The first step is to draft out a pattern for the applique. I create a rose and laurel drawing based on the design visible on the reference I’m working from.

I photocopied the design a few times so I could use the copies as a template without destroying my original pattern.

With Prismacolor markers, I roughed out a general idea of how I want the applique to look and tested the markers on my fabric.

The next step is to transfer the design on to adhesive paper. I am using Steam-A-Seam2, which is my favorite type of fusible web adhesive paper, but you can use other brands and have the same results.

I trace the rose design on to the fusible paper on the side that the adhesive material sticks to. This will give me template to cut the fabric out with. Remember that the design will be mirrored when you cut it out.

After tracing the design, I number each petal and leaf so I know where to place them once I cut them out.

After sticking the adhesive side of the fusible paper to the back side of the fabric, I cut out the pieces carefully.

The result is the shape of the rose with the fusible paper attached to the back side, ready to be adhered to the cape.

Using Prismacolor permanent markers, I color the petals of the rose individually. I tested the dye’s colorfastness on a scrap of fabric earlier to make sure the ink would not run if wet.

I stick the applique pieces to the cape and follow the ironing instructions to fix them in place for sewing. For the leaf part of the design I alternated using the front and back of my green material to give a little bit of color variation to the laurel.

Using a small satin stitch (the Ziz-Zag stitch option) I tack down all the edges of the applique with matching embroidery thread. On the backside of the cape I have used a stick on stabilizer that will be torn away once the top stitching is done. This is the most time consuming part of the process and it improves the end result if you do not rush through this step.

The end result is here. The process will be repeated on the other side. This took the better part of a day to complete, so give yourself time if you need to add applique to your costume.

Here’s the design when draped over my dressform. I still need to add the collar, lining, and trim to the cape. It is time consuming, but fun adding in details to a costume!

I’ve started off by making basic paper patterns for some of the armor on the costume during earlier livestreams on twitch. These pieces are the foundation of the patterns, and I’ll be using tracing paper to add more elaborate designs to them.

The elbow armor is a very basic shape.  I’ve created darts in the pattern, but I’ll add more compound curve to the actual armor with heat.

Using paper clips, I test the shape of the pattern.

Using tracing paper, I added the designs I will inset and raise on the armor.

To create an embossed effect, I am using sticky backed craft foam to create layers.

I make a photocopy of the tracing paper designs to cut up and use as stencils.

I create a stencil out of the floral design for the upper arm armor. I’ll be cutting out the areas I’m marking with a permanent marker.

All of the silver areas are going to be cut away.

With a hobby knife, I remove the craft foam from the marked areas and cut the shape out.

I removed the sticker backing from the cut piece of foam and stick it to several layers of craft foam I’ve sandwiched together to create thickness.

For working with Worbla, you’ll need a heat gun. I like using one that is designed for crafting because it is easier to use with projects like this that have detail work.

After heating the Worbla. I slowly press the material into the grooves in the craft foam.

I like to use a clay sculpting tool because it has a flat side for defining edges and a curved end for pressing the Worbla into the groves of the design.

Here’s the end result after 10 minutes or so of heating and working the worbla into the design. I’ve shaped the piece to curve around my upper arm. I’ll repeat this process with each part of the armor. The next step is to surface the material and paint it!

For the sake of anyone who wants to create the same costume at home, I’ve decided to use some US domestic patterns as my basis for creating the dress pattern. I recommend using patterns that are marked with words like simple or beginner for pattern modification. They won’t have complicated shapes or seams which is better for applying your alterations to.

The patterns here are a poodle skirt, which is a large circle skirt, and a generic shirt pattern. You don’t need to use these exact patterns. There are many similar patterns out on the market that will also work. These are the ones I happened to have on hand at the time. The most important part is finding basic patterns that won’t need simplifying before modification.

The first step I make when drafting through pattern alteration is transferring the preexisting pattern shape to vellum paper. I buy it in large rolls from an art store.

All my changes to the pattern will be made to my vellum instead of the original pattern itself. I recommend not destroying your starting pattern by modifying it directly in case you make a mistake or need to use it again on another project. I’ve been reusing some patterns for 15 years now, so if you treat them well, you can get a lot out of them.

For this shirt pattern, there was no back seam since it was intended to be made out of jersey material that had stretch. While I will be using a material with some stretch on the costume, it needs a back seam added for a zipper. I’ve added that and made marks where I want to cut the pattern off to attach it to the skirt.

I need to create facing for the neck. Trace out the neckline of your shirt and add about 2 inches for facing. This will insure a nice finish since the shirt will not have a collar.

I also trace out the sleeve, even though I’m not making modifications to it. I like to do this since I keep my finished costume patterns for potential future use, and may not remember in a couple years what pattern I modified for this costume.

After the modifications are done, I transfer the pattern pieces to muslin. The next step is making a mock-up. This is a critical step a lot of first time cosplayers skip. Making a mockup on cheap fabric or muslin allows you to work out any issues your pattern might have before using your (often expensive) final fabric. This step is extra work, but it yields better results and lessens the possibility of heartache.

This is the mockup once cut out and sewn together. I’m fine with the results so I am confident in moving on to using my final fabric without needing to modify the pattern further.

For the cape, I redraft a simple pattern I’ve used for years. Since I am trying to get this completed in a reasonable amount of time, I’m not modifying an existing pattern for this part, but you can find cape patterns in sewing stores easily.

When constructed in muslin, the cape looks like this. The final version will be a bit different since it will involve lining, applique, and trim, but the basic shape is all I am concerned with at this point. The pattern works so I’m happy not making any adjustments to it and can move on.

The costume has a panel over the skirt that involves some creative patterning. This is a step that you could use the draping method to create, but I’ve opted to try drafting it out instead. I drew out a circle skirt pattern and used my ruler to create a zig zag pattern.

I hastily make a mockup of the pattern so I can put in on my dressform to see if I’m headed in the right direction with this.

Once made out of a thicker material and worn with a petticoat it will have the effect I am looking for.

The top half of the dress and cape also pass my test fitting on my dressform, so I’m ready to go fabric hunting! I didn’t opt to mock up the whole dress because I’ve made a number of similar dresses, but if you are new to costuming I would recommend creating the whole mockup.

Next up is working on some of the armor patterning! You can see my progress as I work on this cosplay here and on twitch in the following weeks~