Why This Costume: This was the main build my cosplay group, Cosmic Coterie, voted on making this year. We wanted to focus on a build that was relatively simple, since all of us had major life commitments to handle this year.
Our first priority in making these was ensuring that we were respectful to Japanese culture in the creation of these builds, so we spent a lot of time and energy making sure we were accurate to artbook designs of the inner senshi and following appropriate yukata-wearing protocol. The incredible Victoria Bane spearheaded this research. You can find our full notes here!
Make sure to check out Cosmic Coterie for more helpful tutorials and information!
How I Made it:
WIP and materials photos
Yukata are honestly amazing beginner sewing projects. Creating a modern yukata is more or less sewing a series of rectangles with a few moderately tricky bits. However, if you prefer to work with a pre-made pattern, Simplicity and McCalls have you covered.
I primarily worked with the simplified yukata tutorial linked above, occasionally referring to the more traditional tutorial for measurement guides. My biggest issue with making the yukata was my height; the first tutorial is written for a traditional yukata, which assumes a height of 5’2″ – the average height of a Japanese woman. Even checking the alterations for men’s yukatas still the measurements way too short for my height of 5’10”. This lead to a lot of headache in my construction (not to mention some expensive material waste), but once I finally figured out the appropriate lengths to cut, all of the pieces came together more or less in a day.
Regarding materials waste, if you are very tall (see: over 5’7-8″-ish), you’ll need to either purchase Western-style fabric or get an extra long yukata bolt. I didn’t realize when I purchased my first fabric (which I loved, sob) that there wouldn’t be enough fabric on the bolt to create a full yukata. Even with an extra long one, I still barely squeaked out enough fabric, but I didn’t have enough leftover to make the extra collar or a matching bag. Sob. I’ll just have to find some coordinating fabric to make extra accessories!
Thoughts on this build:
Honestly, I had a lot more fun working on this project than I expected. I was kind of dreading pumping out two full new costumes for A-Kon while also working on commissions and my contest build, but this came together super fast once I figured out the proper lengths of everything.
The extra accessories are also super adorable! We really lucked out on several pieces, especially the hair accessories and the obijime. I can’t wait to wear these again!
I’ve made about a billion fukus at this point, so I’m not going to go crazy in-depth on this post other than to comment on a few special tweaks and challenges I encountered with this build.
One of my on-going issues with my builds (and specifically fukus) is that I tend to prioritize commissions and group builds for others over my own stuff, so as a result, a lot of my fukus haven’t turned out exactly how I wanted. This time around, I worked on pieces periodically between commissions and actually did a couple of mock-ups on pieces I’ve had issues with before.
To start, I knocked out the satin pieces. I almost always ease into a new fuku by starting with the bows and the collar, and this one was no exception. Victoria Bane drafted a new collar for us over at Cosmic Coterie, and, being the giant that I am, I had to make a few adjustments for it to fit on my frame. I *may* go back and make it a touch wider, but it’s close enough to my desired width that I’m not being too picky about it for now.
For this fuku, I lengthened my bodice by 2″ like normal, but I’ve had issues with it pulling in the past. This time, I also added an inch to my bloomers and it fits SO MUCH BETTER.
With my last Jupiter, I also cut my hip roll way too small. This time, to keep it more proportionate to my sizing, I cut the width at 5″ as opposed to 4″ used in the Coterie tutorial, giving me closer to 1.5″ width on my final hip roll. I like the look a lot better on me.
Probably the weirdest part of making classic Uranus and Neptune is their angled glove rolls. I have to give a massive shout-out to Katie Cosplays for her tips on this! She recommended cutting the angles on the true bias, and with some careful finangling, I was able to squeeze upholstery piping into the channels for my gloves. The only thing I’m not really happy with on these is how far they tend to stick out when wearing them. I may hand tack them to my gloves or see about re-making them at some point. Either way, tutorial coming soon!
To finish this build up, I bought a pair of boots from Sheikh shoes and painted them with a combination of navy and black paints from Angleus leather. The “belts” are scraps of stretch vinyl I had on hand that were a pretty close match. I made faux belts and glued them to the base shoe with Barge.
I also resin casted mine and Victoria Bane’s brooches using tips from the amazing Daydreamer Nessa’stutorial! I need to re-cast these, unfortunately. The size is perfect, but my silicone mold was way to floppy, so the resin settled at the base and created a flat portion. The colors are perfect, though!
Also, shout-out to my teammate Victoria Bane for styling my wig so I could finish this costume as well as Belle!
There are definitely a few things I want to fix on this costume, namely buying some new boots that don’t murder my feet, shortening the skirt hem, and assembling my Space Sword kit from Rawrbomb, but overall I think this is one of my best fukus yet! I can’t wait to tweak her and wear her with my Cosmic Coterie ladies ❤
How I made it: I know, I know. ANOTHER FUKU. I keep promising myself/y’all that I’m going to cool it with these, but apparently they’re becoming one of my staples.
For a long time I told myself I wouldn’t take Super Moon commissions since I definitely prefer the gradient dyeing we did for Cosmic Coterie and lack an airbrush. However, my client was fine with the stripe approach from the 90s anime and I did a few other experiments with this build, which I’ll focus on today.
Let’s start with that pesky double hip roll again. I’ve made a couple of double hip rolls with upholstery piping, but I honestly am not in love with it. So I went back to upholstery foam and even further back to my Jupiter 1.0 days when I used Zan‘s pattern. I used her hip roll pattern piece for the front, and then tapered it down to almost 1/4 the original size. This gave me a chance to really control the depth of the taper and make it even (this is something that drove me crazy with our original group build). I know that Moon has a brooch that covers up the point of the V, but having messy work drives me batty, so I’m glad I was able to clean this up! The gold hip roll is 3/8″ smaller all around than the white one.
Both of the hip rolls are sewn into the seam. I basted the gold one about a half inch above my normal stitching line on the bodice to accommodate the clunkiness of both rolls. Once both hip rolls were in place, I then hand stitched the entire hip roll with a back stitch for durability, using my basting lines as a guide.
The skirt was a… special challenge. I wracked my head for weeks with this. My initial inclination was to level the skirt then cut off the portions I needed and use them as a template, but that would have required INSANE precision. Eventually I realized I was making it way too complicated and cut super long strips of fabric on the bias. I had originally ruled out continuous bias tape (so apparently this approach has a shit ton of names, because I was chatting with the girls and we realized that we were all talking about different techniques lol) because I didn’t want lots of seam lines showing, but I made sure that my seams were tucked into the folds of the pleats for the most part.
To create the sleeve petals, I cut a strip of Worbla (1″ wide X 10″ long), layered it on another strip, and heat formed it over my dress form. Once it cooled, I glued each layer of the Mylar/Organza petals one at a time with e6000. I let each layer get to the point that it was dry to touch before I added on a new layer. Once all 3 layers were attached and mostly dry, I glued a strip of Velcro on top and fleece on the bottom to make it slightly more comfortable. There’s a matching piece of Velcro on the lining of the chest armor to keep it in place. Credit for this idea goes to MASK Props. I love how he did the sleeves for PockyPants‘s Chibi Moon!
The last major change I made on this fuku was on the butt bow. I used my trusty Pellon 808 interfacing instead of vinyl and like it a lot better. I hate that the bow isn’t transparent, but it holds its shape much better with interfacing versus vinyl.
That about covers this fuku! You can find more details on my other fukus here, and tutorials on how to make a Cosmic Coterie style fuku here.
Why This Costume: After A-Fest, the Cosmic Coterie crew decided we wanted to switch up our fukus a bit and decided we wanted to go Super! Our affiliates expressed interest in joining us to have a full set of senshi again, so I offered to take the role of Pluto! (I got extra tall boots so we can be almost height accurate 😉 ).
I think most Moonies have a favorite inner and outer senshi. While Jupiter is my all-time favorite senshi, I have a soft spot for Pluto! I actually considered making Pluto before Jupiter back in 2014, but decided against it since I didn’t know how to build props (or who to ask for a commission) at the time.
Note: I made regular and Super Pluto pretty much at the same time, which is why I combined these costumes into one post.
I swear, every time I make a new fuku I learn something new to improve the process. I don’t want to get too heavily bogged down in details since pretty much everything you need to know is over on the Cosmic Coterie fuku tutorials (seriously, I’ve written a damn novel at this point). However, I do want to point out a few fit tweaks that I’ve noticed since making Jupes 2.0.
One of the biggest game-changers in my fuku process comes courtesy of Katie Cosplays. She noticed a few of our fukus in the past have had issues with puckering at the point of the V. Turns out, lowering the point of bloomers fixes that problem! When I redrafted my pieces for Pluto and sewed the skirt on, I actually turned to Space Cadet Cosplay for feedback because I was convinced I’d done something wrong. It came out right on the first try (don’t mind the puckering here too much. My belt needs to be shortened by about 8″)! Normally there’s at least a little profanity and seam ripping to get the hip roll just right in my experience.
Another issue I noticed with Jupes 2.0 was skirt length. The pleats lose their shape at a certain length, and I definitely needed to shorten the hem for my Jupiter. Some of my front pleats almost look like they have puckers, and it’s just because the skirt is a hair too long. I’m finding that about 8″ from the bottom of the V to the hem and about 10.5″ in the back works well for me. This one is 7″ from the point of the V to the hem. If/when I get around to re-making this fuku (I noticed some minor holes in the base leotard last time I wore it), I’ll lengthen that to 8″. The horsehair braid is also much more effective with the shorter skirts as well.
Working on the boots for Pluto was a fun experience and great practice for my upcoming Wonder Woman! I thought about buying pre-made Pluto boots, but the ones I liked best were close to $120, and all of them looked too short for me. My frugality won out, and I decided to make my own. I used NyuNyu Cosplay’s tutorial on how to draft the toppers. My first set of boots was a pair of knee high boots from eBay. These came out perfectly, but when I tried them on, they were a bit too short for my Amazonian legs. However, I did keep them for wandering around the con days. For round two, I bought some over the knee boots, cut them down to the right length and shape, and used scrap vinyl from Huntress to create the white topper.
I redrafted the Supers clear sleeves a bit with the input of the other Coterie members. We decided to go with clear mylar for the sleeves, which we did with Super Moon and Chibi Moon. While the vinyl I used for Super Jupes was more comfortable, the Mylar definitely holds its shape better. We covered the mylar with clear glitter chiffon using 3M, which did a much better job than the spray e6000 I used for Jupes. Tutorials and pattern are available here.
Koholint Cosplay reminded me both of the joys of sewing on an interfaced collar (seriously, soooooo much cleaner than non-interfaced collars) as well as faux mitered corners. These are so much cleaner than the ones I did on both of my Jupiter collars.
I’d like to take a minute to give MASK Props a shout-out for my insanely beautiful garnet rod. He pulled this together for me in a pretty short period of time while working on another big deadline, and it’s absolutely stunning. I’m so grateful to him for taking this project on when he toooootally didn’t have to! I’m planning to hang it above my craft closet for display purposes when it’s not in use.
Thoughts on this build: All in all, I’m so, so happy that I was able to make this costume happen. Pluto’s been on my wishlist for nearly as long as Jupiter, and it’s absolutely thrilling to be part of a full set of senshi! Now that this is done, I’m looking forward to a nice long break from fukus, haha (well, aside from commissions lol). I’ll add more photos as I get them!
Do you have a favorite inner and outer senshi? Who are they?
Before starting commissions, you absolutely need to ask yourself the following questions:
What am I willing to do? Are you good with wigs? What about foam? Or resin? Or leather? The idea here is to ask yourself what type of work you excel at and emphasize it. For example, I can do some wig styling, but I don’t consider myself an expert on it, so I don’t offer it in my commission services.
Is my work good enough for commissions? I ask myself this ALL THE TIME. The reality is that there’s a certain expectation of quality with commission work, and if you can’t meet that quality, then you don’t need to sell. My commissions are the same if not higher quality work than my personal costumes, because each piece is a representation of me and my brand.
Are you good at customer service? Being able to communicate with people is one of the most essential tasks of commissions. Many potential commissionees approach the commission process thinking they can get costumes cheaper than eBay or Amazon, or that different tasks are simple when in reality they’re quite time consuming. Being able to clearly and calmly discuss these issues with potential clients is an absolute necessity.
Do I have the time? This is one of my big personal hold-ups with commissions. Working full-time puts a big damper in the number of commissions I’m able to take on at any given time, and it also impacts which costumes I can make for myself. If I have a deadline for a commission coming up around the same time as a con, then I’ll likely have to re-wear a costume, because client work comes first.
2. Pay yourself FAIRLY
Again, this is something I struggle with, but I’ve gotten better at over the years. Due to the rise in fast fashion, many people misinterpret the skill involved in sewing (and any form of custom work, honestly). The reality is that creating a custom piece will ALWAYS cost more than something you can find in an online costume shop.
Much like car or home repair, labor is often one of the largest expenses involved. I used to barely pay myself minimum wage when I first started, and I was miserable. I felt like I sacrificed all my time to creating things for other people, and when all was said and done, I’d barely made enough profit to make it worth my while. Pay yourself an amount that’s commiserate with your experience and skills to prevent this issue. I pay myself $12-15/hour these days, much to the dismay of my friends and SO. I feel like this is a fair price FOR ME since commissions are my extra play money and allow me to get crazy with my personal builds. Keep in mind: this is a low-ball charge compared to some folks who do commissions as their main source of income, so don’t be surprised if you see higher charges as you do research.
To come up with a quote, I use the following formula: Cost of materials + Labor (Est. Hours x $12-15) = Final Quote charge (normally rounded down in favor of the client). When I get a quote request, my pricing process looks something like this:
3. Talk to your clients
This is often one of the biggest frustrations I see with potential commissionees. They get everything set up and send off their money, only to never hear back from the commissioner or have minimal contact. Their deadlines roll around, and they’re in a panic, wondering if their costume will arrive in time. I’ve been in this situation before, and it SUCKS.
A quick message or post to let clients know what’s happening is so, so, so useful. Be honest and open about time frames and when you expect to work and ship so that clients have an idea of when to expect their items. For example, if someone’s at the bottom of my commission queue, I’ll let them know that I won’t be in touch/won’t have progress to show for at least so many weeks, or I’ll let clients know that if I have to order materials online, that they shouldn’t expect to get updates until at least a week or two after said materials have arrived.
4. …but don’t let them walk all over you
On the opposite end of the spectrum, clients messaging every single day is only a situation that should occur if the commissioner fails to deliver or ghosts. If a client harasses you for photos/progress, reiterate that you need time to work.
Likewise, stand your ground on your policies and pricing. People will always ask to bend things here or there. Every case is different, but at the end of the day, you have to stand up for yourself in order to make commissions an enjoyable (and profitable) experience.
5. Remember: Your name is attached to EVERYTHING YOU SAY/DO
Social media is both a blessing and a curse for commissions. If you do it well, it’s an easy way to market yourself and gain clients and followers. But at the same time, you have to be conscientious of your online presence. Insulting another cosplayer’s work, shaming (of any kind), or bullying are obviously huge no-nos (and key indicators that you’re a crap human being, let’s be honest). But there’s more to it than avoiding the obvious. You have to evaluate what your brand represents and how much information you’re willing to share. For example, I’m not comfortable sharing much of my personal life online, partially because I feel odd letting the whole world know what’s going on in my day-today, but also I don’t want to impact mine or my fiance’s day job (or future job hunting).
Think about what works for you and for the brand you’re trying to create. Individuals have a bit more flexibility than companies, but branding still requires conscientious curation.
6. Promote yourself
Again, this is another task I’ve struggled with in the past, but it’s a necessity to generate business. A lot of my promotion work happens at cons. I often wear nerd-inspired outfits on Fridays or Sundays (a.k.a. lazy con days), so any time someone comments on one of my outfits, I try to plug my name and distribute a business card. Most of my friends and family will do the same thing!
In addition to in-person marketing, online marketing is a must! There are lots of Facebook groups that put clients and commissionees in touch with one another in addition to standard social media marketing practices.
One of the most challenging components of commission work for me isn’t the creation of costumes. It’s the juggling work of keeping track of commission inquiries, where they’re coming from, and staying up to date with all the orders you need to make (not to mention deadlines). I get commission inquiries through all my social media platforms, as well as through e-mail and in-person chats. To keep myself organized, I keep track of all this information through Google Sheets and Trello.
Likewise, HOLD ON TO YOUR RECEIPTS, both digital and physical. Anytime I purchase anything related to my commissions or business, I put it in a bin just for tax related purposes. I also keep track of money via PayPal and Etsy’s shop setup. I definitely prefer spreadsheets as a way to keep track of money, so I make sure to go through all my receipts as meticulously as possible so that my headache isn’t so severe when tax season rolls around.
My workflow looks something like this:
Client reaches out to me for quote, and I make a note of the client, along with where they asked and other relevant information in a Google Sheet.
Once the client has agreed to terms, payment, and details, I send them a commission agreement form with fields for measurements and shipping information.
After the client has sent me their down payment, I begin ordering materials and starting on their piece.
I use Trello to organize out individual tasks for each commission, since it’s easy to drag and drop checklist items when they’re completed.
8. Even if you’re not organized, GET ORGANIZED
This ties back in with point number 7. Again, I’m awful at this, but commissions have forced me to get better. There’s nothing worse than needing to work on a commission, only to realize that you’ve misplaced supplies. It’s an obnoxious hold-up and can cut into your profits.
I’m in the process of setting up a new storage unit in my craft room that doubles as a quick pressing station. It is only for commissions and business related purposes, so I won’t have to rummage through my other bins and storage units to find what I need. Knowing where everything is supposed to go will save you time and stress!
9. Have fail safes in place
Shit happens. Your sewing machine breaks. The fabric that’s perfect for a commission is out of stock. You (or a loved one) have serious health issues. Having back-ups will help you keep your sanity as you work on projects when shit hits the fan. I build extra time into my commission quotes for this reason so that clients are pleasantly surprised when their items get to them early, rather than infuriated when items are shipped to them months late.
10. Take time for yourself
Burnout is a real thing with commissions. It’s easy to take commission after commission, and then realize you haven’t made something for yourself in six months. It’s okay to close up shop for a while and take time to work on things for you. In fact, you should do this every now and then to recharge your creative batteries. Your work will be better for it!
Have you commissioned costume pieces before? What was your experience like?
I’m very excited to share a new tutorial with all of you! The Cosmic Coterie crew and I are super close to being finished with our Supers upgrades for ANT, and we also managed to get two tutorials published today. The one linked here is on how we construct our skirts, since that’s one of the topics we get the most questions on.
I hope you find this helpful! If you have any questions or feedback, please feel free to contact me or Cosmic Coterie!
Materials Needed: 2.5 yds matte bridal satin Contrasting thread for basting Matching thread for hem Measuring tape Tailor’s chalk Optional: 7 yds 1/2″ horsehair braid Draft 2 full circl…
Big news to share! I’ve been working with the Cosmic Coterie on creating a comprehensive fuku tutorial. We’re releasing it in increments over the next several weeks, and the first one up is our bow process! I digitized all of our patterns to take the guesswork out of creating these.
You can check out the full bow tutorial by clicking the link below. I hope you guys find this helpful! If you have any questions, feel free to contact me or Cosmic Coterie!
Major credits go out to SparklePipsi. Her patterns and process gave us lots of ideas on how to tackle ours!
Why This Costume: This was a Cosmic Coterie group effort to complete Super ChibiMoon for the lovely PockyPants! ChibiMoon is her favorite character, so when we had a chance to do some recasting, we decided that she should get a new fuku!
How I made it: Since this is Yet Another Fuku (sorry in advance, but MORE ARE COMING!), I’m going to focus more on the elements that made Super ChibiMoon a challenge and set her apart from a standard fuku.
One of the main differences Super Moon and ChibiMoon have compared to the other senshi is the double hip rolls. A single hip rolls is ALWAYS a challenge to get clean (especially when you work with foam), but the double approach added yet another wrinkle. With our Super Moon, we originally went with the same foam we used for the rest of the senshi, but it was literally impossible to sew by machine, and still an insane challenge to sew by hand. I pricked myself sooooooo many times. My thimble was a lifesaver!
To make life a little easier for myself this time around, I picked up some upholstery piping, covered it in a layer of quilt batting so that the ridges wouldn’t show through the spandex, and then covered the whole thing in gold and white spandex. To create the tapered points, I cut the ends of the piping at an angle and covered them with tape since this piping frays like the devil. Once both sets of rolls were complete, I hand basted them together, then basted them to the leotard. While I could get the hip roll combo through the machine, I ultimately opted to hand stitch it to get as close to the roll as possible and finished up the interior edges with my serger for durability.
PockyPants’s husband, Mask Props, airbrushed the skirt and collar pieces I cut. This skirt proved an interesting challenge in terms of the hem. With circle skirts, you’re supposed to let them hang to allow the bias to stretch out (which we did prior to painting), then level the hem and finish it. Since we had to paint the skirt prior to sewing it, I had to take length off of the top of the skirt rather than the bottom while also making sure the gradient looked consistent. It’s definitely a challenge, and I still see spots that I’d like to go back and fix before our next group wear, along with the hem for our Super Moon.
Another issue we addressed with ChibiMoon is the paint on the collar. Our Super Moon’s collar paint bled horribly on her chest armor after a full day of wear at A-Kon. Fortunately, we got most of it out, but to help prevent that issue with ChibiMoon, we hit it with a few layers of Scotch Guard. So far it’s held up pretty well!
I’m particularly pleased with ChibiMoon’s butt bow. We took our standard butt bow pattern and enlarged it by about 30%, and I also drafted the cascading tails. I picked up the same mirror organza we used for Super Moon and used French seams for durability. Super Moon’s butt bow utilized serged seams, and unfortunately the opalescence of the fabric shows all the overlock threads. A French seam this time around resulted in a much prettier and stronger finish! Can’t wait to get on a making one for Super Moon as well 🙂
We also wanted to take advantage of the sheer nature of the fabric to match the manga artwork, so we took a cue from Ohheyabear Cosplay and lined the bow with a thick vinyl. The result is lovely, albeit heavy, so it tends to droop throughout the day. Mask Props is going to rig us a clear U shape device to support the weight of the bow for next time.
Thoughts on this build: All in all, I’m pretty pleased with how this turned out! I’m so happy I could help PockyPants embody her favorite version of her favorite character. There are some fit tweaks I want to make for next time, and I can’t wait to document those for an upcoming sailor fuku tutorial I’m working on with the Cosmic Coterie girls!
Which senshi form is your favorite (classic, Super, Eternal, etc.)?
Hours Spent: Eh… probably 40 hours start to finish
Debuted: AMA-Con 2016
Why This Costume: It should be apparent by now that Sailor Jupiter is by far my favorite senshi. I knew immediately after joining the Luxe Dolls that I wanted to make a version of Sailor Jupiter for myself, even before I was cast for the part of Jupiter. I opted to make my suit work for both classic and Super Jupiter so that I could interchange pieces as I saw fit.
How I made it: I covered a lot of the basic fuku techniques I used here in my Jupiter 1.0 notes, so I’ll focus this post on things I did differently.
One of the most obvious differences in Jupes 1.0 and 2.0 is the detachable armor. SparklePipsi covers this process a bit in her fuku tutorial, but I used a double-layer of thick spandex as opposed to fleece. I used Zan’s chest armor piece (with some modifications) to draft this part. For the sleeves, I again used folded over white foam, but did one stitch on the sleeves to match the art work.
The translucent Super sleeves are the one thing I really didn’t like about how this turned out. I really want to go back and tweak the pattern, but I’m pretty happy with my construction approach. To create these, I used a heavy gauge vinyl covered in glitter chiffon. The piece was flexible throughout the day and didn’t bother me at all. It attaches to the chest armor with Velcro.
My leotard fit was one of the things I really didn’t like about Jupes 1.0. I didn’t add length to Zan’s pattern at all, and it’s been horribly uncomfortable as my weight has fluctuated. For this fuku, I used my She-Hulk mock-up of Yaya’s Ultimate Bodysuit Pattern to draft the pieces I needed for a much better fit.
In my Jupes 1.0 post, I lamented that I disliked how my bloomers were constructed. For this version, I used hook and eye tape to connect the crotch and finished the edges with 3/8″ elastic. This is a technique commonly used in leotards and swimsuits and hugs the bum to prevent the leotard from riding up. It’s way more comfortable than my previous approach!
Side by side of the tail mock-ups vs. the final result.
For my butt bows, I took some artistic liberties. The Super butt bows for the senshi are kind of… meh. They just hang more or less. So I made a slightly shorter version of Moon’s cascading butt bow tails. It’s a little different, but I got some great feedback on it and I adore how they look. I also incorporated some 1/2″ horsehair braid into the tails for extra flow.
To create my glove rolls, I used some scrap Rogue spandex to create the piping channels (see NyuNyu’s glove roll tutorial for basic information) and filled them with upholstery piping, much like I did in Jupiter 1.0. The main difference here, though, is that I hand-stitched the piping to itself to create a continuous circle and then hand stitched the spandex shut. The seam is much less obvious in photos now!
Accessories: I bought a new pair of boots for this costume and painted them with Angelus leather paints. I like these quite a bit, though I’m still holding on to my Catzia boots for days I don’t want to tower like a baby giraffe!
For the choker, I glued a brass stamp and a green gem with e6000 to match the Super artwork. My wig was another part of this costume I was unhappy with. The circumference doesn’t fit my head well, so I’m replacing it with a ponytail wig from EpicCosplay Wigs.
Other thoughts: All and all, I’m very happy with how this version of Jupiter turned out. I’ve wanted to remake her for well over a year, and I’m so happy to have an improved fuku! I can’t wait to do photoshoots of this costume at A-Fest.
So… long time no see. Apologies for yet another belated absence. I won’t bore y’all with a bunch of silly details. The long and short is that I’ve been creatively drained for a while and felt the need to step back. I feel mostly recharged, and I’m looking forward to getting back into content creation! Here’s a break-down of one of my more recent creations, Mistress 9 from Sailor Moon!
Completed: May 2016
Hours Spent: Around 30
Why this Costume: While I love cosplaying Jupiter, I absolutely LOVE the designs for the Sailor Moon villains! Honestly, I think they get the best designs in the show/manga. I’ve been toying with the idea of making a villain for a while, and this season of Sailor Moon Crystal cinched the deal for me.
How I Made it: This is fairly simple design, so of course I made it about a million times harder than it needed to be.
For the blouse, I knew right away that I wanted it to be super tailored and fitted to my corseted measurements. I used my adjusted Margaret dress pattern, lopped it off at the hips, and made a mock-up to draft Mistress 9’s funky points and plunging neckline. I used a lot of corsetry techniques for this piece: 1/4″ spiral steel boning in each seam, and a lace back closure for size flexibility (the ribbon lacing I initially used got dumped for gold grommets after the Luxe Dolls photoshoot because it started fraying like crazy). The shell of the bodice is made from silk duponi (same material I used for Hannah), and each piece was interfaced for stability. Each strand of pearls was hand-strung and then hand-stitched onto the blouse. The blouse was pretty heavy as a result, so I eventually added some boning to the neckline of the blouse to keep it from gaping.
The mermaid skirt proved trickier than I thought. I didn’t have a mermaid skirt pattern on hand, so I used Simplicity 1560 and lengthened it to my height. The base layer is made from satin, and the shell layer is French-seamed chiffon. I hemmed the satin layer with horsehair braid and did a rolled hem with fishing line for the chiffon layer. It closes at the side with an invisible zipper.
My tricky situation came up when I put on the skirt for the first time. It simply didn’t flare. It just kind of… hung there. Solution: petticoat! I drafted a quick one using some white spandex, satin, and tulle I had on hand. I made a pencil skirt out of the spandex that fell to my knees, then drafted a short circle skirt out of the satin and gave it some fluff with the tulle. The very bottom of the skirt has a 90″ hoop bone (harvested from my very crummy Belle petticoat) that holds the skirt flare out.
I had an Arda Delilah wig in black on hand from a planned Tifa costume that never happened. I wanted to have purple undertones, so I bought some extra long wefts in dark purple and hand stitched them in. Honestly, I wouldn’t do that again. You can’t even tell that I added them, and all I managed to do was make the wig super heavy. I also purchased a Venus in Dark Purple from Arda to wear at A-Kon since I didn’t want to deal with the tangle factor of my monster wig.
My jewelry accessories (earrings and forehead star) were purchased from Unique Cosplay Props on Etsy.
Thoughts: All in all, this was a really fun make! I enjoyed doing something that wasn’t a full-fledged corset, but utilized some of the same techniques I’ve learned over the last year. It was fun to embrace my inner villain for a day, and I definitely want to cosplay the other villains now.