Then I chose a different silk brocade, velvet or iridescent tussah for each bodice pattern piece. A thin fusible fleece was joined to the silk bodice to give dimension later during the free motion stitching process. Silk metallic brocade medallions were strategically fused onto the bodice – pinning them carefully while the bodice was on the dressform – then free motion stitching with metallic threads to secure the appliqué. Each segment of the bodice had a different type of stitching embellishment – to match the fabric in that section. Next I draped the drop-hip yokes. I cut a lining and used it as a foundation for the stitch-and-turn silk scrap yoke. After trimming the seam allowances to the final yoke shape, I began to drizzle metallic threads on the yoke, and scatter snips of bright metallic fabrics. This is the technique created by Bonnie McCaffery in her book Fantasy Fabrics. A layer of iridescent tulle was layered over the collage of threads and snippets, carefully pinned, and free motion stitched into place with more metallic threads. One of the fitting challenges with the bodice was the changing fit and shape of the bodice every time I added stitching and embellishment. I had to keep putting the bodice back on the form to check for symmetry, and then add more stitching to balance out the fit. By the time I added the layered collage hip yoke to the bodice, I had a snug beautiful fit on the dress form. The embellished bodice and yoke, with their custom fit and carefully selected collage of fabrics, were the most time consuming parts of this project. Now I was ready to drape the full circle skirt. I started with 4 giant squares of silk/rayon burnout velvet, draping them one at a time on the bias. I did a little trimming to redesign the bottom of the hip yoke during this process. Then the giant full circle skirt was sewn together and attached to the hip yoke, leaving room for the pleated bias train at center back.