together 2 pieces of tulle.  Well it worked so well I actually feel excited about it.  Not only do the pin curl clips securely hold the fabric they also have the added bonus of adding weight to the fabric which helps when you're trying to work on very light fabrics on an extremely windy day!

The clips hold the fabric much more securely than pins and reduce the slipping that you can get when you are sewing 2 layers of fine fabric together (something that can be further reduced using tips 1 and 2).  They are easy to remove as you sew and gather up when you're finished.  Plus most of us burly girls are bound to have some laying around the house.  

They are also very easy to re-position .  In the last photo I had pinned the bottom of my tap pant legs so that they were secure while I marked and trimmed them to make them shorter.  I was then able to place the off cut from one leg, with the clips still attached, on to the other pant leg and easily move the clips on the under layer to clip the top layer as well to give me a guide for cutting.  This is because the hinge point of the clip extends past the edge of the fabric. So instead of lifting the fabric to get to the pins you can just un-clip and re-clip with no issues! 

This is a bit of a quick post but will hopefully save you a lot of time and heartache when you next sew with tulle of any other similar fabric.  I look forward to showing you what I've been up to so stay tuned!


xo Margeaux

The Making of Lovin', Touchin', Squeezin' - Part 6: The Pasties

This is the end... Of this costume series at least.  And what better way to end then with the Swarovski covered, tassel twirling pasties!  I am especially proud of how pretty my pasties are and am more than happy to show you how I made them.  I will also include a few things I learnt about pastie making since completing these ones.

You'll be as happy as I look with your new sparkly twirling pasties!  Photo by Cameron Obscura | Taken at Naked Ostrich Burlesque

You'll be as happy as I look with your new sparkly twirling pasties!  Photo by Cameron Obscura | Taken at Naked Ostrich Burlesque


Pasties are often your final reveal and can create an opportunity for an extra gimmick or punchline or to engage in a little tassel twirling.  In my act I climax after I humping my largest powder puff across the stage - a move affectionately known as "Fucking the muppet" - but I wanted/needed a finale after this.  So tassel twirling it was!  I made my pasties with twirling in mind, but most designs are fine for adding tassels.

Photo by David Gatt | Taken at the Bombshells Ball produced by the Bombshell Burlesque Academy

Photo by David Gatt | Taken at the Bombshells Ball produced by the Bombshell Burlesque Academy


I did a fair bit of research on pastie designs before settling on my shape.  I didn't want regular circle pasties and wanted something a bit art deco to go with my vague forties theme.  I was inspired by these beautiful pasties made by Manuge et Toi and went with a star-shaped design.  My design is much more basic though and my pasties are nothing like the quality and beautiful perfection you get from Christine Manuge.

To make the pastie base I drew a circle (with a compass) that was the  diameter of my areola plus 1.5cm to account for the reduction in size when the pastie is formed.  To explain this I will show you how I make a regular circle pastie.  Step 1 is to measure across your areola.  Now depending on how pointy you want your pastie to be you need to add on a bit extra.  To create the pastie you need to make a cone shape out of a circle.  You do this by cutting a line from the outside to the centre of the circle then overlapping the 2 cut edges.  


How far you overlap the edges will determine how pointy the pastie will be.  In the first picture below I have overlapped the edges by 3cm.  For this level of overlap you need to add 0.5cm to the diameter  - that is, to make a 6.5cm diameter pastie with a slight point, you have to make a 7cm diameter cirlce.  In the second picture I have overlapped the edges by 6cm.  This resulted in a 5.5cm diameter extra pointy pastie from a 7cm circle.    There is probably some kind of mathematical formula for this, but in the meantime, just play around with a pastie cut out of paper until you get the coverage and pointy-ness that you require.  

For the pasties I made, I overlapped the edges by one star point.  This the easiest way to make a star-shaped pastie and the same way I make regular 5-pointed star pasties (except I start with a 6-pointed star).   I started with a circle then drew an 8-pointed star inside of it.  To do this I drew lines dividing the circle into 16 equally size segments.  I then marked 0.5cm from the circle on every second line then drew a line from this point to the point where the next line met the circle.  Et  voila, you have a 8-pointed star!  You can of course make the points deeper by measuring further along every second line if you wish. 

I then transferred the pattern to a sheet of craft foam.  I also transferred it onto a piece of heavy weight interfacing that I used in lieu of buckram, which I was unable to get.  I glued the 2 to each other then cut along one of the lines between 2 points, overlapped and glued in place with hot glue.  I used a pin curl clip to hold it in place while the glue set.  The reason I put the interfacing on the back is because I want to reuse these pasties many times and applying and removing double-sided tape (my preferred pastie attachment method) can result in some of the foam being ripped off when the tape is removed.  Also, the interfacing can fray, especially when tape is removed, so I sealed the edges with nail glue. This will not happen if you  use buckram, which is what I recommend you use.  


Using this method of construction does result in a ridge in the pastie.  It's not that big of a deal, but it would look better if it wasn't there.  The ridge is quite pronounced due to the thickness of the foam.  Looking back, I should have cut out one points and glued the edges together instead of overlapping then glued on the buckram backing to further secure the 2 edges together.  Overall, this is an OK way to make pasties but is far from the best.  What it is though is quick and easy, which may be exactly what you want at the time.


Next up was gluing on the crystals.  For maximum sparkle it's always a good idea to use a mix of colours and sizes of crystals.  For these pasties I used the same crystals I used on all the other costume elements:  ss16 and ss30  AAA hot fix  AB crystals from Bead, Trimming & Craft Co., and Swarovski ss12 Light Rose and ss16 Rose flat backs.  I find it best to determine a pattern before gluing.  I started with a pattern radiating from the centre to the points of the star.  I then filled in between the points with another pattern I mirrored on both sides.  One important thing to remember is to leave space in the centre for your tassel (if using). Once you've completed you patterns you can then go and fill in any spaces - which I did with the smaller crystals as well as some ss10 AAA hot fix Crystal.

Sidebar:  I have heard of people having issues gluing hot fix crystals.  I have only ever used hot fix crystals for my crystalling projects for the silly reason that when I buy my crystals I buy a mix of AAA and Swarovski.  Because the AAA only come in hot fix the guy I buy from assumes I want the Swarovski in hot fix too and I never think to tell him otherwise.  Anyway, I have never had an issue gluing hot fix.  I personally think that you just need to use more glue then you think you do.  I use E6000 glue (in a well ventilated room, with a fan on, and wearing a respirator).

Now for the tassels.  I bought the hugest tassels I could find, but not on purpose.  They just looked nicer than any other tassels I could find.  I bought them from the curtain section of Lincraft.  They are actually really good quality tassels that never crinkle or crease no matter how I store them and they twirl like a dream.  To improve the twirling though, I used fishing tackle.  This is something I learnt from Miss Burlesque Queensland 2016, Lenore Noire.  To maximise twirling you use fishing swivels to attach your tassels to your pasties.  Simply hand sew one end of the swivel onto the pastie then feed the tassel loop through the other end of the swivel and feed the tassel through the loop to secure.  The added bonus of this is that you can easily change the tassels on your pasties.  


The next piece of fishing tackle you need is sinkers.  If you flip over your tassel and find the centre, you can easily find a strand in the centre to thread a sinker or 2 onto.  You then secure them in place as close to the 'head' of the tassel as possible with a double knot or by tying the next strand to the strand you've threaded the sinker on to.  Adding extra weight to the tassel will improve you twirling immensely.  Fishing tackle can easily be purchased from Kmart as well as sports and camping stores.  


And that's it!  The only thing left to do is perfect your tassel twirling skills.  While I was developing my act I also took a tassel twirling class with Lenore Noire at the Bombshell Burlesque Academy and I was so glad I did.  Lenore is a great tassel twirler and teacher and I highly recommend taking one of her classes or doing a private lesson with her.  

So ends the Making of Lovin', Touchin', Squeezin'.  But don't be dismayed, I have just  started an intense 8 week period of costuming for my next solo act that I hope to debut at the next BB Le Buff's School of Performance CaBBaret on the 7th of October!!!  So stayed tuned for updates!

xo Margeaux

The Making of Lovin', Touchin', Squeezin' - Part 5: Props

So after last week's diversion into podcasting, we are back with another installment in the making of my solo costume.  Today we will be discussing the making of the props.  I use 3 props in the routine, all of them are powder puffs and all of them are fluffy and pink and cute and easy to make.  


Photo by KTB Design | MUAH & Styling by the Bombshell Burlesque Academy


The concept for my act and the props is simple, as the puffs get bigger the costume gets smaller!  I had a fairly clear idea of what props I wanted when I started researching them so the process was fairly straight forward.  I did however fall into that trap of most performers of wanting elaborate, beautiful, and inconveniently large props.  I blame Dita Von Teese. Anyway, I started designing a dressing table to use a a place to store my powder puffs as well as a piece of beautiful stage dressing (maybe I should actually be blaming Lily St Cyr).  I then came across this article on Pin Curl Magazine.  The line that was the nail in the coffin for the dressing table was, "If your “prop” is actually set dressing, leave it at home."  The writer then goes on to explain:

There’s a dramatic principle called “Chekhov’s Gun.” The great Russian playwright Anton Chekhov once remarked that if there is a gun onstage, it had damn well better go off at some point, or else your audience will spend the entire time fixated on it.
Likewise, if you bring a prop onstage and just leave it there, sad and alone for the duration of your number, the audience will spend all three minutes or whatever wondering what you’re going to do with it. If you don’t need the prop, lose it.

This sentiment was echoed by Queen Imogen Kelly during a workshop of her's I attended.  The problem of easy transport and set up of the prop was something a was able to design for, but the fact the prop was something I really didn't need was something I couldn't change.

As for the props I did make...  

The largest puff is also the simplest.  It is made from a long pile faux fur,  "Yeti" fur that I got from Spotlight, as well as left over pink satin from my corset.  It's pretty much a round cushion with a strip of satin that forms the typical ribbon handle of a powder puff.  I sewed this 'ribbon' into a bow of sorts to give it a little extra somethin' somethin'.  The filling is a piece of foam I trimmed down to a circle. 

Photo by David Gatt | Taken at the Bombshells Ball produced by the Bombshell Burlesque Academy

Photo by David Gatt | Taken at the Bombshells Ball produced by the Bombshell Burlesque Academy


The next puff is the long-handled puff.  This puff required a bit more research and design to complete.  I trawled Pintrest and Google image search for inspiration pictures and finally decided on a design.  The base of the puff is 2 pieces of stiffened felt.  I cut them out and then used one for the puff side and one for the back side.  The puff side was easy and made by cutting a circle of fur slightly bigger then the circle to account for seam allowance, snipping the seam allowance, and gluing the fur to the felt and folding over and gluing down the seam allowance to the backside.  The back was much more complicated.  


I decided on a pleated back that gathered in the centre.  To create this I needed to do some maths.  The first thing you need is the circumference of the felt circle (or circumfernce if you aren't too good at spelling - see below).  From this you can calculate the length of fabric required for the backing by some kind of maths that is beyond me or by doing up a little toile.  I decided on 1.5cm pleats so I marked a piece of paper every 1.5cm and folded it into pleats.  I then divided the length it was before with the length it was after folding into pleats to get the factor I needed to multiply the circumference by to get the total length of fabric required (without seam allowance).

So if I take a piece of paper 19.5cm long and and create 1.5cm wide pleats the resulting piece of paper will be 7.5cm long.  19.5 / 7.5 = 2.667.  The circumference of my circle was 48cm so the length of fabric I needed was 128cm, plus seam allowance.  The width of the fabric needs to be the radius of the circle plus seam allowance - 7.5cm plus 1.5cm outer seam allowance and 0.5cm inner seam allowance.  I opted for a smaller seam allowance for the inner seam to reduce the bulk of fabric after the seam is gathered.

puff sketch.JPG

Once the fabric is pleated you can straight stitch along the outer seam allowance to keep the pleats in place then stitch the ends together to make a loop.  Baste along the inner seam allowance by using the longest stitch length a the lowest tension then use this to gather the centre.  Tie off the threads to secure.  You can now attach the outer seam allowance to the felt circle by gluing it in place.  Snipping the seam allowance in places will help with this.  Before you completely glue it on, stuff the fabric with some cushion fill.  This will give take up the extra space created by the gap at the centre and give a smooth and cushioned look.  

To cover the gathering at the centre I first tried a satin covered button.  I couldn't find one of the right size so I made one using cushion fill and satin.  It didn't look as good as I had hoped so I instead decided to use a rhinestoned brooch I had.  I hand sewed it on, concealing the stitches underneath.  I was planning on using the same lace that I used on the tap pants and mesh bra to decorate the backing but instead went with a radiating pattern of crystals to go with the brooch


 For the handle I used a piece of dowel wrapped in the same grosgrain ribbon I used for my corset.  I then glued the handle to the backing with E6000 and glued the puff front to the back using a hot glue gun.  As I used the same fur for this puff as the larger puff, the pile was quite long.  I didn't really like the way it looked so I trimmed the fur a little which was kinda fun to be honest.  I even sprayed it with a little hairspray to help hold  the shape.

The final powderpuff I made was the one for my hair, although I did end up making it again so I guess it's actually the second last puff I made.  I made this one by cutting 2 circles of  and stitching them together with a piece of the hot pink satin from my corset as the ribbon.  I crystalled the ribbon before sewing it in for obvious reasons.  The resulting puff was just too puffy as I used the same long-piled Yeti fur I had used for the other 2 puffs.  I decided to give this one a  haircut too.  I started with a little trim but things quickly escalated and I ended up effectively giving the puff a buzz cut.  This was OK though, for a while.  I eventually ended up redoing the puff with marabou.  To make the new puff I sewed pieces of marabou boa to 2 circles of flat craft foam in a spiral to cover the whole circle. I then glued the ribbon into place then glued the 2 pieces together.  The puff if held in place in my hair with a duck bill hair clip that is threaded through the marabou between the stitches.  This new puff is way better and I love it!


With all the puffs made the final consideration to make was to powder or not to powder.  I asked Lila Luxx, who I developed the act with through the Headliners Act Development class at the Bombshell Burlesque Academy, how she felt about baby powder.  I'm pretty sure 'terrible' was the response.  And she's right.  Baby powder on a hard stage is an accident waiting to happen.  On a carpeted stage it might be OK, but then I am reminded of a act I saw at a Vanguard Burlesque show at the Wickham Hotel in Brisbane.  If you're ever there look up and see all the spots of baby powder still on the roof and photo frames that line the walls.  I was in the front row for the show  where Jess Whoo, Australia's first drag model, proceeded to fling baby powder everywhere.  I ended up covered head to toe in powder.  I turned to Lila, wiping the powder from my face and said, "I now understand..." *


So ends the props section of the series.  Next post will be the last in the series and will cover the Swarovski encrusted pasties and any other little tidbits I've missed


xo Margeaux  


*This is by no means intended as a dig at Jess Whoo, whose act was amazing.

Top Burly Podcasts


Today we will be taking a break from costuming to discuss another of my favourite things: Podcasts!  Podcasts are exploding in popularity.  If podcasts had a pussy you know it would be on fire!  Like YouTube before, podcasts have become more and more popular as a form of on demand entertainment.  And it was with this increase in popularity as well as because of the marketing teams of companies like Squarespace, Audible, and Squatty Potty, they have become a way to earn money.  And you know what happens once there's money involved!  Just like what happened on YouTube, everyone's got a podcast now.  Unfortunately, not everyone can have the same meteoric rise to the top like My Favorite Murder did  (SSDGM) and not all podcast are created with the same level of charisma, uniqueness, nerve, and talent. (How many Rupaul's Drag Race references can I use in one paragraph?) So sorting through the millions of mediocre podcasts out there can to find a few gems can be a bit tiresome.

This is less so when it comes to podcasts dedicated to burlesque.  I really wanted to give this post the great click bait title of "Top 10 Burlesque Podcasts You Needs To Listen To NOW", but there just aren't enough burly podcasts out there for that.  And that's a damn shame.   So instead I will tell you about the few active podcasts there are out there  as well as the ones that are defunct but still worth a listen.  And please, if I've missed anything please let me know in the comments below.  So, for you listening pleasure, here is my list of top burly podcasts!

Revealing with Michelle L'amour - Yak Channel

This was the first burly podcast I came across and I really can't remember how I found out about it.  I started listening to it when I started a 6 week act development class at the Bombshell Burlesque Academy.  This podcast was so important to me at the time as I was developing what would be my first solo act and it was describing so many of the feeling I was having.  To be able to listen to someone who has such a strong and powerful stage presence talk about their struggles with anxiety and confidence was so valuable to me.  Listening to Michelle L'amour, Miss Exotic World/Reigning Queen of Burlesque 2005, talk about herself and being able to relate to her helped me to work through the anxiety and, as she says in one episode, "bump and grind in the face of fear". 

The podcast isn't just about self reflection though, there are some great interviews (including one with Ginger Valentine!) as well as the Friday Tease - a monthly episode inspired by Naked Girls Reading where an excerpt of a sexy book is read.  A newer addition to the podcast is Titty Tea Time where Michelle and local Chicago burlesque stars Lady Ginger, Greta Layne, and Dominique Trixx discuss current issues while sipping tea in lacy lingerie.  Episodes are published every Friday.

Episodes  worth checking out: 'Revealing' revealed - the first episode, Do it!, and the Friday Tease - Tipping the Velvet.

*Note you will need to subscribe to the Yak Channel to access the podcast.

Burlesque Stripped Down with velvet o'claire

I came across this podcast while searching for another burly podcast I heard about.  This is a well produced podcast with some great content.  The first episode I listened to was 6 Steps to Better Burly Productivity.  This a great episode full of really great practical advice for setting and achieving your burlesque goals.  Velvet presents the information in a clear and easy to understand format which is both informative and inspiring!  This episode also mentions a previous episode: Top 5 Apps for a Burly Business Queen or King.  This episode is also extremely helpful and introduced me to Canva, a free web-based graphic design program for noobs.

Another episode I really enjoyed was about the movie Burlesque: Heart of the Glitter Tribe.  I recently watched this documentary on Netflix and was left feeling a little underwhelmed.  To be fair though, I should watch it again as I may not have given it all of my attention the first time I watched it.  Listening to the podcast and getting an understanding of how this film was made - through extensive filming over a 7 year period - actually gave me a greater appreciation of the film.  It's not perfect, but neither is burlesque and maybe that's the point.

This podcast has so much on offer including many interviews and  extensive show notes published on their website.  They also publish a monthly Worldwide Event Roundup that you can have your event featured on if you email


Burlesque on Air with Lada Redstar

This podcast is a seed bank of burlesque, that's how important it is.  Lada Redstar interviews the legends of burlesque and in doing so gives us a record of these legends in their own words and voices.  Lada asks about the personal lives of her guests and they offer a look into the world of burlesque in the Golden Era as well a some advice for modern burlesque dancers.  Burlesque on Air has featured such stars as: Camille 2000, Bambi Jones, Satan's Angel, Big Fannie Annie,  Dusty Summers,  Judith Stein, and April March.

Burlesque on Air has episodes available under the Kirkuss Radio branded Burlesque on Air  (first Apple link) as well as the most recent episodes on the Burlesque on Air with Lada Redstar (second Apple link).  

Tits on Tape 

Brand new podcast 'Tits on Tape' is produced by Agatha Frisky and Kim Khaos.  The ladies have so far released 3 episodes that are all available on SoundCloud.  Segments include an interview with a burlesque personality - so far including Rachel Atlas and Tom Harlow , Tips for Strips where they give advice for burlesque dancers, and Rantie Panties where they rant about the latest Facebook controversy or some other contentious issue in the realm of burlesque.

I really enjoyed their interview with Tom Harlow, someone I was unaware of until this episode, and hope that they continue to bring in amazing artists to talk with.   Tom had some really interesting and things to say  as well as plenty of useful advice and it was great to get some insight into what it is to be a full time artist.  The only thing  I hate about this podcast is that it's not on iTunes.  You can download and listen offline on Soundcloud if you pay a subscription, which annoys the crap out of me.  Hopefully they can transition to iTunes and whatever Android uses soon!

**UPDATE** - Tits on Tape is now available on iTunes!

The bodcast (bustle)

While not strictly a burlesque podcast, The Bodcast does cover the thing that is central to burlesque: bodies.   Body positivity, acceptance, and down right appreciation is something so bountiful in burlesque it can sometimes come as a shock when you witness the pervasiveness of  body shaming outside of our precious bubble.  And while we feel this love for all bodies in burlesque  and the understand that a performer is so much more than their measurements many of us still internally struggle with loving the body we have.  That's why I decided to include this podcast. 

The Bodcast is self described as "a podcast for radical body positivism and fat acceptance" with it's first season focusing on the experiences of people living in fat bodies in a world morally objected to them.   The second season broadens the discussion to the "unconventional narratives that people are living in all of their different bodies in 2017"  covering topics like getting an abortion and being a trans teenager.

The one stand out episode with regards to burlesque is the episode featuring burlesque dancer , producer, and Tedx speaker, Lillian Bustle.  In this episode she talks about how being fat limits society's acceptance of you as a sexual being.  Through burlesque Lillian was able to find a way to express her femininity  after decades of feeling like, as a fat person, she had to suppress it..  Lillian and host Amanda Richards also discuss the motivations behind and the affects of the use of the word 'brave'.  It is common in burlesque that audience members and outsiders alike will tell you how 'brave' you are for doing what you do.  This is something that can feel malicious, misguided, and sometimes says a lot about the mindset of the  person saying it.  Lillian and Amanda's opinions on this and many other topics are definitely worth a listen.  

Lillian also has her own podcast, the Body Poscast.  Check it out here

*Make sure you're downloading/subscribing to the Bustle podcast as there a fitness podcast  also named the Bodcast.

defunct but worth a listen

The Art of Burlesque has 5 episodes all recorded in 2015.  The host interviews some of the top performers in burlesque including: Tigger!, Jeez Louise, Raven, Ray Gunn, Aurora Galore, and Vicky Butterfly.  I especially loved hearing the interview with Tigger!, one of the true pioneers of the neo-burlesque movement.  While the production is strange at times, it's worth it to hear a few great interviews with so true superstars.

This or That is a video podcast of 'America's Favorite Burlesque Gameshow!'.  Hosted by Julie Atlas Muz and Fred Kahl and filmed at Coney Island, This or That , is part bizare Japanese gameshow part burlesque show with contestants put through an assortment of weird challenges before being asked to pick a curtain, behind which a burlesque dancer is waiting to perform.  Performers include Dirty Martini, Jo Weldon,and  the World Famous Bob.  Check the full show archive here

So that's all I've got. Please do let me know in the comments if there's a podcast I missed.  Next week we will return to our regular programming and cover Part 5 in my series The Making of Lovin', Touchin', Squeezin' - The Props.  If you are yet to read the other posts in the series, you may as well start now at Part 1.   You wont be mad you did. 

xo Margeaux


The Making of Lovin', Touchin', Squeezing - Part 4: The Mesh Bra

Welcome back!  Today's post is about the making of the mesh bra.  Mesh bras were a common and often necessary part of the costumes of the dancers of the Golden Age of burlesque.  They are simple in design and can be simple to make, if you have the right tools for the job.


Photo by Greg Elkenhans | Taken at the Bombshells Ball produced by the Bombshell Burlesque Academy.


I first learnt to make mesh bras in a class with Coppelia Jane at a burlesque costuming class held at the Bombshell Burlesque Academy.  Patterning the cups is fairly simple with only a few measurements required.  As you can see in the drawing below, you measure the distance under the breast that you want to cover as well as the distance from where you want the top of the triangle to start to the centre of the first measurement.  These  2 measurements are used to make a triangle which forms your bra cup.  Start by folding a piece of paper in half then marking the distance you measured from top to bottom on the fold.  Then mark half the distance across the bottom that you measured.  After cutting out you can create a dart at the centre bottom to improve the fit, although this isn't really necessary if your using a fabric with 4-way stretch.  Adding this dart will decrease the coverage across the bottom of the breast as well as change the shape of the bottom of the cup (see below), so keep this in mind.

Cup pattern draftin process including optional dart and resulting change in cup shape.

Cup pattern draftin process including optional dart and resulting change in cup shape.


The materials I used to make my bra were stretch mesh and fold over elastic (FOE).  The best place I have found for stretch mesh is Glitter and Dance.  Thy have a huge range of colours available and finishes and will send you  samples for a fee of 20 cents, which you can get back when you make a purchase.  I ordered samples of 4 of  the different pinks available and ended up going with the bubblegum pink.  FOE is plentiful on eBay and is usually sold as DIY hairbands.  The seller I bought from has 42 colours available and free postage.  I got the light pink.  

Sewing the bra was extremely easy.  This partly because of the simple design and partly because of my new favourite thing - the walking foot.  To assemble the bra you simply need to measure the length of elastic you need to both edge the cups and create the straps then pin the cup mesh inside the folded over elastic.  Sew using a good quality polyester thread and the magical walking foot.  A walking foot is a sewing machine foot with feed dogs.  This means that fabric is being feed through by 2 sets of feed dogs - the ones on your sewing machine and the ones on the foot - and therefore goes through smoothly without stretching.  This results in a trouble free sewing experience as well as professional looking stitching.


A sample of the super  neat and professional results of sewing fold over elastic and stretch mesh with a walking foot.


You can easily purchase a walking foot online or from most sewing stores.  They usually cost around $40-50 AUD but you can get one in a 15 foot kit from Spotlight for $59 AUD.  They are more or less universal however you can be slightly limited in needle position if the foot doesn't fit your machine perfectly.  This is because the opening in the actual foot that the needle goes through may not line up with your needle for all positions and you therefore may not be able to have as wide a zigzag stitch as you want. 

One thing to consider is where your closure is going to be.  This will be dependent on your choreography as well as other considerations.  I needed to have closures at the back to fit with my choreography but many mesh bras were front opening.  I used 2 bikini clips on my bra, one at the back and one at the neck.  These aren't the easiest to open one handed and got stuck in my hair twice on stage, so I swapped them for magnetic snaps.  The magnetic snaps are actually a bit stronger than I would like so I am still on the hunt for the perfect closure.  

Photo taken by Cameron Obscura | Taken at Naked Ostrich Burlesque

Photo taken by Cameron Obscura | Taken at Naked Ostrich Burlesque


The final touch is the embellishments.  Traditionally, mesh bras had a pastie or applique attached to cover the nipple.  Because I wear pasties underneath that have very large tassels covering the nipple area alone was not enough as the tassel would still be visible.  I decided then to cover most of the cup with pieces of the same lace I used for the yoke of the tap pants.  I hand sewed the lace on in a design I mirrored on each cup.  I then glued on rose and light rose Swarovski crystals as well as some crystal AB as I did on the tap pants.  

Overall I am pretty happy with the result.  The walking foot made the stitching look so good and the quality of the mesh and elastic is great.  I would love to make another mesh bra that is closer in design to the bras of the Golden Age, but I just need to get a good look at one.  I'm really unsure as to what they used for the straps so if you happen to know what it was or a similar product I can use please let me know in the comments below.

Thanks for reading and I hope you join me again next week!


xo Margeaux

The Making of Lovin', Touchin', Squeezin' - Part 3: Tap Pants

Welcome to the next installment of  the Making of Lovin', Touchin', Squeezin'.  In this post we discuss the making of the tap pants.  If you haven't read part 1 where we discuss the making of the corset or part 2 which focuses on the making of the gown you should stop immediately and go back and read them now (or later, whatever, I'm not the boss of you).  


Photo by KTB. MUAH & Styling by the Bombshell Burlesque Academy.


I fell in love with the tap pants Evie Libertine uses in her Navy Beat act.  The vintage look and the ease of removal were exactly what I wanted for my act.  I started researching tap pants and came across a surprisingly large number of patterns available on Etsy.  I went with a pattern from Mrs Depew Vintage which turned out to be a great thing because of the sew-along tutorial that is available on her blog.  This blog post is very detailed with 5 posts dedicated to the tap pants alone. 


The Pauline bra and tap pants pattern from Mrs Depew Vintage (


The pattern is a pdf that you download and print.  This is great because you get it straight away, pay less then you do for a paper pattern, and don't pay postage.  The down side is that you have to print it out as several A4 sheets that you then have to tape together then cut out, which really isn't that big a deal.  Because it is one size though you do have to resize the pattern to fit.  This is easy though and explained in detail in one of the blog posts.  If you are wanting details on the construction of the tap pants head over to Anna Depew's blog: A Few Threads Loose

This was probably the most complicated piece I made for my costume.  The reason is that it it the most structured piece I made.  Other than resizing the pattern I made quite a few alterations.  There is a V-shaped opening at the waist in the pattern which serves as the actual opening for the tap pants (see below).  As with most vintage sewing patterns, a highish level of prior sewing knowledge is assumed and therefore there is no pattern for the placket for this opening.  Anna herself advises against using the v-shaped opening and instead advises to simply create  a new opening by drawing a straight line in the center of the v.  Doing this will add 2.5" to the waistline and reduce the complexity of the placket required.  

A section of the pattern showing the v-shaped opening  (between 6 and 7) and yoke (under 11).

I wanted  to maintain a flared shape to the pants so I opted to keep the opening as is.  Also, because I was making the pants tear away the opening was actually going to be extended the whole way through (making the piece 2 individual pieces) so the placket would be fairly simple anyway.  The plackets I made were simply 2 overlapping strips with snap tape sewn on each side.  I sewed the snap tape on to the plackets before I folded and sewed them onto the pants.  This ensured that there was no stitching visible from the outside of the placket.  

The yoke piece is drafted  slightly longer then the pants front it attaches to in order to accommodate the placket.  I found that I had to extend it a fair bit more for the plackets I used.  I did a complete toile of my altered pattern before I started cutting my final fabric, which is party satin from Lincraft.  I chose this fabric because although it is a bit heavy for something like this it was the right colour and finish.  The yoke is made from 2 pieces of the satin with the top one reinforced with a medium to heavy fusible interfacing.  I attached the lace appliques to the yoke before I sewed it onto the pants.  This meant the stitching from attaching the lace was hidden behind a second layer which acts as a facing.  Attaching the lace to the yoke before sewing it had another advantage.  Anyone who has discussed the topic with me before knows my disdain for hand sewing.  Having the yoke unattached meant I could easily machine sew the lace on then hide the mess of crisscrossing stitching behind a facing.

The other alteration I made to the pattern was in the length.  I wanted the pants to be tantalisingly short and show maybe the slightest hint of cheek.  This was obviously limited by the gusset and required the hem be slightly angled.  To add to the flirty hem line I finished them off with a rolled hem using my overlocker.  Fortunately, the white thread I had for my over locker was fine to use and blended in with the pink fabric.   And because I cut the pattern on the bias, another alteration I made, the hem ended up being a wavy "lettuce" hem.  The final touch was to add some crystals in rose, light rose, and crystal AB.


Photo by KTB. MUAH & Styling by the Bombshell Burlesque Academy.


Overall I'm fairly happy with the tap pants.  They're hella cute and come off like a dream.  I've found that leaving the bottom 2 snaps undone helps with a smooth removal and adds to the cute look of the shorts.  However, I was expecting them to flare more and give more of a circle skirt shape like in the picture.  I thought cutting them on the bias might help the shape but it didn't really make a difference.  For my next pair (for which I have started drafting the pattern for!) I am instead going to base the pattern of a half-circle culotte pattern I found.  That way they will end up looking a lot more like the drawing.  

I recommend looking at the extensive pattern range available on Mrs Depew's Vintage on Etsy and checking out the blog as well.  When it comes to using vintage patterns just be aware that having to resize them is likely and that things like plackets and facings will not be included.  It is better to have a bit of sewing and patterning knowledge before you take one of them on.

 Thanks for reading!  This post is a little more technical then my previous ones but hopefully enjoyable none the less.  Next week we will move onto part 4 which covers the  making of the triangle bra.  Also check out the bonus post to this series published on the Bombshell Burlesque Academy and Events blog.  It's all about the lessons I learnt through the making of this costume.  And while you're there check out the other posts from the inspiring teachers and students of Bombshell Burlesque!

xo Margeaux

The Making of Lovin', Touchin', Squeezin' - Part 2: The Gown

This is part 2 of my 6 part series on the making of my costume for my debut solo.  If you missed part 1 where I discussed my inspiration and concept as well as the construction of the corset, click here.  In part 2 I will discuss how I made my most treasured costume piece, the marabou trimmed gown.

Photo by KTB | HMUA & Styling by the Bombshell Burlesque Academy

Photo by KTB | HMUA & Styling by the Bombshell Burlesque Academy


As a person passionate about costuming I really wanted to make my own dressing gown.  The Catherine D’Lish gowns are beautiful but they are expensive and take all the fun out of making something yourself.  I researched gowns and robes and peignoirs but was unable to find any patterns that fit with what I wanted.  I decided that I would have to draft the pattern myself.  I am not trained in pattern making or dress making on anything beyond high school home economics, so this was not something that I had experience in.  In my inexperience I decided that I could achieve a gown with the fullness and volume I wanted by simply making a full circle skirt that fit around my neck.  It would of course need some structure around the shoulders and to be longer in the back so I conceived the basic pattern below.  I then made 1:10 toile of the pattern to check it it worked which resulted in the cutest little doll-sized gown.

Sketch 2.JPG

I started by drafting the pattern using pieces of butcher’s paper sticky taped together on my lounge room floor.  This was to prove too exciting a prospect to my normally gentle cat who attacked the paper several times leaving rips and claw holes all over it.  As anyone who has made a full circle skirt will know, this takes ~a lot~ of fabric.  My pattern pieces ended up very large and all up I ended up using about 10 m for stretch tulle to complete the gown.  I obviously wanted a full length gown but was limited by the width of the fabric.  This particular fabric is 156 cm wide (I used the polyester stretch tulle from Spotlight in pale pink).  I started by going with this as my gown length but after trying it on with the corset on top (which shortens the gown significantly) I realised that this was not going to do.  

The gown pieces were sewn together and a 56 cm gap was left open for the sleeves.  Figuring out the length required for the sleeve opening was a bit of trial and error and ended up being a lot more than anticipated.  I had originally thought 25.5 cm would be enough.  The sleeves themselves are half circles with a diameter based on the desired length.  I chose an elbow length sleeve which is practical yet visually pleasing.


During the design process I was hesitant to add an extra tier to the gown as I felt it would be too similar to the popular Catherine D’Lish gowns.  The fabric width however necessitated this.  I did some maths to calculate the length of the bottom hem I needed to attach the tier to then multiplied this by the amount of gathering I wanted (I went with 1.5 x gathering, meaning a 1.5 m length would be gathered down to 1 m).


The outer circumference of the 2 half-circles I used to construct the gown was 3.9 m and 4.5m

Multiplied by 1.5 that gave me a total length of 12.7 m

The width of the fabric is 1.56 m and the desired length of the tier is 0.35 m

So I cut 9 strips of fabric 0.35 m long to make the lower tier.  No here’s where things got interesting (read: a little silly and pretty frustrating).  I sewed each of the pieces together to make one long piece which I then sewed with 2 rows of basting stitch and gathered by hand.  I did buy a ruffler foot and a gathering foot with the intention of using them to do this but it wasn’t immediately easy to use the ruffler foot to I decided to just gather with the basting stitch.  So I gathered the tulle together into this behemoth of fabric you see below.

I then started to loosen the gather in order to fit it to the bottom of the gown.  I didn’t get very far along before thread snapped… All the gathering ungathered and I almost cried.  So, after I gathered myself, I then I decided to take apart the long piece of fabric I had just sewn together and deal with the pieces individually.  I didn’t bother to even try to unpick the stitching because this is next to impossible with tulle so I just cut along the seam.  I then basted and gathered them individually.  I gathered each piece so that it was 1 m long then attached it individually to the bottom of the gown.  I overlapped the pieces slightly (about 1 cm or so) but they are not attached along the sides otherwise.  With the volume of the skirt and the gathering it’s next to impossible to see that they are not attached along the edges.

Photo by Greg Elkenhans. Taken at the Bombshells Ball produced by the Bombshell Burlesque Academy

Photo by Greg Elkenhans. Taken at the Bombshells Ball produced by the Bombshell Burlesque Academy


With the gown completed it was time for the trim.  I ordered 20m of the medium marabou from Photios Bros in light pink.

Sidebar: Photios Bros has great prices and range and wonderful customer service.  And while you can view their range online you will need to call them, they don’t do online sales.

If I ever meet Catherine D’Lish I will ask her how she attaches the marabou to her gowns.  The only method I could find other than hand sewing was to use a wide zigzag stitch over the core and then pull out all the feathers that are caught in the thread and lying flat.  This seemed like it would take as long as hand would and was likely to result in tulle and feathers getting caught in feed dogs and under the needle plate so I opted for hand sewing.  I took a day off work and sat and sewed from 8am to 10pm only taking breaks to eat and go to the doctor for my medical certificate (I chucked a sickie).  I got most of it done that day while watching Mommie Dearest, Gypsy, and both volumes of Nymphomaniac.  I needed another 6 hours to complete all the hand sewing.  I then used left over tulle and marabou to make a simple belt with pompom ends. And, et voila, it was finished!

Photo by Cameron  Obscura | Taken at Naked Ostrich Burlesque

Photo by Cameron  Obscura | Taken at Naked Ostrich Burlesque


All up I spent over 24 hours making it and over $150 on materials so you can see why these gowns are so damn expensive.  I am extremely happy with the outcome however I’m not sure I’d make one again unless I can figure out a faster way to attach the marabou.  If you have any tips I'd love to hear from you in the comments section!

Please come back next week to read the next installment which focuses on the tap pants.

xo Margeaux

The Making of Lovin', Touchin', Squeezin' - Part 1

Being an avid fan of burlesque and costuming, I am always delighted to read anything on the topic.  I am especially delighted when someone goes into details of how they achieve their finished costume projects.  In the spirit of this I am going to show you how I made my costume for my debut act - Lovin’, Touchin’, Squeezin’.  As this involves many different pieces it will be split into a 6 part series.  For part 1 we will focus on the act inspiration and concept as well as the construction of the corset.  

Photo by Greg Elkenhans | Taken at the Bombshells Ball produced by the Bombshell Burlesque Academy

Photo by Greg Elkenhans | Taken at the Bombshells Ball produced by the Bombshell Burlesque Academy



For me the act starts with the music.  The music for this act (Lovin’, Touchin’, Squeezin’ by Journey) may not seem like it lends itself to a pink boudoir theme, but that’s exactly what I imagined when I listened to the song.  My first inspirational image came courtesy of the mega babe Rebekah La Recherche’s Instagram feed.  The photo below was taken by Sherbet Birdie and really encapsulated all I wanted for my act.  

Sidebar: I keep all my inspiration and any tips I find in ~secret~ Pintrest boards so that I can easily go back to them wherever I am.


As this was my debut solo act I wanted to keep things simple.  I decided to go with a classic-themed boudoir style act with powder puffs.  Pink was the only choice.  For the costume I wanted a luxurious boudoir set with a dressing gown and underwear set.  I decided on tap pants because of the vintage style and ease of removal.  I went with a triangle bra for this reason as well.  As far a props, I wanted to start with a small powder puff and build up to an over-sized puff for the finale.


Sidebar: I now understand how wrong I was about equating classic with simple.  Classic burlesque is one of the hardest things to do well.  Also, burlesque in the Golden Age wasn’t just about gowns and boas, there was a lot of incredibly creative acts utilising many and varied props (but that’s another story altogether).

The Corset

Photo by KTB Design | HMUA & Styling by the Bombshell Burlesque Academy

Photo by KTB Design | HMUA & Styling by the Bombshell Burlesque Academy


I have made a few corsets.  They’re not particularly hard to make but they are incredibly difficult to perfect.  I based this corset off a pattern I made in a Bombshell Burlesque Academy course taught by the amazing burlesque costumier and icon, Coppelia Jane.  It was the first corset I ever made and still the best.  The pattern was drafted by wrapping my body in cling wrap then duct tape.  The duct tape was wrapped tightly to mimic the reduction required in the final corset.  The duct tape ‘corset’ was then marked at the centre back and centre front and divided into 12 equally -sized panels.  It was then cut off and the panels cut out and transferred to paper.  It was constructed of 2 layers, an outer satin layer strengthened with heavy fusible interfacing and a drill cotton lining, and internal boning channels. 

 My first attempt to make the corset for this costume was a bit of a disaster.  I chose a fairly light-weight satin as the outer layer and a beautiful printed rayon as the lining.  The thing about corsets is that they require a fabric of a certain weight to work.  Even though I used heavy fusible interfacing on both layers (I tried the non-fusible kind but it just wouldn’t sit flat) I couldn't get the 2 layers to match when I stitched them together.  I learnt that for this type of corset, with internal boning channels, you need to use fabric of a specific weight.  There is a concept called turn-of-cloth which basically means the more layers you have the wider the outer layer needs to be to account for this extra bulk.  Each fabric has it's own turn-of-cloth and I think that the fabrics I chose had such a difference between them that they couldn't work together without some extra finesse. One way of finessing the fabric is roll-pinning (were you drape the fabric over a rounded surface like a dress form or tailors ham then pin the fabric) but this is something that I haven't yet attempted.

The easiest way to fix the corset was to start again.  I purchased the same fabric I used in my original corset - party satin and drill cotton from Lincraft.  Party satin is surprisingly heavy weight for a cheap satin and is available in many colours.  I redid the corset in these fabrics and unsurprisingly they went together much easier.  I am however not entirely happy with the finished product.  The busk is too short, which was due to me reusing a busk from another failed corset of a different length.  This made the top and bottom gape open in an unflattering way (see photo below). 


Photo by Cameron Obscura | Taken at Naked Ostrich Burlesque


I also had a lot of trouble with the boning slipping off it's caps, busting out of the channels, and stabbing me.  I also mysteriously decided to use spiral steel boning in the channels where there was the most reduction and straight steel in the others.  This resulted in a ~very~ strange shape.  I also somehow missed putting boning in the same channel on both sides of the corset and then put 2 pieces of boning in another 2 corresponding channels.  How I managed to do this I do not know.  I have since shortened the corset to match the length of the busk and replaced all the boning with straight steel boning.  I also recapped the bones with a more generous amount of electrical tape.

The corset as it looks now  and the mystery of the missing boning.

The corset as it looks now  and the mystery of the missing boning.


These changes have vastly improved the corset, however I am still not entirely happy with it.  I feel like it doesn't quite reduce evenly across my body.  I have put this down to fabric selection.  While the fabric I used is a heavy satin without stretch I suspect that the satin I used in the first version of this corset was either not party satin or the black party satin is simply heavier.  I have gone back and checked the leftover pieces of fabric and there is definitely a difference in their weights.  There was a large amount of time between the 2 purchases so quality could have changed during that time.  Any how, I am considering remaking the corset or adding additional boning to improve the overall shape.

Finally, the boning has again slipped it's casing again and made it's way through the fabric.  I have ordered some steel tips from Sew Curvy (where I also bought the incredibly well colour-matched and high quality ribbon for the corset lacing) which I will be replacing the tape with.  I also ordered the Sophia corset kit which I intend on making in the next couple of weeks. Stay tuned for the blog post!

So there you have it! Corset making can be challenging but is something that most people can do.  If you can sew a straight line you can sew a corset. Just make sure you have the right materials for the job and you are wearing your patient pants! 

Stay tuned for the next installment of the Making of Lovin', Touchin', Squeezin'  - The Gown.

xo Margeaux